Effects Bay

For a while there, I was REALLY into working on pedals. Unfortunately, my work has really consumed my available pedal time, and that is something that is getting on my nerves, and something that will hopefully change soon. My bench is right next to my office, so I’m always reminded about how much I enjoy working on pedals for my music buddies out there. Working on pedals is very empowering. It’s a good feeling to ‘fix’ something … in this ‘throw away’ mentality these days. Once you know how to fix things, the requests start pouring in from friends with broken footswitches and wiring.

Then the next logical step is to build something. Probably from a kit but you might be get into breadboarding, etc. Playing with circuits is fantastic. Seeing cause-and-effect and being able to manipulate it by experimentation. Very cool. When you work with pedals one of the big challenges is sourcing parts. It can be a pain, especially if you’re working on vintage circuits and trying to find compatible values to those older schematics. Availability and pricing can be an issue too. Personally, I’ve been buying parts from several electronic sites, but it was really great to see Mammoth Electronics.

Mammoth Electronics is a great new site for providing pedal parts out there. They also offer kits and offer some services such as silk screening and enclosure drilling. I had a chance to send some questions to Blake, President of Mammoth Electronics:

What inspired you to start Mammoth Electronics?
Playing in numerous bands and the local studio scene, I was a gear-head and effects-junky from pedals to rackmount gear, and began trying to build my own pedals with alot of trial and error. I found that there was a tremendous amount of knowledge out on the web and in forums and blogs, but it was hard to find a parts source that was reliable, consistent and easy to navigate so I thought, “maybe i should do that.”

How long has Mammoth Electronics been in business?
It will be 2 years this December.

Where are you located? Is this a web shop only? Or do you have a brick and mortar presence as well?
We are centrally located in Oklahoma USA and we are not currently open to the public, but possibly one day. We shall see?!

What separates you from the other electronic component or pedal part outfits out there?
There are some great companies that are out there and each offers a unique selection of parts and knowledge. What we offer is a seamless and easy-to-navigate shopping experience with a large selection of enclosures, colors and drill-layouts as well as great sounding DIY pedal kits and all the supplies necessary to build high quality and great looking pedals. While we are geared toward the DIY guys and small-run manufacturers, we have a deep inventory to efficiently supply larger pedal, audio and amp manufacturers.  Consequently,  because of our bulk purchasing with suppliers, weare able to pass on the price savings to our smaller customers so everybody wins.

How is the world of DIY/MIY and boutique builds? Is the field growing and the demand rising?
The demand is there and growing. With knowledge and parts becoming more available, we are seeing a large number of new-to-the-market customers. Alot of guys want the experience of literally “building” and “crafting” their own sound. They want to put their signature audio circuit into a box that they can customize with paint color, knobs and artwork and put on display for others to see and hear. It’s a satisfying experience to hear another performing musician play a lick through an effect pedal that you built and to know you had a piece in that. Some customers have the ambition of selling thousands of units a year and others simply want to build a few units a year. I think the other driving factor for the DIY community has been the downturn in the economy and the subsequent effect on peoples wallets.  Why pay $200 for an overdrive pedal when you can easily build it yourself for 1/3 of the price and as a plus, you get the ability to choose the size of the enclosure, color of enclosure, color of LED and the type of knobs? The DIY effects market just makes sense in a cash-strapped economy.

Do you offer some vintage NOS components?
We have some vintage NOS stock. We have been asked to carry more and from time to time we will bring in some vintage parts, especially chips. We get alot of requests for old Bucket Brigade chips, but since there is a surplus of counterfeits out there, we are careful what we bring into our stock.

With the limited supplies of vintage transistors and capacitors, etc., are there *really* comparative components that can achieve same/similar tones?
Absolutely. To the average consumer, most wouldn’t be able to tell the difference in vintage transistors and caps. It is sweet every once in a while when you hear a vintage mullard yellow-jacket OC44 next to a clone or cross-part. Nothing really compares to the old stuff and if price is not in the equation, then by all means, get the old stuff. But, we’ve tried to do our best to partner with manufacturers that are still making replicas to the same specifications of the old stuff. We carry the CoolAudio Bucket brigade delay chips that have replaced the old Panasonic BBD. We also carry a line of germanium and silicon transistors that are made to the original mullard spec by a North American military transistor manufacturer.

