Separate names with a comma.
Discussion in 'The Stomp Box' started by jeremypodom, Nov 14, 2011.
Wow....I remember that thread. '08!! That's TDPRI archaeology!
Damn you guys. I had read 11 Gage's thread a while ago and thought, "yea, one day I'll get around to it."
Saw this thread and ordered the parts.
Well, I doubt many of us would think to take a circuit from a recording console and put it into a guitar pedal for boosting...? or even know what the circuit for a recording console looks like in the first place
He had the smart idea then that his boost worked so well, that he might as well put several in a box and come up with a distortion pedal.
Simple doesn't always mean easy or obvious. I think it's rather brilliant.
Double post (to follow) - sorry.
That was his story, but research (from folks other than myself) have determined that it was not true. It was more something from a "general application" source book, and the single transistor design has nothing to do with what is implemented in a recording console.
...The gain adjustment mechanism alone is too crude to be used in professional audio devices (like a board, not cracking on Vex, to be clear), so something like the "crackle okay" is evidence of "adapting" from a generic circuit snippet that Vex must have found. It is similar to how gain is adjusted on a Fuzz Face, but for technical reasons the FF method can't be used w/o "getting the crackle." It is ingenious on Vex's part for packaging it as a "feature with character," and kind of fits in well with the hand painted boxes and such.
Or at least it did in the 90's. IDK how pedal users in general feel about it now.
I remember my non-musician and somewhat humorless father laughing when I purchased a "Little Big Muff" at the age of 13. I didn't get it until a few years later.
I use a SHO into a LPB1 for some amazing overdrive sounds. I tried it the other way and it seemed to lose some of the sparkle.