Tag: DIY

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DIY guitar

What’s Your Favorite Mod? (Here’s Mine.)

How am me make guitar thing better?
How am me make guitar thing better?

What’s your favorite guitar mod? The kind that changes how you play. One you’ve become so accustomed to that you wince when you pick up an axe that lacks it?

I’ll choose pickup wiring mods as a starting point: During the year that Seymour Duncan sponsored tonefiend.com, I devoted many posts to the under-appreciated wiring schemes I found in the company’s wiring diagram database. Some faves:

…and of course, the suicidal soldering mission known as the Pagey Project.

I’ve still got the “advanced” version of the Pagey wiring in my nothing-special beater Les Paul, and I like it so much, I want to fix up the guitar so it feels as nice as it sounds.

But of all the wiring experiments I tried, my absolute favorite is one that doesn’t appear in the Duncan archives: the so-called “PTB” tone control (for “passive treble and bass”). It’s a cliché to call a neglected idea “ahead of its time,” but in this case, it happens to be true. Being able to roll off lows as well as highs is unbelievably useful when sculpting sounds. It makes me want to run into the nearest Bain Capital Guitar Center, grab players by the collar, and shout, “You need to know about this!” (But I probably won’t, ’cause G.C. customers aren’t accustomed to receiving that sort of personal attention, and I wouldn’t want to freak them out.)

Allow me to repost last year’s video, demonstrating the circuit in action:

Over a year later, I remain totally addicted to this circuit, and I recommend it to anyone who doesn’t require a guitar with independent volume controls per pickup. (Everyone, basically.) It seems especially relevant for drop-tuned and 7-string metal players who realize you must sometimes cut a little bass to keep the lowest register tight and articulate. And the circuit is a godsend when used with bass-heavy fuzz pedals (such as vintage-style Fuzz Faces). In fact, I’ve even been building the circuit into the front end of certain loud fuzz pedals for use with guitars lacking this magnificent mod.

But I remembered something interesting this week when I opened up the Hamer 20th Anniversary guitar used in the video:

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Effects guitar

Phasers That Stun

phaser_stun

 

UPDATE: My Premier Guitar Heptode Virtuoso review is live. Read and listen here.

I’ve got phase shifters on the brain, especially after encountering a couple of truly stunning ones. I just wrote a review for Premier Guitar of Heptode’s Virtuoso phaser, a superb clone of the old Maestro PS-1A. (I’ll link to the review when it goes live.)

It took me back to my Pleistocene pre-teen years, when I once spent hours in my local music shop playing an electric nylon-string through a big-ass PS-1A mounted on a music stand. Despite its size, it had few controls — just big colored switches that could have been swiped from one of the era’s cheesy home organs. It sounded glorious to my 12-year-old ears. I’ve never since held such a high opinion of my own playing.

I haven’t played a PS-1A since then, but the Heptode pedal took me right back. It really is a gorgeous-sounding phaser, and one that vanished soon after the debut of the cheaper, smaller, and awesome-sounding MXR Phase 90. The sound captivated me all over, though I’m not sure if I actually like it more than the Phase 90, or if it just sounds so cool because it’s a less familiar color.

The plastic switches make it sound better.
The plastic switches make it sound better.

I dug out a few other favorite phasers, like the $89 BYOC Phase Royale that usually lives on my analog pedalboard. It’s yet another brilliant DIY kit from BYOC’s Keith Vonderhulls. It’s basically a Phase 90, but with all the cool mods, like mix and resonance controls, plus a six-stage phasing option. (The Phase 90 and the Uni-Vibe are four-stage, while the Maestro is six-stage). It’s a fun build, and an excellent next step for DIYers who have built a few fuzzes and are ready for something a bit more challenging.

I concluded my little phase-fest by unearthing my old Lovetone Doppelganger, a bitchin’ dual-LFO phaser from the late ’90s. Not to be confused with today’s Lovepedal brand, Lovetone was a British company run by Dan Coggins and Vlad Naslas. They specialized in large-format pedals with an almost absurd number of controls. (Their brilliant slogan — “Big Pedals to Trip Over” — is rivaled only by Zachary Vex’s “Crazy Effects for Rich People.”) I’d flip out when each new Lovetone pedal came in for review at Guitar Player. Even then, they were expensive, usually in the $400-500 range. Now, of course, they’re obscenely rare and valuable. I bought as many review models as I could afford, and to this day I regret not purchasing their Meatball, Wobulator, and Brown Source. I did, however, snag the Big Cheese, Flange with No Name, Ring Stinger, and this guy:

I haven’t heard the Doppelganger in years, and it was interesting to revisit it. See, while I always loved the ideas behind the Lovetone boxes and was happy to own them, I’d found that I just didn’t tend to use them a lot for gigging and recording. For me, they had tons of cool sounds, but often not quite the right one. But I’ve gotten better at dialing in tones in recent years, and really dug the sounds I got yesterday while making the video. Maybe it just took me 15 years to learn how to wrangle these beasts!

