Why Studio Producers Are Grabbing Boost Pedals Again: A Chat with OC Pedal Co’s Founder

If you’ve been in the habit of running your synths or drum machines through a pedalboard lately, you’re not alone. More producers are experimenting with analog gain stages in their studio workflows—not for wild FX chains, but for the subtle grit, color, and dynamic push that pedals can offer when used upstream. That’s the exact space the Buena Park Boost from OC Pedal Co. steps into, and after talking with its creator Evan Haymond, it’s clear this unit was designed to serve that role without overcomplicating anything.

The pedal’s roots are in guitar, but the concept of keeping things simple and effective makes it a practical fit for studio setups. The one-knob design handles clean gain, but there’s more happening under the hood—specifically, harmonic enhancement that adds presence even when the boost is set low. It’s not about tone-shaping through endless options; it’s about giving your signal a subtle lift, whether you’re sending it into a synth, a sampler, or an already-cranked preamp.

In this interview, Haymond explains how the pedal came to life, what inspired its sonic goals, and why the gear you reach for doesn’t need to be limited by how it’s marketed. We get into the design process, talk frequency response across different instrument types, and cover why trusting your ears still matters more than what anyone in a forum thread thinks.

More and more producers are running synths and drum machines through pedals these days—did that influence how you approached the design of this unit?

Yes, and no, to say that I had synths and drum machines in mind specifically would be a lie. At the same time I wanted to create a unit that would enhance any audio signal, regardless of instrument or genre so in that spirit, the design phase focused on the obvious thing first which is the pedal’s ability to boost signal.

Secondly, and the real reason I love this pedal so much is that it enhances and add subtle harmonic content to whatever is being run through it, regardless of the boost’s level. Long story exceptionally long I think it’s a great choice for synths and drum machines because you can add a little bit more analog color to your chain without lugging a bunch of outboard around with you.

You can slam it into something else to get some delightfully nasty analog distortion as well, for a more extreme pre-amp effect.

Were there specific synths, drum machines, or production tools you tested the pedal with during development?

Good question! When I design, I typically only test with guitar because I know exactly what everything should feel like response wise and when it’s right and when it’s wrong. A big part of my process is getting different artists to play the gear and give me feedback on how they use it.

Allee Fütterer aka All Made Up is a great example of this. I sent her a boost a while back and she put the thing through its paces. I know she played a little guitar through it, probably bass, but I think she was the first person to run a synth through it.

She tours with Chappell Roan and I think uses a Moog Subsequent on that gig. 

Do you think there’s a gap right now in the pedal market when it comes to products built specifically for studio producers instead of live guitarists?

I actually think we’re right in the sweet spot for all that. There’s never been a time in history where theres been so many pedals on the market that have midi integration, have such high fidelity, and are compact enough to throw in a backpack. I’d actually argue that the market is so saturated with these high-quality digital products that producers almost have too much choice. There’s a quote that’s attributed to Orson Wells that says something to the effect of the enemy of creativity is a lack of limitations, and I feel that’s kind of where we’re at.

I think back to some of my favorite synth based records like Black Celebration and Music for the Masses by Depeche Mode, so many of those sounds were created with gear that was never intended to be used the way that they used it. That’s one of the reasons why with my company I want to produce simple, sonically effective, tools that can fit into a greater sort of musical soup.

I think when creators take that approach, that’s to say the Depeche Mode approach, listeners are left saying holy hell that’s cool rather than oh that’s an H90 preset.

Nothing against the H90 because it’s an amazing pedal and EVENTIDE is an amazing company, but those algorithms are recognizable.

From a manufacturing perspective, what’s the biggest challenge when designing a pedal that works equally well on guitar, synths, and studio gear?

Frequency response! Guitar has a very specific range as does bass. Because sythns can go crazy high and crazy low on the frequency spectrum you have to be careful in your designs not to chop off too much low or high end, while at the same time being mindful of what’s gonna sound good in a recording studio or at the front of house desk.  That’s when I go full nerd and start playing around with input capacitors and filters.

All that being said, I have a lot of wiggle room because even if I’m high or low passing a little more than a synth might need I know that it can be cool and actually help a synth fit in the mix a little better.

Last one—if you could give one piece of advice to producers who are starting to experiment with pedals in their studio, what would it be?

It’s kind of a two parter. First, don’t do what everyone else is doing. The artists you love got to where they are by being unique. Second, just try stuff! It doesn’t matter if your not supposed to use that pedal with this synth because some dude in his mom’s basement said you couldn’t on a Reddit forum. If you like what it’s doing in your chain it’s good!