What are the components you see flying off the shelf at a regular basis?
Our customers really like our 3PDT (true bypass) foot switches as well as our micro toggle switches. Alot of the switches out on the market are China junk, but our supplier, 4Site Electronics, makes some high quality switches. Our enclosures are a big seller as well. The ability to customize drilling and powder coat and still ship same or next-day makes it really favorable for our customers that want a high quality enclosure with a quick turnaround. Consumables are another big one. We sell alot of wire, solder and bare circuit boards.

What is the most popular enclosure out there in demand? Any reasons why?
The 4S125B, 4S1590B and 4S1590BB are the big sellers and recently the 4S1590BBT (Taller version of the 1590BB) are selling very consistently. Some builders want to maximize real estate on their pedal boards so they opt for the smaller 4S1590B, some want the ability to put 10 toggles and potentiometers in a single box so they will stuff them into a 4S1590BB or 4S1590BBT. For alot of our beginner DIY guys, we recommend the larger enclosures (4S125B and 4S1590BB) simply because it is easy to maneuver the components and wire inside the enclosure.

Do you offer enclosure painting.. or silkscreening?
Yes. We do offer powder coating and silkscreening.

Do you offer pre-drilled enclosures?
Yes, we have a huge selection of pre-drilled options and are always adding more at our customers’ requests.

For people interested in pedal building, kits are a great way to get started. Do you offer any kits? If so, what kit do you recommend for someone interested in building?
For a first-time / beginner build, the Stage 3 Booster is very simple and sounds incredible. After that, the Hot Chilicon Fuzz, the ODC Overdrive and the EA tremelo are very simple builds with dynamic audio quality.

Do you offer any give aways (ie: components, enclosures, kits, etc?)
Multiple times a week, we have awesome giveaways, from effects pedals and kits to parts and enclosures. Our facebook page is the place to be to find out about the giveaways and its super easy to win. We also have daily deals that occur multiple times per week and its a great opportunity to pickup some great parts at a ridiculously low price.

Anything new coming down the pipe that you’re excited about?
The pipeline is definitely full with new and exciting products.  We have some new kits that are coming in the next few months, including a delay. In response to our Amplifier guys, we are going to be bringing on a full line of caps, transistors, resistors and pots as well as the hardware, boards, sockets and consumables. There are a few other irons in the fire that I’m not at liberty to discuss, but I am certainly excited about the direction Mammoth is heading and the community of engineer-artists that we get to partner with.

Please check out Mammoth Electronics at their website and like them on Facebook!

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Sometimes it’s amazing what you can find in your own backyard. For years, friends of mine have been telling me I need to meet Ryan Rukavina who is a luthier here in my home town of Missoula, Montana. We finally met in person a few weeks ago when he did some work on my Travis Bean guitar. I was literally blown away with what I saw in his shop. Mr. Ryan Rukavina of Rukavina Guitars is doing some fantastic work with guitars and his creative and experienced eye/skill with wood is clearly evident in his pieces.

After seeing his work, I have to talk about it on EffectsBay.com.  Ryan builds guitars but also builds lapsteels and ukeleles. Additionally he machines brass bridges and winds his own pickups with wood faces. The items that stood out for me while visiting him was the quality of workmanship on all aspects of the build, and his eye and choices when it comes to the woods he used. I’m a fan of natural finish guitars and he takes that to the next level.

If you’re looking to have something custom, I think you should give Rukavina Guitars a good look! I was able to send some questions to Ryan about what he’s doing and he was kind of enough to answer them in detail.

- What got you into building guitars?

