If you’ve been following this blog for a while.. you would know I’m very interested in pedal building/hacking and general tweaking with electronics. Since I started, I’ve been noticing a steady increase in skill level and general electronics understanding (don’t take me wrong.. still have a million more miles to go). During this, I’ve had a great time actually making things that I play. There is a great satisfaction and feeling of accomplishment when you step on a creation… and it does.. what it’s suppose to do!
So this leads me to this post. Today, I wanted to talk about Mod Kits DIY. Here we have a business that has some sweet kits for the guitarists out there. Along with a few pedal kits, they’re offering a amp kit as well. I would love to try an amp some day.
Here is their official press release:
ModTM Kits are designed to give both novice and experienced musicians the opportunity to build their own amps and effects pedals. All kits come with easy to follow instructions and use point-to-point wiring. Pre-drilled enclosure and all parts are included. All you need to provide are hand tools, a soldering iron and solder. All effect pedals operate on a 9V battery.
MOD 101 Guitar Amp Kit – 60 watts of tube power using your choice of either 6L6 tubes or EL34 tubes. Choose from 32 different variations of the circuit to suit your tonal preferences.
The Rattler Pedal Kit – an easy to build kit that has the fuzz sound of the 60′s and 70′s.
The Piledriver Pedal Kit – this clean boost kit provides up to 38dB of gain to your guitar signal. Use it to push your preamp into overdrive or as a line driver if you are experiencing signal degradation from your effects chain.
The Verb Pedal Kit – Build your own digital reverb pedal. Get sweet, warm reverb tone using the Belton Digi-Log module.
And the newest addition to the line: The Persuader Pedal Kit – Make your own tube pre-amp pedal built around a real 12AX7 tube. Go from clean warm to smooth tube overdrive.
Over the last few months, my posts have been mainly ‘pedal’ related, but at times, I go into other topics of interest. Today, @tsworthin retweeted a post about the ‘CAGED’ system for guitar. I watched the video by creativeguitarstudio, and I thought it was very interesting. Basically, it’s about moving guitar chords up the neck for different variations to notes. I also thought it was interesting that he brought up the pattern system that he currently uses, that is similar to the CAGED system. I’ve messed with the pattern system in the past.
If you’re in a guitar (or general playing/creative) rut, things like this can give a fresh view.
I’ve been wanting to talk about Fuchs (Fuchs Audio Technology) for a while. Andy Fuchs is known for making some killer amps and pedals for some time now. Today, I wanted to take a closer look at the Fuchs Plush Valve Job Overdrive/Distortion pedal. With the Fuchs Plush Valve Job Overdrive, we have a great overdrive. You have a bi-FET integrated circuit matched to a 12AX7 tube to get that warm tube breakup.
Here is the official description of this pedal:
Perhaps the closest tone to a boutique tube amp, without the size, weight, and price! Just because you can’t afford a boutique tube amp, doesn’t mean you shouldn’t get the chance to sound like you do! The Plush Valve Job was designed for those who want the true tone, response and feel the only a real tube can provide. Like The Plush Drive™, The Valve Job™ features a unique 4-knob circuit which gives unprecedented control over the most important aspects of your tone. On the input end, the gain and touch controls allow you to set just the right amount of distortion and pick response, based on your guitar and playing style. On the output end, a subtle tone control and level control allow you to set both your overall lead tone and solo level. A unique bi-fet integrated circuit matched to a real 12AX7 vacuum tube emulates the smooth overload of a tube amp, but with the shimmering harmonics only a tube can provide. Besides a Santana horn-like musical distortion, The Valve Job™ can provide one of the greatest gnarly slide guitar tones you’ll ever hear. It has a unique “almost out of control” feel that only a real tube can provide.
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As you know Keeley has been pumping out some great pedals, but they’re very well known for modifying existing pedals and improving their performance. Today, I wanted to talk about the Keeley Modded Boss DS-1 Ultra Distortion pedal. Here Keeley takes a stock Boss DS-1 Distortion Pedal (normally $39.99 at Musician’s Friend) and replaces parts with high quality parts (ie: metal film resistors, poly capacitors) additionally the behavior of the pedal has been altered, going from symmetrical to asymmetrical distortion clipping. In the end, this pedal is WAY better than the original.
