I built an amp a while back for a customer. He had some money to throw around so we decided to have me build one of the "Old Flame" amp kits from Allen amplifiers. The amps are freakin awesome updated versions of fender amps and the kit comes with some top notch american made transformers as well as cool features like post phase inverter master volume circuits, his unique RAW control which is a midrange boost circuit, 3 knob reverb, external bias adjustment, speaker impedance switch, the ability to use 6L6 tubes or 6v6 tubes in the power section as well proper transformers to handle these voltages and different rectifier tubes. I could have built something similar from the ground up, but these kits have some amazing parts and I love the way the first preamp tube is located right next to the input. I also love how its a one channel amp- so I didnt have to fabricate a custom chassis or rig a standard chassis to accomodate the three knob reverb raw and master volume control. The cabinets David supplies are also killer.
The customer got a 1x15 speaker cabinet that he loaded with a JBL K130- with the amp built into a head cabinet. This allows a TON of variations from the same amp. With the ability to use his other speaker cabinets loaded with MUCH different speaker types (the JBL's are a breed of their own and make more of a difference in tone and volume than even different tubes!) switching from 6L6 tubes with the JBL to 6v6 tubes and say some inefficient old jensens or CTS speakers makes this amp a COMPLETELY different amp. I mean not even close. Along with the raw control and master volume you have options for every type of fender combo you could imagine, as well as a ton of non typical fender sounds with the master volume and the raw control.
Anyways- I customize the amp by using my own choices of component compositions and hand measuring and matching components to extremely tight tolerances. I used a combination of audio grade american made Dale RN70 metal film resistors where noise was important. In the audio path I used Japanese made audio grade Takman carbon film resistors. I changed the tone stack a bit to get a bit tighter bass using a .047uf capacitor for the bass tone stack cap and .022 for the mids. I used F&T electrolytics for the cathode bypass caps. I hand matched the phase inverter capacitors to be exactly the same. I also tested each film capacitor to find the lead connected to the outer layer of foil and oriented them 'correctly' this technique is something they used to do in the original fender amps. or tried to do, and it really lowers the noise to really add that extra magic of harmonic content available in the amp. this amp also features star grounding and thick solid core wire. It is a beast of an amp with all of the options you could possibly want.
The results of my component selections, matching and measuring gave me absolutely the quietest guitar amp i've ever played. It will actually startle you if you warm it up and turn it on and have the volume up high. When you pick up your guitar and go to hit a note it startles you with the volume, i never expect it to be THAT loud with how little hum is coming from the amp. Crazy.
Here's a terrible demo I recorded
Link to video demo of the amp
*it should be noted that this demo was recorded using modern production tubes. some tung sols or some other crappy modern tubes. This amp really came alive with a NOS 5751 in v1 and a NOS rca 12ax7 in the phase inverter and some NOS 6L6 power tubes
Friday, October 31, 2014
Monday, December 9, 2013
Completely Unique Tape Delay Simulator
I have here a delay circuit that is completely unique in a number of ways. It was designed by Josh at 1776 effects which is where I bought the printed circuit board for the project.
There are two independent delay circuits in this box, each with their own time controls. The rotary switch with 3 positions labelled re-201, ep3, and binson represent 3 different popular tape delay units and provide different ways of routing the delays and your signal through the pedal.
EP-3 is a standard delay- only "delay 2" controls the this mode. It is a fantastic sounding tape emulation and really has a wonderful flavor where the repeats progressively get a bit of the lows rolled off with each repeat. This delay doesnt get washed out easily like a boss dd3 or something, it stays present in the mix but doesnt overbear your dry signal.
from josh's build document... All rights to him
Re-201 Mode
The next super awesome feature is the modulation. I will be adding a standard deluxe memory man chorus/vibrato modulation with controls for speed and depth. You can choose to add this modulation to either delay 1 or delay 2 or neither. It is a beautiful sounding optical controlled modulation. glorious from subtle chorus detune to full on pitch bending
There are two independent delay circuits in this box, each with their own time controls. The rotary switch with 3 positions labelled re-201, ep3, and binson represent 3 different popular tape delay units and provide different ways of routing the delays and your signal through the pedal.