I suppose it sort of started with failure.  I attempted college immediately after high school at MSU (Montana State University), and signed up to study mechanical engineering, knowing that ultimately I wanted to be involved in making things.  The college education proved not to be my my cup of tea(irrelevant required classes, high cost, lack of specific dedication to a given subject for more than an hour and a half in the class, etc, etc.)…it seemed inefficient, and I felt out of place & without specific direction. I had taken up guitar around age 13 because my mom had noticed an interest that I had in an old Sears archtop that she kept from her youth.  After hearing me pluck out two string melodies enough times, she and my dad got me lessons for either a Christmas or birthday gift, and my obsession with the instrument began.  So, at the time of bowing out of the college experience I had been playing guitar for 6 years or so.  I believe I had changed out a pickup & a jack, and did a poor refinishing job on my Strat copy Epiphone, but any notion of guitars being something I’d like to pursue making didn’t click with me as an option.  One day while waiting for the semester to end and pondering what the hell I would do with my life now, I saw a television program where a man was repairing a violin, and talking about the craft…it wasn’t a guitar, but for one reason or another this otherwise meaningless moment is what planted the seed of pursuing guitar making as a possibilty. I believe someone else in the room who knew that I played guitar and was quitting school piped up and said, “that’s what you should be doing!”

The next year was spent regrouping in my parent’s basement & working at Mama Cassie’s restaurant back in my hometown(Great Falls, MT), and searching for all available schools or apprenticeships that taught guitar construction.  I was particularly interested in electrics, probably from licking too many 9 volts as a kid.  Most of the schools offered only acoustic construction and repair.  Roberto-Venn School of Luthiery, however, was one of the schools I’d found advertising in the back of a Guitar World magazine who offered equal instruction on electric guitar construction and repair, so I called for a brochure.  I happen to be one of the lucky ones who has parents that are supportive and didn’t want to rain on my pipe dream.  So my dad agreed to fly down to Phoenix with me to visit the school for ourselves.  We went. The school met and exceeded my visions of the kind of creative environment I wanted to be in, and I was staggered by the variety and quality of workbeing done in the class I visited.  Students were inlaying whatever they wanted into woods I’d never even seen before, on guitar shapes they designed themselves… The instructors were making unbelievable harp guitars, resonators, electric mandolins, etc.  If you drove by the place you may not look twice, but as far as I was concerned the activity inside was enchanting.  The school accepted me for the winter class of ’96, and that’s how I got going. That was 15 years ago, and it’s since taken me years to accumulate the tools, the designs, and the confidence to be where I’m at.  I worked mostly as a baker in that time after school, a skill I got into back at Mama Cassie’s.  It was about 5 years ago that I got fed up with baking primarily, with guitar work as a secondary thing. Now guitar work is all I am dedicated to…it is the life of a struggling artist living hand to mouth at times, buying strings and tuning machines instead of food, but I’m obsessed with my work(much like a musician).

- How did you get into wood working in general?

I was a 4-H-er as a kid and did a few woodworking projects for the State Fair;  lamp, birdhouse, that kind of thing, and I took woodshop in middle school.  I also built more bike ramps than you could shake a bloody knuckle at as a teenager.  Beyond that, my experience for the detail woodworking required for guitar work was minimal when I went to Roberto-Venn.  The joinery skills, tool technique, and jig making used in guitar work was taught at school.  They recommended some basic woodworking at the time I enrolled, but it was not required.  I’d have to say that my skills in the guitar making area have actually translated over to other woodworking skill sets(box making, antique restoration, small furniture, carving).

- What are your factors when picking out woods for the guitar?

