DIY Rocket Fuzz Mod

https://youtu.be/g4uvtPHt9Vk

DIY HardCandy Fuzz

The schematic to me looks like a Big Muff Pi without final buffer stage, or similar with Jumbo Tone Bender.

In the actual according to this video, I added the final buffer stage of Big Muff Pi. Without the final buffer, output level seem less powerful.

The clipping section on 2nd. and 3rd. stage are my own mod.

The 2nd. clipping stage with 4 diodes might be the source of less powerfull output that fed to the 3rd. stage, while on the 3rd. stage I only use a single red led to clip signals, like clipping in Metal Simplex.

I also build a mod of Collossus Green Russian Big Muff Pi, but I feel this HardCandy fuzz has better and different sound.

Wiring Ideas of Soft and Hard Diode Clipping, worth to try.

I always have something, and this ideas really annoys me, maybe I can share something worth :)

[DIY IDEA] Routing Selector Switch on 2 Network Stages

Effects Order by R.G. Keen (http://www.geofex.com/)

This FAQ was created by R.G. Keen, keen@geofex.com
Previous Update 5 Nov 1999

This is a perennial question on all guitar oriented forums - what order do I put my effects in? While there are some simple guidelines, there is no "right" way to do it. It's all a matter of taste and your personal tone. Let your ears be the final arbiter.
The order of effects that produce the sounds most people have become accustomed to hearing is this:

• Amplitude altering effects
• Pre-distortion EQ
• Distortion(s)
• Post Distortion EQ
• Other tone controls
• Small time delays and Phasers
• Longer time delays - chorus
• Reverb and echo, tape delays, etc.

There is a rationale for the placement of each effect in this order; it goes like this:

Amplitude altering effects

As simple as your guitar's volume knob, or as complicated as fancy compressors, attack-delay or other note-shaping device. The idea here is that the basic "shape" of the note that will interact with the later distortion devices gets set for the best tone at that level. Because distortions are level sensitive, the higher the level that comes out of an amplitude device, the more it will be distorted in any following distortion devices, and vice versa. A distortion following a level changing device converts the level-altering device into a distortion-intensity modulator - and that reverts to level changes if you switch the distortion out. 

Pre-distortion EQ

Once again, as simple as your guitar's tone control (which is really a simple treble-cut filter) or as complicated as a parametric EQ; pre-distortion EQ sets up which frequencies are loudest - and the louder the frequency, the more that a following distortion will affect it. As I mentioned before, distortions are level sensitive devices - anything under the level at which distortion starts will be largely unaffected. Anything over the threshold will be distorted. So by boosting things we want distorted and NOT boosting things we don't want distorted, we can select the things that get distorted and have a much more animated sounding distortion.

One of the most recognizable uses of this was Jimi Hendrix' use of a wah pedal (which is really a sweepable resonant filter - see the Technology of the Wah Pedal at GEO) before a Fuzz Face. A wah boosts one band of frequencies a lot, and if the levels are set right, the frequencies in the boosted range will be distorted most.

Distortion(s)

The Ronco Veg-a-Matic of the sound world, distortions take whatever signal is coming in and slice it into analog coleslaw. In doing this, they add harmonics and intermodulation products that were not present in the original signal. This usually results in a hotter high end, as it adds more signal bits at higher frequencies that were originally present. 

Post Distortion EQ and tone controls

Once the distortion has had its way with the signal and inserted a hash of harmonics into it, post distortion EQ can step in and select which bits out of this sonic stew get heard. 

As in many things musical, this started out unnoticed, just the nature of the beast. A 10" or 12" speaker in a cabinet has a frequency rolloff that starts between 4kHz and 6kHz, and is quite steep. This puts a serious cut on any real high frequency content from guitar. In fact, many "speaker simulators" are just multipole lowpass filters with turnover frequencies in the 4K to 6K range, and do a creditable job.

Having noticed the post-distortion tone effect, we can mess with it deliberately, of course. Distortion devices make for lots of high frequency harmonics. We can cut, boost, trim, notch, and otherwise shape what the distortion device turns out.