EP-3 is a standard delay- only "delay 2" controls the this mode. It is a fantastic sounding tape emulation and really has a wonderful flavor where the repeats progressively get a bit of the lows rolled off with each repeat. This delay doesnt get washed out easily like a boss dd3 or something, it stays present in the mix but doesnt overbear your dry signal.
from josh's build document... All rights to him
Re-201 Mode
This simulates the dual rhythmic repeats of an RE-201 Space Echo. To best utilize this mode, Delay 1’s time should be shorter than Delay 2’s time. Once you get the hang of it you can find the rhythmic sweet spots pretty quick.
Binson Mode-
This simulates just one of the many cool things about the Binson Echorec. You can get one long repeat and then subsequent repeats of that note are repeated faster. "delay 1" controls the length of the first repeat and delay 2 controls the time of the consecutive short repeats. I'd describe it as a single long repeat followed by a bunch of slapback echoes- the repeats knob controls how many repeats you get with the 2nd shorter delay. Very very cool!
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| Multiplex Delay |
But the super awesome feature has to do with that extra footswitch on the left. When you step on that footswitch and hold it down the repeats of the delay speed up continually, causing a moving pitch effect where the repeats start getting higher pitched and faster. When you let go the repeats slow back down to your selected delay time and the pitch moves back down slowly towards the original pitch and delay time. This simulates a tape machine that needs a bit of service or new tape. The variations in tape speed are what caused the original tape echo units to have "modulation" or that chorusy effect. It wasnt a fixed chorus modulation (like I describe above) it was constantly "wow and fluttering" going up and down. This gives a wonderful effect of motion and the user interaction is super fun. You can do all sorts of tricks with it. Like hold down the footswitch for a couple seconds- then play a chord and let go- the repeats will start higher pitched and step down in pitch with each passing repeat. Turning the Repeats knob up allows you to get some super cool lo-fi looping effects. The 'ramp up and ramp down' speeds are dependent on your mode and delay settings, so there are a ton of different sounds available on tap. I did have controls for setting how fast the ramp up would move and how fast the ramp down would go back down. But they just didnt work well in the circuit- too much control over the ramp up speed and it became difficult to get a moderate sound and the ramp down control didnt really change the speed all that much. I opted for adding an extra pcb with a standard type of modulation instead. Because as cool as the moving modulation is, i love me some deluxe memory man modulation. The moving modulation only effects the second delay circuit too. so with my additional modulation board you can get a fixed modulation on delay 1 with the moving ramp modulation on delay 2. Sweeeeetttt.....
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| Holes in top of enclosure for future modulation speed and depth potentiometers |
There is not another delay with these features. not a one!
Standard features of super high quality components included- I used a burr brown op275 opamp for this just to keep the noise as low as possible on longer delay times. These are found in the mad professor deep blue delay and is one of the reasons that simple little pedal is so popular. The little yellow tantalum caps are key to pt2399 delays imo. And I hand select each pt2399 chip for the best sound and lowest noise. I also modified the original circuit a little bit. I applied just a tad more filtering on the delay repeats to make them a bit warmer- sounds more like a tube tape echo to me now- stock version is too bright for my tastes. Not a huge deviation from the schematic, but noticeable yes. I also changed a couple caps to make the progressive low cut filtering a little slower. The stock version repeats get into a pretty thin low end less territory a little too quickly for my tastes. Video demo coming in the next few days!
Standard features of super high quality components included- I used a burr brown op275 opamp for this just to keep the noise as low as possible on longer delay times. These are found in the mad professor deep blue delay and is one of the reasons that simple little pedal is so popular. The little yellow tantalum caps are key to pt2399 delays imo. And I hand select each pt2399 chip for the best sound and lowest noise. I also modified the original circuit a little bit. I applied just a tad more filtering on the delay repeats to make them a bit warmer- sounds more like a tube tape echo to me now- stock version is too bright for my tastes. Not a huge deviation from the schematic, but noticeable yes. I also changed a couple caps to make the progressive low cut filtering a little slower. The stock version repeats get into a pretty thin low end less territory a little too quickly for my tastes. Video demo coming in the next few days!
Thursday, December 5, 2013
Cutting through the mix
If you've read this blog, you know I love me some amp in a box pedals, especially when they're used with other boost and overdrive pedals. Here I have 2 videos of the wampler plexi drive. First up is my parametric eq into the plexi drive. THe para eq is an excellent tone shaping device that can work wonders on all sorts of pedalboards, guitar and amp setups. You can add a nice mid hump to a scooped fuzz like the big muff- or you can really cut through the mix with a full on sharp bandwidth cocked wah sound. It's just a single band para eq but thats all you need for an electric guitar unless you really dont like the way your pedals and amp sound! Bandwidth control changes the sharpness of the Q of your frequency boost. You can go from a mild hump to a sharp spike in a small frequency range. Frequency controls where on the EQ graph the boost will take place, from bass to sharp treble. you can definitely use this pedal for bass. Great for bringing in lo-mids on a dirt box for bass. Gain controls how much boost is applied to your selected frequencies.