If the wood species are pre-chosen by the customer’s preference or a specific design, and I am following their lead, I single out the cuts that aesthetically fit the bill and then do a couple rule-of-thumb tests to the piece of wood to see how well it resonates.
  –the knuckle test– knock on the cut with your knuckle and listen for some level of ‘tink’ in the sound, and steer clear of a ‘thump’ or more thuddy type of tone when you knock on it..
–the tuning fork test–  I have an A tuning fork, not sure which A it is, but it’s high pitched, and I have larger E tuning fork that is lower pitched.  I’ll strike them and hold them to the wood to hear if there is reasonable volume and resonance with both. It is not scientific by any means, but more of an educated guessing game. If I am making something from imagination I’ll choose woods I already know I have liked the tonality of in the past.  Aesthetically I am usually looking for a strong contrast of woods in my guitars.  With some woods weight is a factor that I must consider as well. Fingerboards must be hard and relatively consistent on standard guitars for good sustain qualities.  As some of my lapsteel builds show, however, I can use knotted or unusual cuts on them because there is no tone transfer at the fingerboard surface since the steel bar, and not the frets/fingerboard, is making the contact with the strings. It is certainly not scientific, and you never really know what you’re going to get 100%.  In electric guitars wood choice is an important tonal consideration, but as Danelectros and other non-tonewood guitars can prove, they sound just as fantastic through in their own particle board right. Pickups, strings, and amp are all just as critical aspects of the overall tone as the wood is with electric guitars.  That’s beauty of electric guitars.. there are so many factors that go into a ‘tone’ that it can be adjusted…plug the same guitar into 3 different amps/pedals and you may get 3 distinct results.  Change the strings and swap a capacitor or pot out, and get another 3 results…swap pickups, and there you go again… I deeply admire a good acoustic builder for not having this flexibility, and using only his/her experience and knowledge of the physical resonance of the wood to produce a given sound.

- Name some of the exotic woods you use.

Off the top of my head, I have used wenge, cocobolo, bubinga, rosewood, purpleheart, swamp kauri, and ebony…I suppose those are considered exotics.  Curly koa is one of my favorites, but it may be considered a figured domestic?  I do have a bit of some of these on hand that I will use up, but I am increasingly more interested in looking for domestics for the bulk of my build material these days(walnut, maples, ash, alder, etc.), and reserving exotic use to veneers, headcaps, fingerboards, and other low bulk uses.  Although I am only making enough guitars a year to fill a closet, and not a warehouse, I am becoming more conscious that by purchasing even a tiny board of rainforest wood I am very likely contributing to a problem on another part of the planet. Factoid, when you mill/cut purpleheart it dulls your tools like crazy and smells like rotten troll feet.

- What separates your guitars from other boutique guitar builders?

Probably that my stylistic approach differs a bit.  My affinity for more wood, less plastic, and a natural looking finish.  I seldom ‘paint’ my instruments.  It may be a better question for someone buying one of my instruments…I have been told that I have ‘a good eye’.  My carved work seems to get the most hubbub, so likely my sense of curves and three dimensionality distinguishes some of my work…

- What got you into designing some of your other stringed instruments like lap steels and ukeleles?

The lapsteels began after doing my first couple of standard guitars (I call them armpit guitars).  I’d always felt more comfortable playing slide guitar on an armpit guitar with the guitar laying down on my lap.  After making my first couple armpit guitars I accumulated scraps that weren’t large enough for more armpit parts, so I made a lapsteel or two just to explore them and get rid of some wood.  A family friend subsequently sold them on their ebay account for me.  My interest was there, customers had an interest, and I was able to produce a lapsteel in substantially less time than an armpit guitar…with less initial cost.  I’ve recently been putting more focus back to armpit guitars, but will continue making lapsteels.  The ukes I’ve done had more to do with being approached by customers than my digging in independently, but I have a couple tele styled ukes in the works that are of my own gumption, and I’m very interested in continuing making them.  I want to be making absurd little Explorers, FlyingVs, and other more extreme guitar shapes into wee ukes…I think there’s an element of novelty and wonder in miniaturizing familiar things. I get a kick out of that for some unknown reason, and ukes are just cool.

- What other items do you offer?
- Pickups
- Bridges
- How much are these components?

I offer bridges, pickups, and nuts designed for lapsteel use, usually posting them to ebay for sale.  Ebay brings great exposure, and often encourages folks to contact me regarding custom work.

Bridges and nuts are usually made of brass and often nickel plated, and sometimes made of aluminum.  I can usually accommodate if approached to do a custom bridge for a lapsteel, and price is usually discussed per design($70-120 for a custom bridge).  Typical cost on ebaying various bridges has been about $60-75 for (6,7, 8, or 10 string), nuts are usually around $25-30, and pickups have been around the $70 mark.  I cannot say I have a set price on anything currently because my designs are always evolving, and material and tool costs seem to inch higher every several months, so I usually determine cost upon listing or being asked for a quote.