Notice that Pre-Distortion EQ changes what gets distorted in the first place. Post distortion EQ can only cut and trim on what has already been created in the distortion device. You should try it both ways - or both ways at once!. Notice that Post distortion wah sounds very different from pre-distortion wah. Try it! 

Anything else that does frequency shaping goes in here as well - remember the interaction of level boost-cuts with distortion.

Small time delays and Phasers

These add a spacious sound by causing multiple notches in the signal at specific frequencies. The ear is fooled into thinking it's in an acoustic space that has odd cancellations and echoes.

Longer time delays - chorus

Reverb and echo.

Some combinations and the rationales behind them:

Compressor before distortion

Gives a "smoother" distortion sound because the signal level the distortion gets has less variation - the compressor wipes off more of the signal changes, so the distortion works mostly at one level, and the tone quality of the distortion changes less as the note decays. The disadvantage is that the hiss of the compressor is further amplified by the distortion, so this setup is noisier than either by itself.

Distortion before compressor

The compressor adds little but hiss, because the distortion already sets up a fairly fixed output level. The tone quality changes as the distortion would without the compressor.

Distortion before time delay

The subtleties of the time delay, chorus, flange, etc. are generated after the distortion's harmonic hash, so the nuances of the delay can be heard.

Time delay before distortion

The distortion's harmonic generation tends to fill in the response notches the time delay created, usually less acceptable.

In the end, only your ears can determine what your sound needs to be. Experiment! Find *your* sound. In the end, the only right way is your way.

source : http://www.geofex.com/effxfaq/fxorder.htm

Noys Mid Drifter Crunch Overdrive Front and back Design (Custom order) Final Product

Yet still far from perfect, this handmade stompbox is ready to blow your amp.

[DIY IDEA] Switch Wirings on Paralel or Series of 2 Network Stages

Noys Mid Drifter Crunch Overdrive Front and back Design (Custom order)

Defeatable Contour on Midscoop

NOYS - A/B Looper in a Kraft Lunch Box

Ozzy Osbourne - Mr. Crowley & Adelle - One and Only Guitar Cover (Audio Only)

Another Audio test of Mid Drifter 2, both channel set on semi crunch overdrive tone with small differences for lead and rythm, Guitar source using Ibanez PGM30WH, 2003 Japan, and recorded using Blackberry 9500.

Revision 1 of angry duck,

Revision 1 of angry duck, 

Mods :

1. 1st. stage replaced with cmos opamp, operated in linear mode, flexible gain control.

2. 2nd. stage clone of Ghost Dance, combined with cmos buffer, my basic idea is  to get quacky lead.

3. 3rd. stage linear cmos opamp with fixed gain

4. 4th. stage is a tone control adapted from Marshall shredmaster, changed on clipping diode to 1N34A, all Vbias removed and connected to GND.
5. 5th. stage is a contour control
6. 6th. stage is an anti sucking device

Bias on 1st. stage can be ommited, because seem not too effeective and hard to control on overload condition. maybe need to add resistors to GND and 9VDC power line.

All pots body have to connected to GND, to remove unwanted noises.

enjoy :)

note : fair and personal use only

Angry Duck, still inside my mind

This time, I am combining cmos overdrive, First stage is normal preamp buffer but using RAT negative loop, 2 stages in the 2nd section are selectable, 2.3KHz crunch overdrive or CMOS overdrive. After the 1st 3PDT switch, there is another 3PDT switch to feed signal to Ghost Dance Overdrive. Every stage ends, I put 100K trimpot, just in case of voltage overload.

On the last stage, I put contour control before preamp buffer, which originally use to drive tone control section.

But I got question in my head.. which buffer stage I have to use? FET Minibooster using J201 or just normal preamp using NE5532 or RC4558??

sanatarium rev Dec09, 2015, sounds only

sound test of my handmade guitar effect, contains of : 2 preamps, 3 stages CMOS distortions, and a FET minibooster rev Dec 09, 2015, all diode clipping removed, 1st preamp voltage gain decreased to 100, 2nd preamp voltage gain increased to 50, CMOS gain decreased to clean output from too much distortion and gating effects, separable tone select of normal distorted preamp and distorted cmos stages. 

Still too many unperfect things to consider, and will improve the sound quality to make this thing works good. Thanks for watching.

guitar : Ibanez PGM30WH, 2003, Japan.