This circuit has an awesome sounding buffer in it and really makes a difference if I have as few as 3 true bypass pedals in my chain. And i use 22 guage solid core wire that has minimum loading on passive pickups compared to 95% of all other pedals out there. True bypass is great and all, but only if you have a buffer in your chain. And of course you dont want a bunch of different buffers like boss pedals do to your chain.
Next up I am hitting the wampler with a clone of the DAM Red Rooster. The red rooster is a germanium booster very similar to the dallas rangemaster- except it has a range knob that can take it from a treble boost to a full range boost. This modified rangemaster is absolutely killer with the oc44 germanium transistor I got from small bear- mojo components inside! Put this in front of a tube amp and the harmonic content is just insane, also great with different amp in box pedals!
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| Plexi Drive |
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| Para EQ |
This circuit has an awesome sounding buffer in it and really makes a difference if I have as few as 3 true bypass pedals in my chain. And i use 22 guage solid core wire that has minimum loading on passive pickups compared to 95% of all other pedals out there. True bypass is great and all, but only if you have a buffer in your chain. And of course you dont want a bunch of different buffers like boss pedals do to your chain.
Unforuntaely blogger freakin sucks andis extremely difficult to add youtube movies to. It wont search or show half my videos. So i'm gonna have to link to them again
Next up I am hitting the wampler with a clone of the DAM Red Rooster. The red rooster is a germanium booster very similar to the dallas rangemaster- except it has a range knob that can take it from a treble boost to a full range boost. This modified rangemaster is absolutely killer with the oc44 germanium transistor I got from small bear- mojo components inside! Put this in front of a tube amp and the harmonic content is just insane, also great with different amp in box pedals!
Thursday, November 14, 2013
New Videos- DAM Flesh head, DAM Red Rooster, belton reverb, Keeley 4 knob Compressor
These are some awesome circuits right here. The Dam Flesh Head is a mk ii style tonebender with a sweet tone/gain control similar to a tone bender mkiii. It is the best tone bender ive ever heard. Built using shielded cable and a set of matched american PNP NOS germanium transistors from small bear. Also added a negative voltage converter so you can use a daisy chain power supply with all your other negative ground pedals (standard)
YOUTUBE- DAM FLESH HEAD TONEBENDER CLONE
The Reverb is based on the box of hall reverb circuit- an amazingly versatile spring reverb circuit that uses the belton brick reverb module. This is what all the top notch boutique reverb pedals use and it cannot be matched by other digital technology for perfect spring reverb. Yeh all the tc electronics and eventide racks do really great hall and plate reverbs. But for spring reverb that matches that of a blackface fender (with much more control!) the belton brick is the only way to go. It has controls for dwell, tone, and reverb level.
The Keeley compressor is still one of my favorites of all time. I built this using a NOS CA3080 metal can OTA. Keeley used to use these, but stopped because of the price. This chip really gives you an extra edge with transparency and no loss of perceived treble response. The 4 knob is super versatile and can be used with a mixer as a great compressor for any other type of instrument youd like to compress with analog warmth. I've used it on bass, overhead drum mics, acoustic guitars, vocals, fattening up synths, etc etc. I go out of my way to use this instead of the digital compressors in my DAW.
YOUTUBE- Reverb and Keeley Comp Demo
Sorry for links instead of posting videos- blogger has a terrible youtube search function for finding my videos!
YOUTUBE- DAM FLESH HEAD TONEBENDER CLONE
The Reverb is based on the box of hall reverb circuit- an amazingly versatile spring reverb circuit that uses the belton brick reverb module. This is what all the top notch boutique reverb pedals use and it cannot be matched by other digital technology for perfect spring reverb. Yeh all the tc electronics and eventide racks do really great hall and plate reverbs. But for spring reverb that matches that of a blackface fender (with much more control!) the belton brick is the only way to go. It has controls for dwell, tone, and reverb level.
