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DIY Club Help in the Forum

Despair en masse in the Forum!

Despair en masse in the Forum!

Mitchell “Super-Freq” Hudson, creator of our DIY Fuzz Face project, made a smart suggestion: Dedicated Forum sections for each of the Tonefiend DIY Club projects.

You’ll find them here. Thanks, Mitchell! 🙂

14th-Century Freakout!

Codex Chantilly

Codex Chantilly: the electrifying page-turner that blew the lid off the perverse musical excesses of the late Middle Ages!

NOTE: I am a known perpetrator of musical hoaxes, but this isn’t one of them. This bizarre composition really is over 600 years old.

As Marsellus Wallace once quipped: “I’m’a get medieval on your ass.”

I’ve been obsessing again on a medieval composition that’s fascinated me since my geeky teens. It’s Fumeux fume par fumee, a bizarre artifact from a bizarre moment in music history: France in the final years of the 14th century.

(If you’re wondering why I was listening to medieval and Renaissance music when I was 17 instead of Zep and Floyd, and what the stuff brings to my guitar playing today, read on. But first, that freaky music!)

The world that produced Fumeux fume par fumee wasn’t your storybook Middle Ages. We’re talking Hundred Years War, Black Death, Papal Schism — and a radical musical style of head-spinning complexity and abstraction. It was dissonant music for dissonant times. The death rattle of the Dark Ages.

The 14th century had witnessed the rise of ars nova, a florid and intellectual style characterized by bold new approaches to counterpoint and musical structure. But by the 1380s or so, ars nova had mutated into ars subtilior, an even more abstract and experimental style.

“Ars nova” means “new art.” It was.

“Ars subtilior” means “more subtle art.” It wasn’t — unless by “subtle,” you mean “characterized by extreme dissonance and chaotic rhythms.” And Fumeux is a perfect embodiment of this radical style.

Here’s what I’m talking about:

WTF, right?

You probably don’t need me to specify why this music is so freaky, but I will anyway: 

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The Fuzz of a Thousand Faces

Lon Chaney was reportedly an early user of the Fuzz Face.

Lon Chaney was an early Fuzz Face user.

It is a truth universally acknowledged that a guitarist in possession of a single Face Fuzz must be in want of cool Fuzz Face mods. (Sorry, Jane.)

Case in point: The comments section for the new Fuzz Face project.

We’re far from the first to cover this ground. In fact, I should have mentioned a couple of great articles on Fuzz Face mods. We’ve talked about the technique of using sockets in your build so you can audition multiple components. Years ago DIYer Gary Burchett took this notion to its logical conclusion with the Multi-Face, a Fuzz Face with most of the components socketed. It’s definitely worth trying this. Meanwhile, this Instructables project by randofo explains how to create a super-versatile Fuzz Face using switchable components.

Trust me — despite the simplicity of the circuit and the sheer number of adventurous souls who have deconstructed and reconstructed it, it’s hard not to play around with it and find something cool and new. That too is a truth universally acknowledged!

The “Super-Fiend” DIY Fuzz Face!

You can purchase a kit, or source your own parts.

You can purchase a kit, or source your own parts.

UPDATE [06.16.2013]: Build instructions updated to v02.

The Fuzz Face has inspired countless spinoffs since Ivor Arbiter unveiled the device in 1966. Some introduced meaningful improvements. Many didn’t.

The goal of this project, created by my friend Mitchell “Super-Freq” Hudson, is to create a pedal very similar to the original. It’s a great way to explore one of the iconic sounds of ’60s rock (and lots of ’60s-influenced rock).

The instructions are available here. [19MB PDF.]

You can order a kit from Mammoth for $45. (Disclosure: Neither tonefiend nor super-freq has any financial stake in these kits. I simply asked the Mammoth guys to create one for your parts-sourcing convenience. All necessary parts are readily available from other vendors.)

But before you attempt the project, please be aware of some of its quirks. (And if you’re curious, you can read about how I customized the pedal I used in my video demo.)

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Fuzz Face:
The Daiquiri of Distortion Pedals?

fuzzlimeMost sentient guitarists love Hendrix, but not everyone is equally fond of his signature distortion pedal.

So what’s your take on the Fuzz Face?

I used to hate them — but only because my sole exposure to them was via the crappy reissues of the ’70s, ’80s, and ’90s. They sounded so brittle and harsh! Not till this century did I encounter the pedal in its original incarnation.

What a difference!

Vintage-style Fuzz Faces produce tones that are warm, rich, and unbelievably dynamic. It was like the first time I tasted a vintage-style daiquiri. Like the Fuzz Face, the classic daiquiri is a delicate concoction made from a few simple yet complexly interactive ingredients — nothing like those nasty blended drinks that taste like Slurpees spiked with Everclear.