Anyway, the Doppelganger is now a Museum of Lost Effects inductee, and it’ll be joined soon by its big-box brothers.

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DIY Effects guitar

It’s Raining Germanium!

I just bought 500 germanium transistors. Yes, as a matter of fact, I am insane. Why do you ask?
I just bought 500 germanium transistors.
(Yes, as a matter of fact, I am insane. Why do you ask?)

UPDATE: My Dunlop Fuzz Face Mini review is live at Premier Guitar. Audio clips included!

How and when did it get so frickin’ easy to procure great-sounding germanium transistors?

I’ve been building stompboxes for four years or so. I used to consume article after article detailing the sheer horror of dealing with germanium. Sure, those old-school transistors sound great, I’d read, and they’re necessary for vintage distortion circuits. But they’re unstable. They’re expensive. They’re hard to find. You have to sort through dozens to find the few good ones. And once you do, you must spend countless hours matching and biasing them for optimal sound.

I believed everything I read — until I finally admitted to myself that I seldom encountered any of those problems.

(If you don’t know much about germanium transistors and why they’re cool, here’s my manifesto.)

I used to buy germanium transistors from Small Bear and other parts sites, and was always happy with the results, even though I had to pay eight or ten bucks per transistor. (Small Bear even does the matching for you, offering sets of transistors suitable for various vintage fuzz circuits.) However, it was a little tough finding NPN (negative-ground) germanium transistors. In fact, Small Bear once rejected my order of a dozen or so NPNs because they were so scarce. (To his credit, Small Bear’s Steve Daniels explained that he restricted sales so that everyone who wanted to build a couple of great DIY fuzzes would have the opportunity.)

The workaround is to build pesky positive-ground pedals, or jigger with the schematic in order to use PNP (positive-ground) transistors in negative-ground circuits. (This site’s Fiendmaster project is an example of the latter workaround.)

Then some odd things happened:

Continue reading “It’s Raining Germanium!”
Categories
Effects guitar

Fuzz Detective:
The Case of the 12 Germanium Fuzzes

As threatened, the Fuzz Detective video:

WHAT: Twelve germanium fuzz circuits compared and analyzed. These represent the sounds of almost every fuzz pedal introduced between 1962 and 1968.

WHY: A tool to help players identify the circuits most relevant to their musical needs. This isn’t about particular brands of pedals, but the circuits they employ. If you hear something you like, you can either do as I did and build a clone from the schematic, or buy one based on that particular design. (The relative merits of rival clones is another story.) Of course, if you’re rich and you desire an ancient pedal that probably doesn’t sound as good as a new clone, you can always purchase a vintage original. 😉

HOW: I tried to establish a “level playing field” by removing as many sonic variables as possible. I used the same signal chain, the same guitars, the same musical material, etc. (Tech details below.)

WHO:

  1. Maestro FZ-1 Fuzz Tone
  2. Sola Tone Bender Mk 1
  3. Hornby-Skewes Zonk Machine
  4. Sola Tone Bender “Mk 1.5” (similar to Vox Tone Benders)
  5. Dallas-Arbiter Fuzz Face
  6. WEM Pep Box Rush
  7. Sola Tone Bender Mk II (same as Marshall Supafuzz)
  8. Mosrite Fuzzrite (germanium version)
  9. Orpheum Fuzz (germanium version)
  10. Selmer Buzz Tone
  11. Sola Tone Bender Mk III (same as Park Fuzz Sound, Carlsbro Fuzz)
  12. Baldwin-Burns Buzzaround.

WHEN: Like, now, man!

Continue reading “Fuzz Detective:
The Case of the 12 Germanium Fuzzes”
Categories
DIY Effects

Next Week on Fuzz Detective!