Here is the description of the modifications:
The Boss DS-1 has a very heavy metal timbre to start with. Keeley’s many modifications take the distortion pedal to a full metal jacket sound. Every component changed or added is of the highest-quality. Metal film resistors are used for a low noise floor; this is essential for a high-gain pedal.
The Keeley modded DS-1 distortion pedal has a lower noise level than the stock pedal. Metal film and poly capacitors are used in the coupling sections to provide the true midrange and high frequency transparency your guitar tone needs while increasing the bass response.
It goes without saying that the note definition has been improved. The final result is an awesome distortion pedal that provides more gain and volume while losing no note definition. Perfect for driving Marshall stacks and other high-powered gear. The DS-1 effect pedal has been modified to have asymmetrical clipping, which gives you second-order harmonic distortion. In addition to lending a very musical sound, the Boss distortion pedal produces an octave-type effect at very high saturation levels.
The Boss distortion pedal has been modified to have the Seeing Eye LED. There is an LED located in the “O” of the word Tone. This LED is not just a visual effect. It’s part of the circuit that clips the signal and gives it that full, distorted sound. The heavier you play, the brighter the LED illuminates, providing more distortion. The Extra LED increases the volume output of the pedal a bit, great for using the Boss DS-1 as a preamp to push the amp or to fine tune a low distortion sound on the DS-1 pedal.
The Boss DS-1 distortion pedal’s ultra mode has an even fatter, more robust tone. This is designed to give you the “Wall of Marshall Amplifiers” tone. This is perfect for beefing up a Strat or pushing an amp hard so that you get more natural tube amp distortion.
This Boss distortion pedal has a mode switch to dictate the different tones you use. With the switch positioned up, you have the Seeing Eye operation mode. With the DS-1 distortion pedal’s switch down you have the Ultra mode.
But how does it compare to a stock Boss DS-1? Well, I found a head to head comparison video by McKinoza. The pedal on the left is the Keeley modified DS-1:
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I’ve been hearing some talk about the Xotic EP Booster. Been seeing it on a few Pedal Line Friday submissions, and I wanted to take a closer look. Xotic makes some great pedals, and are really creating a giant name for themselves. Looks like the EP Booster is modeled after the preamp side of the Echoplex EP-3. Apparently, the circuit is quite different than the actual Echoplex (since the Echoplex’s preamp had additional requirements, etc). In a nutshell, this is a clean boost, but with more sparkle and definition.
Here is the official description:
What do the tones of renowned guitarist such as Page, EVH and Johnson have in common? They all used the legendary echo machine EP-3 as a pre-amp.
We’ve captured that magic in a new Xotic Effects pedal, the EP Booster.
We’ve used the highest quality parts available with a discrete FET design and low impedance output, the EP Booster provides up to +20dB of unadulterated boost with multi-dimensional, shimmering highs and lows, and no ear fatigue. The internal DIP switches let you choose the boost frequencies, and EQ settings.
Housed in a small 3.5″x 1.5″ x 1.5″ case with blue LED and transparent knob, the EP Booster can be powered by 9-volt up to 18-volts.
A simple pure boost that pays reverence to the magical EP-3 and captures the celebrated tones of the world’s most famous players.
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Today’s pedal line is from Jon Hanson. If you have a pedal line (doesn’t have to be in a board) for your rig, please email me a photo, bio, description of pedals and routing to pedallineeffectsbaycom. Every Friday I’ll showcase a pedal line submission. Make sure you include any links to your band or music page.
This is an interesting little combination that I experimented with a few days ago. I liked it so much I have left it as is and I’m planning a new pedalboard/case for it.
Stereo Out #1 -> VOX AC-15 w/ Greenback and Avatar 212 ext. cab w/ Vintage 30′s
Stereo Out #2 -> MXR Carbon Copy Delay (a staple w/ the mod switch always on) -> T-Rex Viper Vibe (subtle Univibe clone with a boost if desired) -> Hughes and Kettner Tube Replex (Echoplex with a tube buffer) -> ’95 Blonde Blues Deville 212 and Zinky 212 ext. cab w/ Webers
I loved this setup because of how spacious it sounded even in my small home studio. I don’t lay the chorus or the delays on too thick, I just use them and the amp’s reverb very subtly to create a full round tone that comes at you from everywhere.