The Keeley compressor is still one of my favorites of all time. I built this using a NOS CA3080 metal can OTA. Keeley used to use these, but stopped because of the price. This chip really gives you an extra edge with transparency and no loss of perceived treble response. The 4 knob is super versatile and can be used with a mixer as a great compressor for any other type of instrument youd like to compress with analog warmth. I've used it on bass, overhead drum mics, acoustic guitars, vocals, fattening up synths, etc etc. I go out of my way to use this instead of the digital compressors in my DAW.
YOUTUBE- Reverb and Keeley Comp Demo
Sorry for links instead of posting videos- blogger has a terrible youtube search function for finding my videos!
Saturday, January 5, 2013
New Video Demoes!
I'm in the process of posting some new video demoes on youtube of some stuff i've built recently. I never get a chance to make demoes of everything i build, in fact only about 5% of the stuff I've built has gotten a demo made.
Got the Maxon OD-820 up first. This circuit is very similar to the klon centaur- very similar- but it has a few minor changes that i think make it sound MUCH better. I dont really like the klon, but I love this pedal. It's awesome. Video doesnt really show case it very well and my playing is terrible, but oh well! here it is anways!
Thursday, August 23, 2012
2 NEW VIDEOS! Amp in Box Pedals
I have been quite obsessed with what I believe to be the coolest tone shaping tools available to guitarists today. These pedals work extremely well with any clean amp (fenders blackface or SF, roland jc120, even my little blackstar ht1 practice amp--- great amp btw!) They work with other amps as well, but they really can turn your clean fender into another amp at the stomp of a foot. the pedals I am referring to are collectively known as "amp in box pedals". These circuits actually take the schematics- tone stacks, gain stages, bypass... etc- and scale them down into pedal sized proportions. Instead of using tubes as gain stages, these pedals use JFETS. now jfets have been around for a while, so nothing new there, but some men smarter than myself have figured out how to really use them well. The jfets take the place of tubes in gain stages and they actually do a really good job of it. It is best to run these pedals into a tube amp, so you can get the warmth and fatness of the tubes in your signal, but they do well with quality SS amps too. I have built a fender tweed, ampeg v4/svt (kinda a general ampeg sound as they all used similar layouts- same with fender- the real difference in different models of fender and other amps was just output tubes, transformers and speaker cabs)
Anyways- these pedals have a number of uses-
-Master volume- these pedals get better realistic cranked amp tones at low volume than anything I have ever used... forget your master volume, yes even the london power scaling or the PPIMV's. forget the attentuators those things do not sound natural to me at all. These pedals sound great at every volume. The videos I recorded here were with a 1 watt amp with an 8" speaker at very low volume.
- Getting a sound that you can use at any gig. Let's face it- there's a sweet spot on your amp. that area between breakup and clean. You play at different venues, different sizes, different shapes, you're not going to be able to put your amp at the same volume everytime unless you're playing stadiums and can have whatever stage volume you want. If you have a good loud clean amp you can use these pedals always on and get that perfect breakup sound at any volume.
- they take pedals like none other- each amp in box pedal will take all of your other boost and overdrive pedals like that amp (whatever particular amp in box pedal you have) would. For example an ampeg gets super compressed when you hit the front end really hard when its cranked. And fender's get that nasty cutting, biting top end with that squishy low end that has dirt for days... each amp in box pedal you have will maek all your other pedals sound and react uniqueley. You place the amp in box (from now on AIB) at the end of your boost, fuzz, distortions and overdrives- and put your modulation and time based effects afterwards- this gives you an effects loop type effect- so your delays come after your main sources of breakup now that you're running your amp clean (you dont have to run your amp clean either btw)- you know how fuzz pedals sound so much better and get so much dirtier when you're running your tube amp cranked up and distorting on it's own already... these pedals give you that same effect. You can really change the characteristics of your fuzz and other dirt pedals while keeping the exact same volume by working with the gain adn volume controls on the AIB pedals.
-These pedals make your guitars onboard volume control work better. The high input impedance and low output impedance of these pedals really makes your volume control useful for cleaning up the dirt. Roll back and your sparkling clean, put it on 8 for some hair, to 10 for all out crunch.
- recording- besides the obvious noise and volume advantages- these pedals can be used to record completely silently- they work amazing going direct into a mixer, hard disk recorder or sound card. also if you have an AIB pedal that is based on an amp that is known to work well for bass as well as guitar- it will definitely pull double duty as a bass pedal. The ampeg in a box, blackface fender, and marshall superlead circuits sound bad ass on bass. The ampeg can take a modern low beam bass sound and turn it into that round, bouncy and punchy clean motown bass sound- to slightly hairy stones punch all the way to HUGE stoner metal bass sounds.