- Why should I buy yours vs. any other aftermarket pickups or bridge

Lapsteelers want a bridge that is flat(non-radiused), which don’t really get made as aftermarket products, and some folks want as narrow as a 1 7/8″ string spacing, and as wide as a 2.25″ string spacing for a bridge;  hard to find, even in radiused armpit guitar bridges. I’ve think I simply filled the void, and that’s likely why most people buy…on the everyone-accessible ebay at least.  I have also had a number of repeat customers who simply like the easy to install, no bs, wraparound design of my bridges.  I’ve been told they look very nice, too. The pickups I have offered have been typically 8 string single coils, which I began making in the advent of my learning to wind pickups, about 2-3 years ago.   Same kind of thing, no one else was offering 8 string single coils for steel guitar on ebay.  Jerry Wallace makes a fine single coil, the True Tone, but it was never offered on ebay for the one-click shopper doing a home build, so I got into winding and tried to fill the gap there at a similar cost.  I can’t say that my pickups are any better tonally, just available and wound for a steel guitar voicing at ~$70 shipped…although, I’ve made some sharp looking pickups with exotics and that does add desireablity for some.

- Where do you like to see your business in 5 to 10 years?

Existing, and I’d like to develop some model names and stock dimensions for a couple of my designs, both lapsteel and armpit.  I’d also like to get a few of my instruments in the hands of touring pros soon, and move beyond the point of being a work-alone artisan, and possibly put some good folks to work on a very small scale,  producing a couple models to have ‘on shelf’. I’d really just like to still be in 5 to 10 years.

- How much do your average electrics cost?

Armpits can range from $1000-2500.  $1000 would be bare bones, one pickup, dot inlays, oil finish, etc.  Approaching $2000 will get into carving, better hardware, inlay work, etc.  And $2500 and up would be in the realm of heavy joinery, binding, nitro finish, etc. Lapsteels start ~$700-800 for bare bones, and similar to armpits can approach $2000 given more finicky options, hardware, etc.

- Do you offer models or are all of your builds custom?

No model names yet.  If approached for a custom build or putting something for sale on ebay I simply refer to my typical asymmetrical shaped lapsteel design as ‘small bodied’, and the more typical guitar shaped lapsteels I’ve done recently as ‘large bodied’.  I realize this is very lame to someone shopping for a guitar, and I hope to get some models dialed in over the next year.

- What is the average build time if I put in a order?

Build time on the simplest lapsteel can be about 2-3 months at my current work load, and more complex builds have taken 1-2 years to complete, but average build time ballpark is ~6 months.

As you can see Rukavina Guitars is doing some great things. Please check out Rukavina Guitars on the web and like them on Facebook. Both sites are great to see what he’s up to and he posts photos often.

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Okay, I know that Kevin Ian Common just did a guest review on “Fuzz: The Sound That Changed the World“, but I finally got to watch it in its entirety last night. And since it’s about guitars/effects… I just felt like I needed to add my two cents into.

First, I wanted to say that I’ve been fascinated with the idea of pedal building. I’ve mentioned that in previous posts. I have great respect for the people that make pedals, that design circuits, and can actually make a business building, modifying and selling these things. It’s a rough world out there, and it definitely takes a special breed.

Going into this movie/documentary, I was expecting a ‘history lesson’ on the fuzz pedal. There actually is some good information and important historic points discussed in the film, but what I really got excited about was seeing what types of people are building these pedals today. A view into their personalities, and getting a view of how people can think in terms of electronics.. while maintaining a understanding of music, and musical needs and purpose.

Last year I watched, “Les Paul: Chasing Sound” and I was so intrigued of how a person can be talented (artistic) and still have the part of the brain to design/build/tinker. It seems rare to me to find individuals that are left/right brained.. and balanced on both sides. I felt that this doc really exposes those individuals.