One of the things I’ve learned that will really help preserve and enhance your signal through long pedal chains is to always run a buffer on both ends of your chain. I use the EP Booster up front to push and boost clarity. And I use the Tube Replex at the end as sort of an always on tube buffer. Believe me, if you heard the Tube Replex you’d want to leave it on all the time too.
Of course it’s obvious that I love delays and chorus/vibe effects. But I’m also a fuzz freak as you can see from the picture of the pedal case full of muffs and fuzzes and wahs (Oh my!) that didn’t make the cut on this new stereo line-up.
Peace,
Jon Hanson
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I would first like to say that I’m not the biggest John Frusciante fan out there, but I definitely respect his playing and his passion for guitar. Today, I came across an interesting video where he goes into various techniques, and discusses his philosophy about soloing. I particularly like what he said about soloing and the ’16th note jail’ a lot of us (and I would say for certain that I fit that mold) are in when it comes to solo.
Immediately after watching this video, I felt more aware and had a desire to explore my soloing a bit more. Trying to break out of my comfort zone (or habit zone) to see what’s out there. Anyway.. thought it was worth a look and wanted to pass it on:
Brad Fee, owner of Mojo Hand effects and partner at Tone Factor sent us a Mojo Hand Gyro, a vibrato / Leslie simulator pedal. This is a ‘true’ pitch shifting vibrato which can also combine a rotating speaker simulation. It was fun to work with a modulation effect, so here we go.
Let’s first break down the units controls. There is a 3-way toggle which selects vibrator (top position), Rotation (center position) and Mixed which will combine Vibrato and Leslie (bottom position). There are 3 pots. Going from left to right, we have Volume, Speed and Depth. The volume allows for you to quiet the pedal’s output or you can use it to overdrive the signal. Speed will control the rotation or vibrator speed, and the Depth will control the overall intensity of the rotation. You can dial speed and depth for a very subtle to extreme setting. There is a indicator LED which let’s you know the pedal is on, but it will also reflect the speed rate you have set.
Here is a quick official description from Tone Factor:
True Pitch Shifting Vibrato as well as Rotating Speaker Simulation. The 3 way toggle chooses between Vibrato, Leslie, and Blended (which mixes the two). Expression pedal jack controls speed. Works in conjunction with Mojo Hand’s upcoming Ramp Unit. True Bypass Switching Powder Coated, Screen Printed enclosure
Just like the other demos, I gave Jimmy Rolle a call to see if he was up for the demo… and of course.. he was.
This first demo is what I’m calling a ‘straight’ demo. Here Jimmy plays with medium grit to higher gain settings while adjusting modes and settings. This should give you a good sense of what this pedal is capable of. Jimmy is playing a American Standard Fender Stratocaster through a Rivera Knucklehead 100 w and Marshall 4×12 cabinet. It was recorded with SM57 and AKG Solidtube microphones. Both close mic’d.
Optionally, you can listen to high quality MP3 of this same clip
For this demo, we did something a little different. With a modulation pedal such as this, we thought it would be great to show how this pedal would react with other effects. In this clip Jimmy has the Mojo Hand Gyro first in line, and utilizing his other pedals (Fulltone ’69 Fuzz, Bad Cat 2-Tone, Big Muff+Maxon 808, Fulltone Fulldrive 2, EHX Memory Man and Teese Picture Wah) The yellow switch toggles between the Big Muff/Maxon 808 and Bad Cat 2-Tone. He has a small looper that keeps the EHX Memory Man in true bypass. Jimmy – Let me know if I missed something!
Optionally, you can listen to high quality MP3 of this same clip
As you can see, you can get some pretty classic vibe tones.. as well as achieving some classic stoner tones!
I also had a chance to pass a few questions to Brad Fee about the pedal.