NOYS - MosBite | Experimental 6 stages CMOS Distortion.

STATUS : EXPERIMENT - IN PROCESS

This one is my new experiment combining 6 stages Hex Inverter of CMOS 4049 into one Distortion box,

Here's my PCB Layout :

Some changes need to be applied and here's my debug list

I found :

  1. Twin-T Oscilator that applied on the 5th stage give nothing..:(

  2. Need some additional resistor to decrease the output.. though R will be reflected..

  3. I use 3 1N914 and 4 Led on hard clipping option switch, instead of IRF510 MosFet

  4. Gain control cannot put into minimum... (still have to find the band-aid to cure that)

  5. Added a wire to bypass stage 2 input to remove the "Bird Sound" noise when it's OFF.

  6. This thing really need a clean power supply.

  7. Added 2x 100nF near the IC to filter the power source.

  8. I think 100uF power source filter isn't enough..

  9. Too much noise.. I don't like it

10. have t explore more..

This thing is really loud.. 

I made some changes to the layout, and will move all components to the new board.

2nd board also unverified..

Note : 

* All schematic above are used for experimental project. 

* The basic schematics are belong to the owners. 

* I made changes and tunings by ear.

* Fair use only

* All contents here are prohibited to post on other blog or sites without permission.

NOYS - Mid Drifter Distortion Rev 1 pcb layout

Here's new PCB Layout for REV 1 NOYS - Mid Drifter.. lot of component changed and added.

Will try to bypass all emphasis stages to hear the difference tomorrow.

Note : 

* All schematic above are used for experimental project. 

* The basic schematics are belong to the owners. 

* I made changes and tunings by ear.

* Fair use only

* All contents here are prohibited to post on other blog or sites without permission.

Mid Drifter - Experimental Distortion FX

This experiment was basicly combining 2 kinds of effects, Marshall Guv'nor and Boss Metal Zone. One thing, I'd like to know what would it be if I combined 2 famous effects in 1.

Here's the first schematic :

and here's the pcb layout :

note : This not a verified PCB layout till I found some changes and mistakes

process :

PCB and box fitting 

Soldering process started

There are 4 pot knobs, (Top to bottom) Drive, Bite, Tone and Volume

Debugging process

Unfortunately, I had trouble in the last 2 stages of op amp, which use as buffer.. :( and I really can't change it.. I heard a clicking like "overload" input on the 2nd stage of the opamp. Then I ommited the use of the 2nd IC. I use NE5532N on opamp, that I believe will give the lowest noise...

Then I change the schematic like this :

Then it become like this, with lots of cables jumpering things ...

also added scoop bypass switch..

and this is the final prototype without pcb change.. really a mess..

and the result :

  1. This experiment really showed me that the emphasis stage like metal zone can be applied to other opamp to create a nice mids.. especially on around 900Hz.

  2. Using midscoop, giving a nice clean penetrating death metal tone around 3KHz to 5KHz

  3. Very nice output tone from clean boost to nasty sharp and penetrating distortion (~900Hz to ~5KHz).

  4. Nice to play blues. 80's Rock sound.. etc

  5. Clean and tight mid to mid high.

  6. I used a pair of IRF 510 mosfet + 1N34 Diodes to create classic tight mids and 2 Led diodes on hard clipping to give more crunch and bite.

  7. Output voltage of this circuit is fairly small.. I need to add mini booster at the end of the circuit before volume control

  8. Turn Bite control knob to minimum to get higher penetrating tone and put gain at 1/3 max.

  9. Turn Bite control knob to maximum to get oldies clean boost with tight mid from ~900Hz to 2.3KHz

10. Turn Tone to minimum to get fat tone or max to get full midhigh to high tone

11. Maybe there is more.. still need to find out first....

Pictures and schematics showed here are incomplete..Later I will upload the video of this experimental FX... and I already started to make the 2nd variant of this thing with bunch of ideas by this experiment..

Note : 

* All schematic above are used for experimental project. 

* The basic schematics are belong to the owners. 

* I made changes and tunings by ear.

* Fair use only

* All contents here are prohibited to post on other blog or sites without permission.

enjoy :)