Episode 1 A/B Box, Loop Selector, and Parabox
Personally, I have always been fond of compact effectors and have accumulated quite a lot of them without realizing it. Even in this day and age of multi effects, I would like to talk about the appeal of small boxes, which continue to hold my interest as always. The first ones I cover are the A/B box, the loop selector, and the parabox. These are all very simple things, but surprisingly, I am often asked about them in the store. Many people seem to know how they work, but do not know how to use them in actual situations. Let's think about how to use each of them conveniently.
A/B Box
The A/B box is used in the following two ways. A typical example is the DOD 270 (Photo 1). Some of the wiring is a bit complicated, but it basically switches the signal from a guitar or other device to the A or B output. It is like the points on a railroad. Now let's think about what kind of situations we can actually use it in.
［1] Switching between two amplifiers. (2) Switching channels. (3) Sending one output to a tuner. (4) Switching between two guitars or other instruments.
First of all, you can probably imagine using the first one to switch between two amplifiers,
For example, connect a clean amp such as Roland's Jazz Chorus (Photo 2/JC-120) to output A, and connect a highly distorted amp such as a Marshall to output B. You can use the clean sound of the JC for backing and the distorted sound of the Marshall for soloing, etc.
For example, you can connect a chorus to one of the JC outputs.
The second channel switch is not very practical, since modern amps are equipped with a footswitch for channel switching.
However, it is effective for amps that do not allow channel switching, such as the Fender Twin Reverb (see photo) and the JC-120.
If you connect the A and B outputs to their respective channels, you can switch channels simply by stepping on the footswitch on the A/B box.
Sending one of the third outputs to a tuner is quite popular, and many people actually do it. It is certainly a convenient and recommended setting. The reason for this is that everyone pays attention to tuning deviations during live performances. If the sound interrupts the MC every once in a while, it can dampen the excitement of the show. The A/B box allows you to bypass the amp sound and tune casually. (You can also use the tuner out on the volume pedal in the same way.)
The fourth option of using the A/B box to switch between two instruments may not be the most common. The fourth connection is the reverse of the original connection. In other words, you connect a guitar or other instrument to each of the original A and B outputs. For example, an electric guitar and an electric acoustic guitar. Then, connect an amplifier to the instrument input. Shields are connected to the two instruments beforehand, so all you have to do to switch between them is to press the footswitch on the A/B box. You can change instruments very quickly.
Loop selector
Next is the loop selector. Many manufacturers offer loop selectors, such as BOSS's PSM-5 power supply and master switch or SOBBAT's AB BREAKER (Photo 3). Some models have two loops, some have A/B box functions, some have a built-in buffer, and some have a built-in power supply. Basically, there is a SEND and RETURN jack. The usage is to insert some effectors between the SEND and RETURN jacks.
The effect is that if all effectors in the loop are turned on, the loop selector's LOOP ON/RETURN will be turned on.
The effect is that you can turn all the effectors in the loop on and off at once by stepping on the loop on/off switch on the loop selector. Have you ever had to turn on a distortion and a flanger at the same time in a solo, and had to step on each effector's switch? Two effects may be a challenge, but three or more can be very difficult and require a lot of extra attention. This is also recommended for those who like effects pedals, but are concerned about the sound quality degradation caused by too many pedals, so they prefer to bypass them completely when they are off and use them directly through their amps.
Parabox
The last is the parabox, represented by the BOSS J-5 multiple jack (Photo 4). It is a simple mechanism. It splits one signal into multiple signals.
It can be used with multiple amplifiers, multiple speakers connected to the speaker output terminals of an amplifier (note the output load impedance of the amplifier and the impedance of the speakers), or as a subterfuge to divide the signal between two amplifiers. Another trick is to use a parabox to split the signal into two separate signals and connect them to the input of each channel on a twin reverb or JC-120 amplifier that has independent channels. In this way, you can mix two channels with different characteristics, expanding the range of sound creation depending on the settings of each channel.
Episode 2 Distortion
Yes, this is the second installment of this series. I've been writing as I please, so please bear with me. I know this is a bit sudden, but the world of electric guitars has not changed much in the more than half a century since its birth. I am not saying that everything should change, but Kibson and Fender electric guitars are probably the most sold in the world, and Les Paul and Strat are still the mainstream. Digital modeling amps are also coming into the limelight, but tube amps are still the mainstay of the market. In a world where everything is digitalized, it is rare to find such a retro world.