Here’s everything I love about vintage Fuzz Faces, compressed into 60 seconds:

My DIY version is based on inventor Ivor Arbiter’s original 1966 schematic. That’s also the basis for a new DIY project created by my stompbox-buildin’ pal Mitchell Hudson, who runs the cool DIY site Super-Freq. We’ll both be posting it on our sites in the next few days. You can source the parts on your own, or order a kit for less than $50 — not as cheap as some of our other DIY projects, thanks to its two relatively pricy germanium transistors.

Most lore about “mojo” stompbox parts is utter nonsense, but there is something harmonically unique about the germanium transistors used in ’60s fuzz pedals, including original Fuzz Faces. (See my “Germanium Mystique” post/rant for more info.) You don’t need germanium for a good fuzz sound — there are many great tones available via silicon transistors, integrated circuits, and digital modeling. But one problem with those god-awful Fuzz Face reissues was that they often simply substituted high-gain silicon transistors for germanium ones without modifying anything else in the circuit. The result was more gain, but at the cost of harsh, excessively bright tones and inferior dynamic response.

In the last decade or so, builders have wised up. Numerous manufacturers offer authentic ’60s-style replicas. Meanwhile, the DIY community has created countless variations, many of which use post-germanium parts to great effect. These days it’s pretty easy to find a Fuzz Face that doesn’t suck.

I’ve build many Fuzz Face variants, but until Mitchell created his Fuzz Face project, I’d never done a strict original, with positive-ground wiring, PNP transistors, and few latter-day “refinements.” (Don’t sweat it if those terms mean nothing to you — they’re all explained within the project.)

Anyway, that’s the circuit you hear in the video above. It’s not a fuzz for all seasons — it doesn’t have a ton of gain, and its loose, spongy distortion is unsuitable for metal and modern hard rock. But I love its warm, non-macho timbre and phenomenal dynamic response. It’s simple, classic, and delicious, much like this.

Guitars That Yell Like Goats That Yell Like Humans

This is the sound you've been searching for!

This is the sound you’ve been searching for!

If you like reading about internet memes that have just passed their sell-by date, tonefiend is the place to be!

Witness this brief video on triggering goat sound via guitar, created in a fit of desperation when a planned DIY post was delayed divine inspiration.

It’s based, of course, on the unbelievably popular video of unbelievably weird goats making unbelievably human-like sounds. It’s inspired countless spinoffs, including mine. I made these in my hotel room in Frankfurt during Musikmesse, feeling grateful the entire time that I live in an era when you can do crap like this in a German hotel room at midnight. Because trust me, there weren’t a lot of alternatives.

Tech details: homemade Strat, Fishman TriplePlay, Apple MainStage software hosting NI’s Kontakt sampler, goats.

Do you too wish you had guitars that yell like goats that yell like humans? Grab the raw samples here, or download this Kontakt Instrument, which should play just fine using using the free Kontakt Player.

And yes — that new 100% retro-analog DIY project will be here SOON! 🙂

MIDI Guitar Meltdown

Okay, I promise: tonefiend is not going to become an all-digital blog. I’ve got two new DIY analog pedal projects in the pipe, plus a piece on that delightfully retro technology, the book.

But while there’s more to life than MIDI, for the last few months my particular life has been all MIDI, all the time. I worked on the documentation for the Fishman TriplePlay MIDI guitar system, then demoed the product at MacWorld and Musikmesse. And now that the smoke has cleared and I’m off the Fishman clock, I’m still obsessed with the musical possibilities here. In fact, I’m just getting to the fun part: bending the technology to taste and making weird-ass music for weird-ass people compelling new sounds.

I’m posting two new pieces spun off from my Musikmesse demos. Technical and musical comments after the videos.

In my first TriplePlay demo, I used simple, recognizable acoustic instrument samples. For the second one, I focused on aggressive/distorted sounds. But now I’m getting into what really interests me: solo guitar arrangements featuring hybrid colors, deployed so that it’s often difficult to tell the guitar sounds from the synths and samples.

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The MacGuyver Flanger & Other Goodies

MacGuyver Flanger

My pal Jeff Cross from Apple sent me a brief email:

please tell me you’ve seen these…

https://www.youtube.com/watch?v=PSsl1h8RhqU

https://www.youtube.com/watch?v=XT7bsX2qNWQ

https://www.youtube.com/watch?v=rC170m-Hcyg

No, I had not. And they’re soooo good. All three are from YouTube user MotorGoblin. I don’t know anything about him, beyond the fact that he’s clever, funny, and very musical.

Anyone have any similar techniques to share? (I’ve been meaning to do a post on my “plastic tube Leslie”…)

My Half-Assed Musikmesse 2013 Report

While responsible guitar journalists like my ol’ pal Art Thompson from Guitar Player and the fine young fellows from Premier Guitar scoured Musikmesse 2013 tirelessly and systematically, I did the opposite, randomly stumbling through the vast exhibition halls in a jet-lagged daze between my performances, aiming my iPhone at anything vaguely cool or weird.