What inspired you to develop the Gyro?
The Gyro was developed because there seemed to be a hole in the market for true pitch shifting vibratos, as well as rotary speaker simulators. The Gyro does both, so it’s like killing two birds with one stone.
What genres of music will go nuts for the Gyro?
Any fan of classic rock radio can probably enjoy and find a use for the Gyro. It’s really easy to get a good sound out of, so it’s applicable to a lot of styles.
What makes the Gyro different than other vibrato / roto vibe pedals out there?
It sounds better. Really all of the credit goes to the designer, Robert Gillan. He’s the man behind the curtain, and he’s truly a brilliant builder/designer.
How long has the Gyro been out there?
Prototypes have been floating around for a year or two, but it’s really only been in full production for the past few months.
How long has Mojo Hand been developing pedals?
About 4 years. It kind of sprung out of the Tone Factor custom shop, but once I started selling them through other vendors I figured it would make more sense to branch off and make it a separate operation altogether. We’re currently looking for new retailers to help expand the Mojo Hand brand.
What’s Mojo Hand’s philosophy for developing pedals?
I think the key thing we strive for, in all of our pedals, is simplicity and ease of use. I want it to sound good when I plug it in, without much fuss.
Overall, this is a great sounding pedal. With high gain amp settings, it’s a touch noisy, but with analog you should come to expect it. The rotation provides a warm, and depending on how it’s set (volume level) can also give a interesting overdriven undertone. The pedal also responds nicely to volume adjustments from the guitar. The pedal is only DC powered (no battery), and it is true bypass. It also has the ability to add a expression to control speed. I really wish we had a expression pedal to play with this ability. I’m sure it would be great.
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Yesterday I posted a video about Adrian Belew’s rig/equipment, and one of the pedals he uses is the Electro-Harmonix Graphic Fuzz, so I wanted to take a closer look today. Basically, we have a fuzz pedal with a graphic equalizer built right in. This is great to get heavy scooped tones… or give yourself a mid bump for leads, etc. The graphic EQ is nice to really find the frequency you’re looking for. You can also disengage the distortion and use it as a straight equalizer. Additionally there is a envelope response which adjusts and responds to your pick attack.
Here is the official description of the pedal:
For the true tonal alchemist, the Electro-Harmonix Graphic Fuzz XO is a unique distortion pedal with 6-band EQ, sensitive to the dynamics of your playing. Sliders for Overdrive, Sustain, and Volume further its array of tones. Use the Graphic Fuzz guitar pedal solely as an EQ or switch on the distortion for total sound sculpting.
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Today’s Free Shirt Wednesday is brought to you by Casper Guitar Technologies based out of Leisure City, FL. I thought it was interesting that Casper Guitar Technologies builds custom guitars from sustainable or ‘smart’ wood sources. Steve Casper mentioned that this is a environmental responsibility he has, and I dig it!
Since the late 1980s, Casper Guitar Technologies has built guitar using FSC certified lumber, RoHs components and electronics in the tone and volume circuits and use low VOC finishes, solar powered battery chargers and low voltage LED lighting in some of his work areas at the shop.
Currently, Casper Guitar Technologies has 5 completely customizable models. All have bolt on style neck joint which gives lots of freedom to change neck and fingerboard materials.
He mentions that the S-Series Classic (The RetroCasper) is the most popular guitar he offers. It’s constructed using poplar, a sustainable wood that carries the same tonal characteristics as alder and is easy to acquire. Along with custom guitar building, he also winds and sells hand would pickups!
When you get a moment, please check out www.Casper-GT.com and tell Steve EffectsBay.com sent ya!
Now, if you want to be featured on Free Shirt Wednesday.. it’s really quite simple. Send me a shirt, if it’s music related (ie: guitar builder, band, pedal builder, guitar shop, recording studio, etc) I’ll dedicate a blog post about your biz, band, etc. I’ll take a photo with my aging, slightly pudgy mug and post it. Great simple, cheap form of advertising. Still interested? Then check this page for more info
Really all of the credit goes to the designer, Robert Gillan. He’s the man behind the curtain, and he’s truly a brilliant builder/designer.