This is a bit of a digression, but the analog home telephone, which is only a matter of time before it disappears with the spread of ISDN, is also a relic of the 20th century. I feel sad when I see those unreliable modular cords. Perhaps the electric guitar will be the last analog product on earth? It is true that we cannot talk about modern music without talking about digital music. Digital modelers will emerge one after another, realistically simulating the sound of vintage analog equipment. The sound will be as close to the real thing as possible, but I don't think it will be able to express the warmth and atmosphere of real analog equipment. I don't think we will be satisfied with the sound, no matter how numerically equivalent it may be. Perhaps this is because music is based on the senses, and it is a unique world that reflects very individual tastes and preferences.
Now, let's get down to the main issue. Let's consider distortion. Generally, the distortion produced by an amp and guitar is called an overdriven sound. It is produced by turning up the volume of the amp to near maximum and overloading it. There are many theories about the origin of the overdrive sound, and I don't know exactly where it came from, but the definitive example is Eric Clapton's sound with the Blues Breakers. The overdrive sound he produced with his Les Paul and Marshall JTM-45 combo was shocking, and many guitarists followed suit.
However, most guitars of the time (Fender Telecasters, etc.) had low-power single coil pickups, and most amps (Fenders, etc.) did not distort as much as Marshalls, so it was impossible to get the same kind of distortion. This is where boosters come in. They increase the gain of the guitar's output and forcefully overdrive a clean amp with little distortion by placing a heavier load on the amp. Those who wanted even more extreme distortion used them in combination with distortion-prone Marshalls and the like.
Ritchie Blackmore of Deep Purple used a Marshall amp powered up by Marshall's creator, Jim Marshall himself, and Brian May of Queen used a handmade treble booster with a Vox amp. The "Vox Amplifier" is a handmade treble booster.
Also in the late 60s, fuzz units were introduced to create distortion without relying on an amp. Fuzz units could produce deep distortion unmatched by amp overdrive, and they had amazingly long sustain. Depending on the era, some fuzz units used germanium transistors or silicon diodes as amplification elements.
Typical examples include BIG MUFF by Electro Harmonix (a.k.a. Elehamo), FUZZ FACE by Dallas Avitar, and TONE BENDER by Color Sound and Vox. The characteristics of these instruments are high gain, rough and crisp sounding. Even when playing chords, the separation of each string was poor, and some of the notes became lumpy. Especially, the early ones with germanium transistors seem to have rough sound grains. Although the fuzz sounded completely different from the sound of an amp overdriven, it was welcomed by many musicians. The now legendary guitarist Jimi Hendrix's sound cannot be described without fuzz. Even Jeff Beck and Zeppelin's Jimmy Page used both Marshall's natural overdrive and fuzz sounds.
It wasn't until MXR's Distortion + came along that distortion units really came into their own, both in name and reality. It was a great product in the MXR sense, with an unprecedentedly compact and sturdy die-cast case and dramatically extended battery life. But what surprised me even more was the sound. More than any other distortion unit I've ever heard, the MXR came closer to the overdrive sound of an amp than any other distortion unit. The simple drive and level controls made it suitable for any type of amp or guitar, and the easy picking nuances initially appealed more to fusion musicians than to rock musicians. It could produce quite strong distortion, but also quite warm and edgy distortion when the guitar's volume was turned down. Tragic guitarist Randy Rhodes loved the Distortion+.
Now, a sonically groundbreaking competitor to the Distortion+ has appeared from Boss. The OD-1 overdrive. Jeff Beck used it on stage and praised it as "just like a Marshall sound," and it was the birth of the original overdrive unit. However, for musicians accustomed to the Distortion+, the sound of the OD-1 was a bit lacking, and from this time onward, the same distortion effects pedals were divided according to their different sounds: "distortion" for hard distortion and "overdrive" for softer distortion. The same distortion-type effect pedal can now be classified according to the difference in sound. Today, in addition to analog types, digital hybrid types have emerged, and many new manufacturers have entered the market. There are also several tube systems that look like the preamplifier part of a tube amplifier taken straight out of the tube, and their warm and mild flavor is also appealing.
Finally, let's pick up a few typical boosters, fuzzes, distortions, and overdrives.