The result: this collection of poorly focused images and poorly researched comments. But since I wasn’t being paid to cover the show, I have nothing to lose except your respect, dear reader.

My headline is charitable — this is more of a quarter-assed Musikmesse report. :poop:

Musikmesse 2013

Like the African elephant, Musikmesse is huge but endangered. It's way larger than NAMM, but participation decreases year by year. Manufacturers resent the high exhibition costs, and both consumers and instrument companies seem to find the event less essential in the internet era.

1993

When it comes to EDM innovation, Europe leads the way. But in the unbelievably loud electric guitar hall, the vibe is strictly 1993. You don't hear nearly as much bad shred guitar at NAMM these days, but that's pretty much ALL you hear at Messe.

Orange wall

Did I mention that the electric guitar hall was loud? It makes NAMM sound like a library.

Hartung Caligo

I love the expressionist look of the Caligo model from German luthier Frank Hartung. He's clearly been watching the same movie as Robert Smith.

Amathone

The Amathone model from Barcelona's Weiss-Hügel Guitars looks like a crazy, mad-scientist ax, and it is! I had a blast playing it. That rosette on the upper bout is an adjustable baffle whose setting fine-tunes the high-end content. I don't quite understand it, but the Weiss-Hügel website explains:

"When in Weisse Hügel we consider to make an instrument of hollow box, we think of creating something that was supporting the indispensable qualities of this type of guitars and that, in turn, had the most common problems completely decisive of these: Feedback problematic Final touch, Definition, Frequencies of cancellation (Notes of shade), Is absent of sustain in many cases, besides a relative versatility. The result has been the Amathone."

That should clarify matters.

AK-47

I hope they get these guitars back to South Korea before Kim Jong Un makes his move!

Kentucky uke

Peavey created this uke for the upcoming FX series Justified Five-O.

RISA uke

At least you could play surf music on this lipstick-tube electric uke, from Germany's RISA.

addstring

Ever notice how much of the shimmery 12-string effect is really all about the high G string? This clever Dutch gizmo from Addventor mimics the effect via a removable seventh-string. You can even temporarily nix the effect by clipping the added string under the soundhole-mounted button. The only needed guitar modification is an extra notch in the nut.

The Bone

If your Steinberger is feeling too bulky, consider The Bone from Switzerland. These micro-guitars actually sound pretty decent, with more low end than you'd expect. They also make a MIDI guitar and a faux-acoustic with a piezo bridge pickup.

Mosquito

The smallest Bone of all, the Mosquito, weighs in at under three pounds.

T-Rex Haircuts

T-Rex Effects was offering free haircuts. I would have taken advantage of the offer if I had hair. Those nice Danish boys were kind enough to loan me a power supply after mine fried on Euro-voltage.

Nylon-string bass

Oh man, I'd love to have a nylon-string classical bass like this one from Prudiencio Saez.

GuitarGrip

I was set up near this Guitar Grip installation. It received far more attention than I did.

Mey chair

You'll be strumming in style perched in your Mey Chair System, especially if you add the optional guitar and beer holders. They have many styles to choose from . . .

Mey country

. . . including this special country-and-western edition.

Leather guitar

German luthier Georg Beïs specializes in guitars made from nature's finest tonewood: leather! Shown here: the Samaria Nature model.

Smokers' Pole

Folks smoke more in Europe than in the States. As a result, they've developed some highly idiosyncratic tobacco-based practices.

Marleaux

There's a special breed of bassists for whom six strings simply aren't enough. Such players require a Marleaux.

damascene

This crappy photo doesn't do justice to the this remarkable damascene finish on this Jens Ritter guitar.

crystal

Yeah, I could make some hippie-crystal joke, but Jens Ritter's workmanship is too remarkable to mock.

Ramirez bag

You already knew that Madrid's José Ramirez workshop crafts some of the world's finest classical guitars. But did you also know they made the world's prettiest shopping bag?

handbag

Speaking of bags! But now I want a handbag-shaped guitar.

big scott

I dig Anthrax's Scott Ian. Especially when he's three stories tall!

Rocksmith

Rocksmith seems to be the opposite of Guitar Hero: a video game where the ability to play is actually an advantage.

BodyBeat Sync

In a perfect world, guitarists wouldn't need help keeping a steady beat. But we live in this world, so the BodyBeat Sync from Peterson Tuners could be a very helpful tool.

Greenland

From 30,000 feet up, Greenland seems appealingly quiet.

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Heard Compressorhead Yet?

Prolly the best artist demo I’ve heard at Frankfurt (partly because it has no goddamned soloing).

This is real. They were playing out in the plaza at Musikmesse. I tried to shoot my own footage, but it was just too crowded. (Though I did score a thrilling video of the back of Craig Anderton’s head.)

Gibson Guitars sponsored Compressorhead’s performance. There’s more on the band website.