This description is way too long. enjoy the videos- $90 recorder, MIM strat, and a 1watt $135 amp with an 8" speaker- all at nighttime bedroom apartment with paper thin walls volumes- i think it's sounding damn good considering
Anyways- these pedals have a number of uses-
-Master volume- these pedals get better realistic cranked amp tones at low volume than anything I have ever used... forget your master volume, yes even the london power scaling or the PPIMV's. forget the attentuators those things do not sound natural to me at all. These pedals sound great at every volume. The videos I recorded here were with a 1 watt amp with an 8" speaker at very low volume.
- Getting a sound that you can use at any gig. Let's face it- there's a sweet spot on your amp. that area between breakup and clean. You play at different venues, different sizes, different shapes, you're not going to be able to put your amp at the same volume everytime unless you're playing stadiums and can have whatever stage volume you want. If you have a good loud clean amp you can use these pedals always on and get that perfect breakup sound at any volume.
- they take pedals like none other- each amp in box pedal will take all of your other boost and overdrive pedals like that amp (whatever particular amp in box pedal you have) would. For example an ampeg gets super compressed when you hit the front end really hard when its cranked. And fender's get that nasty cutting, biting top end with that squishy low end that has dirt for days... each amp in box pedal you have will maek all your other pedals sound and react uniqueley. You place the amp in box (from now on AIB) at the end of your boost, fuzz, distortions and overdrives- and put your modulation and time based effects afterwards- this gives you an effects loop type effect- so your delays come after your main sources of breakup now that you're running your amp clean (you dont have to run your amp clean either btw)- you know how fuzz pedals sound so much better and get so much dirtier when you're running your tube amp cranked up and distorting on it's own already... these pedals give you that same effect. You can really change the characteristics of your fuzz and other dirt pedals while keeping the exact same volume by working with the gain adn volume controls on the AIB pedals.
-These pedals make your guitars onboard volume control work better. The high input impedance and low output impedance of these pedals really makes your volume control useful for cleaning up the dirt. Roll back and your sparkling clean, put it on 8 for some hair, to 10 for all out crunch.
This description is way too long. enjoy the videos- $90 recorder, MIM strat, and a 1watt $135 amp with an 8" speaker- all at nighttime bedroom apartment with paper thin walls volumes- i think it's sounding damn good considering
Sunday, July 29, 2012
Sustain for days... Zen Drive + Keeley Compressor
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Super Sick Fuzz Circuit- Roland Bee Baa Fuzz/Clean boost
Getting very deep into pedal circuits I always love finding out about awesome, lesser known vintage pedals. Like the boss slow gear, the Pearl Octaver, and this... the Roland Bee Baa Fuzz. This pedal actually doubles as a slightly "trebley" clean boost pedal. It has a switch for more treble emphasis, and I added a toggle switch for making this thing get super freaking nasty by removing a smoothing capacitor off of one of the transistors. Knobs for gain, tone, volume and the boost circuit has it's own controllable boost volume. The sound of this pedal is HUGE. reminds me of the DAM meathead pedal, but with way more options... somewhere between a very present big muff (tone control bypassed muff maybe) with a modded boss ds1 and a bit of silicon tone bender with the treble emphasis.... Very HUGE sounding, pretty versatile... and the black sparkle enclosure I used has blue, gold, white, silver and red sparkles in it... making it look like a starry night
however, this one sold already, within 2 days of building it actually. But I can always build more of anything... and anything you can think of for that matter. Big thanks to lvlark at tagboardeffects blog. The most generous dude ever!
however, this one sold already, within 2 days of building it actually. But I can always build more of anything... and anything you can think of for that matter. Big thanks to lvlark at tagboardeffects blog. The most generous dude ever!