I was also inspired to see how the “art” was brought into electronics. This could be cosmetic (ala ZVex) or crazy circuits or circuit bending (ala ZVex or Death By Audio, etc) for the need to make the sound the true voice of  the signal, and the guitar plays a part of it. Interesting concept.

If you’re remotely interested in building or modifying pedals, this is a great film. If you’re a musician and are interested to see what drives pedal development and fuels these crazy people to make more pedals.. again, this is a great movie to watch.

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I’ve been getting into pedal building, to the point where I’m a little concerned about how big this obsession is getting. Frankly, I think about it ALL the time these days. I had no background in electronics prior. I’ve always been a ‘hacker’ in a way, but more of a ‘breaker’ in reality, but I’ve always wanted to fix things or see why they work, etc. Over the years, I’ve picked up a few tricks/techniques and tools, and I’m at the point where I can start to get my head around basic pedal circuits and what not.  For me, the satisfaction comes with the application. To build something.. and then play my guitar through it is completely rewarding, and I absolutely love it.

The world of pedal building is overwhelming when you first start. From understanding electrical components to the basic fundamentals of electricity you are exposed to a lot of new and challenging things right off the bat. When looking at pedal circuits, you’ll most likely see them as schematics on the web, and it’s hard to translate that to physical components.. well it was for me at least. I was having trouble going from schematic to board, but one thing that has helped immensely is this great FREE program called DIY Layout Creator.

Basically, it’s a piece of software (I did mention it was FREE right?) that will allow you to place components on a virtual board. This is really great to ‘see’ how the circuit develops and it’s helped really translate schematic to reality. I personally like veroboard (strip board) for this since this translates well from schematic really easily for me. You can also use perfboard or PCB layouts as well.

If you’re interested in building pedal circuits, I would highly recommend this program. You can download it here.

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I’ve been spending a ton of time researching pedal designs, and understanding some ‘basics’ of electronics. It’s a big pill to swallow with what seems to be a never ending list of topics, theories, opinions, etc. But one step at a time, I feel like I’ll get somewhere.

One of the things that I wanted to have before getting too involved with breadboarding a circuit design was to build a prototype board. Basically, this is a ‘Beavis Board‘. Since I’m really a hands on sorta person, and every chance I can get to hold a soldering iron will help improve my skills, I opted to build one vs. buying one.

Basically, the concept is to have a enclosure mounted on a board. The enclosure is wired up with true bypass 3PDT switch, LED, input/output jacks, DC and 9V power. The send/return leads and power/ground leads leave the enclosure and mount to a terminal strip. From there you would connect the terminal strip to a breadboard where you would build your effect circuit. Why I wanted this instead of just riding with a breadboard.. is simple. I want something that I can step on and easily plug my guitar in with out worrying about messing up my circuit. Also, the ability to pick up the unit and take it somewhere is a little easier. This is my phase 1 version. I’m planning on adding a ‘pot row’ where I can mount several pots and wire them into the terminal strip for my circuit. Also, similar to the Beavis Board, I would like to add voltage ‘sag’ control as well.

All the components have been screwed down to the board, with the exception of the enclosure where I used the velcro method to affix it to the board.

It’s a fun project, quick.. and easy, but I know it’ll be very handy when it’s circuit building time.

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Surfing around the internet tonight, I came across a cool site called BuildYourOwnClone.com. Now, I’d like to start off by saying that I’m pretty geeky, and really like geeky things. I have various computer and electronic projects in different states all around me. One of my interests have been to build my own plexi-clone amp or to build some cloned guitar effects. The problem, is that I really don’t know what I’m doing, and if you’re messing with amps… death can result. So pedals might be a better option for me.

This site is absolutely great. Here you can buy guitar effect pedal kits to build your own modeled after many popular brands of pedals. Now, the geeky side thinks it would be cool to morph or mod pedals, taking them to the next level. BYOC (Build Your Own Clone) has many kits to pick from and prices are quite affordable.

If you have a little geek/nerd in you and like guitar pedal effects like me, this place is perfect for ya!

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