UPDATE: Based on cool info supplied by YOU, dear readers, I’m expanding the scope of this piece. I’m furiously wiring up clones of some very rare models, and I can promise many cool and interesting surprises. Thanks, guys! :beer:

Okay, now that we’ve all gotten that silly “reading” stuff out of our systems with Book Week, it’s time to get back to the real focus of this blog: nasty, filthy fuzz pedals.

Last time we were on the subject, we looked at the original version of Dallas-Arbiter Fuzz Face, and included Mitchell “super-freq” Hudson’s beautiful DIY instructions.

Those posts generated many interesting comments — plus some misinformation on my part. For example, I said that the original Fuzz Face circuit is a close cousin to the Tone Bender Mk I, which would mean, for example, that known Mk 1 user Mick Ronson was essentially using a Fuzz Face between his Les Paul and his Marshall. But subsequent listening and reading makes me believe I was wrong. So I figured it was time to play fuzz detective and sort the facts from the other stuff.

First, I made clones of all the early commercial fuzzes. I’ll be posting a compare-and-contrast video in the coming days. (The audio forensics will be quite incriminating.) Here’s the lineup:

The usual suspects. (Incriminating audio/video evidence to be posted soon!)

I’ve also re-read the experts, and man, even my most trusted sources contradict each other right and left, especially when it comes to those darn Tone Benders. While I have absolutely no inside dope on what actually transpired, I think David from D*A*M Stompboxes offers the most convincing Tone Bender chronology, which you can read here.

Anyway, here’s my best guess about how the early fuzz years unfolded:

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Categories
DIY guitar Music

Tonefiend Book Week 2013: Epilogue

Monday: Theory and Technique
Tuesday: Gear
Wednesday: Repairs and DIY
Thursday: Biography
Friday: Fiction

Thanks to all my smart and cool readers who contributed to the first (maybe annual?) Tonefiend Book Week! I loved chatting about some old favorite books, and getting exposed to so many cool new ones.

An encyclopedia of rad.
An encyclopedia of rad mods.

I have just two quick additions: the first concerns an exciting new acquaintance, and the other a sad departure.

In comments to Tuesday’s post on DIY and repair books, reader smgear mentioned Nice Noise, a book on prepared guitar by Bart Hopkin and Yuri Landman. I immediately ordered a copy, and received it the other day. I’m blown away. It’s a small-format book, a mere 72 pages, but it is a veritable encyclopedia of alternate guitar treatments.

Hopkin (he edited the journal Experimental Musical Instruments and wrote the fabulous alternate instrument books Gravikords, Whirlies & Pyrophones and Orbitones, Spoon Harps & Bellowphones) and Landman (he builds mutant guitars for Sonic Youth, Liars, Melt Banana, and other artists) discuss pretty much every avant-garde guitar mod I’ve ever heard of, and many besides. It’s not just a catalog — it’s a detailed how-to, meant to be consumed alongside the pair’s online audio library of musical examples. I’m sure you’ll be reading about it more here, because I’m definitely going inflict some of these rad alterations on some unwitting guitars.

One of the finest rock-and-roll novels.
A great rock-and-roll novel.

An a sadder note, the death of Scotland’s Iain Banks this weekend reminded me of a book that should have been inclued in Friday’s installment on musical fiction. Both funny and moving, his 1987 novel, Espedair Street, is simply one of the finest rock-and-roll novels ever. Its protagonist is a fabulously successful rock star (think Floyd or Fleetwood Mac in their prime) who must process his own past while grappling with the prospect of suicide.

Readers in the UK, where Banks is hugely popular, may be surprised to learn he’s strictly a cult figure in the States. While Espedair Street is his only work to focus on the music world, he wrote many fine novels marked by wry humor and vast empathy. (The Crow Road and Whit are two other favorites of mine.) He also wrote scads of science fiction under the name Iain M. Banks. Banks, 57, had only recently learned he was dying of cancer. In April he composed a final communique to his readers, writing:

I’ve asked my partner Adele if she will do me the honour of becoming my widow (sorry – but we find ghoulish humour helps). By the time this goes out we’ll be married and on a short honeymoon. We intend to spend however much quality time I have left seeing friends and relations and visiting places that have meant a lot to us.

Categories
DIY Effects guitar

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!

Categories
DIY Effects guitar

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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DIY Effects guitar

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.

Categories
DIY Effects guitar

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”…)