Saturday, May 26, 2012
Timmy Overdrive and Ross Compressor (modified like a keeley)
Here's the famous paul cochrane timmy overdrive and a clone of the ross compressor, modified for more treble response, lower noise, etc etc. more like a keeley than a ross. i think these two sound great together! you decide and let me know
apparently I cannot imbed vimeo on blogger, so here is a link to the vimeo video for these two pedals being demo'd by me and my half assed guitar skillz
https://vimeo.com/42898627
apparently I cannot imbed vimeo on blogger, so here is a link to the vimeo video for these two pedals being demo'd by me and my half assed guitar skillz
https://vimeo.com/42898627
Thursday, May 17, 2012
Ampeg Amp in a Box Pedal- and double silicon fuzz- with video demos
I have been loving these "amp in a box" circuits. They are built using the same schematics as whatever tube amp they're modeled after, but they just use smaller parts, dont need transformers, and substitute jfets for the tubes. They do a VERY good job of emulating the amp they're made after, and all you need is a clean (tube preferred) amp for them to run into. I've been very happy with the marshall plexi, hiwatt, and vox versions I've built- but I am loving this ampeg circuit. It sounds like a standard ampeg- I think on guitar it sounds like a v4 or vt22 and it even sounds killer with bass, doing a very convinving SVT, even with my little solid state practice amp. These pedals are also AMAZING for getting cranked tones at low volumes- MUCH better than a master volume circuit or even a power soak or speaker attentuator. I run these pedals after all of my dirt, boost and fuzz boxes, and before my delay and reverb pedals. The amp in box pedals react spectacularly to guitar volume changes and overdrive and boost pedals- they even make fuzz pedals sound better. Because you can get that on the edge of clean and overdrive sound at ANY volume and kick in the boost and you're in slammed ampeg heaven! each pedal makes all my other pedals sound different! now that's FUN! if you already have a collection of overdrive and boost pedals that you're happy with, getting some of these amp in box pedals will really expand your tonal pallette, much more than buying another boutique overdrive would. This is like adding amps to your board. I cannot decide which ones I want to take off my board- they are all so unique and make my amp sound completely different. they also all respond to different guitars like the actual amps would. I cant believe I have just found out about these circuits. Check it out for yourself...
I recorded this video with my fender pro reverb set on volume "3"... which is quite low considering the circuit mods I've done to increase the gain and lower headroom with this amp. 3 is a lot lower volume than other blackface fender combos. I usually run it on 6 to get the edge of breakup level. I recorded it with a $90 Zoom Q3 portable video/audio recording, a great product, but nothing fancy at all. I used a ross compressor clone first then into a zen drive clone then into the ampeg to show how it reacts with overdrives. It even does the super squishy compression thing that ampeg's do when they get boosted really hard. a very unique sound that's impossible to get with anything else. These are bedroom volume levels... and listen to that sustain. Unfortunately I gotta do some work on my guitar as the bridge pickup shorted out, so this is just with the neck and middle pickups of my strat!
This next video is a demo of a more customized pedal I built recently. There are actually two completely independent fuzz circuits in one box here, they can be actuated completely seperately, or they can be run in series the right side circuit into the left. The right side is an all out balls to the wall fuzz, the left side is pretty nasty itself, but has a nice vintage tone bendery tone and when you roll back the volume can do some nice silicon fuzz face tones... i'm really digging these silicon fuzz circuits much more than the germaniums i've built- the tonebender mk i and mk ii will always be the kings of fuzz in my book, but man these silicon fuzzes get some cool sounds and are so much more versatile.
If you'd like to check out more video demo's of some of my other pedals. Check out my youtube account- goldenmonkeycolor
I've got some old stuff, and I'll be putting a lot of new stuff up there soon. You need to listen to these demos with a sound system or something you can crank up the volume with- as I've been too lazy to edit these videos as my computer needs upgrading. I actually wasnt aware until recently because my computer is hooked up to a sweet sound system that I can just crank up when needed. You should try this method- it makes looking at guitar gear far more pleasurable
This next video is a demo of a more customized pedal I built recently. There are actually two completely independent fuzz circuits in one box here, they can be actuated completely seperately, or they can be run in series the right side circuit into the left. The right side is an all out balls to the wall fuzz, the left side is pretty nasty itself, but has a nice vintage tone bendery tone and when you roll back the volume can do some nice silicon fuzz face tones... i'm really digging these silicon fuzz circuits much more than the germaniums i've built- the tonebender mk i and mk ii will always be the kings of fuzz in my book, but man these silicon fuzzes get some cool sounds and are so much more versatile.
I've got some old stuff, and I'll be putting a lot of new stuff up there soon. You need to listen to these demos with a sound system or something you can crank up the volume with- as I've been too lazy to edit these videos as my computer needs upgrading. I actually wasnt aware until recently because my computer is hooked up to a sweet sound system that I can just crank up when needed. You should try this method- it makes looking at guitar gear far more pleasurable
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