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Boosters: Vox TREBLE-BASS BOOSTER, Elehamo LPB-1 etc. |
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Fuzz: Elehamo BIG MUFF, Dallas Avitar FUZZ FACE, Vox Tone Bender etc. |
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Distortion: MXR Distortion+, Proco RAT, Marshall The Guv'nor, Boss DS-1, etc. |
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Overdrive: Boss OD-1, Ibanez TS-9, DOD 250, Tube Works TUBE DRIVER, etc. |
Although multi-effects pedals and digital modelers are currently at the height of their popularity, I have chosen to focus on compact effects pedals for this discussion. For me, compact effectors are very simple, but they are very deep and fascinating. There are so many different models out there that it is not easy to find the right one for you. You may have an idea of the sound you want to produce, but in reality, it is not so easy because of the compatibility with the guitar and amp you are using. Even if you use the same Boss OD-1, the sound that comes out will be completely different if you use a Marshall amp or a JC amp. I've had to own many distortion products over the years as I've tried many different things.
Basically, I prefer amp distortion. I love the sound of a Marshall at full drive with a booster. My favorite is the MXR micro amp. I use it as a booster. Most boosters are difficult to use because they change the tone when you turn them on or increase the gain even though the knob is set to zero, but the micro amp does not change the tone and outputs the original sound at the zero knob position. However, the micro amp does not change the tone, and the original sound is output as it is at the zero knob position. However, it is not always possible to use your own amp. If all you had was a JC, you would want a distortion or overdrive to replace it. It's hard to pin down, isn't it? Do I need to compromise? But it's fun to think about it (the world of geeks...)! LOL).
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Electro Harmonics LPB-1, Vox TREBLE-BASS BOOSTER |
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Electro-Harmonics BIG MUFF, Vox Tone Bender, Roger Mayer, CLASSIC FUZZ |
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MXR Distortion+ (reissue) Marshall The Guv'nor, Boss DS-1 |
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Boss OD-1 |
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Ibanez TS-808 |
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Ibanez TS-9 |
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MXR micro amp |
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Episode 3 Distortion Part 2 Amplifiers
Personally, I have always been fond of compact effectors and have accumulated quite a lot of them without realizing it. Even in this day and age of multi-packaging, I would like to talk about the appeal of small boxes, which continue to hold my interest as always. The first ones I cover are the A/B box, the loop selector, and the parabox. These are all very simple things, but surprisingly, I am often asked about them in the store. Many people seem to know how they work, but do not know how to use them in actual situations. Let's think about how to use each of them conveniently.
1. Voltage
Amplifiers and effectors are available with drive voltages of 100V in Japan, 117-120V in the U.S., and 220-240V in Europe, depending on the electricity conditions in each country. Many people seem to use the 117-120V specifications in the U.S. and other countries with 100V in Japan as it is. In fact, I do not know how it is these days, but an amp made by the British company M, famous for hard rock music, used to have only an import agent's 100V sticker on the 117-120V voltage display panel of the American specification product. It may not be a problem, but I think the true sound will come out better if you play it at the correct voltage. The tension of the sound is different. If you are using an imported amplifier with a different voltage, use a step-up transformer to step up the voltage from 100V to 120V or 100V to 240V, or use a slider duck that can transform the voltage as desired. As a precaution, consider the power consumption of the amplifier, etc. used and use one with sufficient capacity.
This is a foul technique, but what happens if the sound is made at a lower voltage than the default? Yes, I, no I, have tried it. I connected my Marshall JCM800 1959 and Les Paul to the same 1982A. First, how do I reduce the voltage? I didn't have a slidac, so I bought a brightness controller from the lighting fixture section of the home improvement store. This is a very simple slidac-like device that allows the voltage to be varied from 0 to 100V. The effect was that as I lowered the voltage a little, the distortion increased, the attack became a little weaker, and the highs dropped to a milder level. The feeling is like running a BOSS OD-1 through it. It's a bluesy and quite usable sound! I think I remember a guitarist from TNT (old name...lol!). Who is the guitarist of TNT? Ronnie Leteklo? He used to do it with 117V specs down to about 80-85V. I am not normal here, silly me! I took a wild guess and tried it on the effects pedal. What I did was to lower the voltage of the Maxon compressor. If I turned it down too low, it would make noise or stop working, which is very subtle, but I got a nice distortion distortion.
Actually, before that, I had noticed distortion when the battery was about to run out. On the other hand, what happens if I play it at a higher voltage than the default? I was afraid to try it with my own amp.
I heard that Eddie Van Halen used to play his 117V Marshalls at 135V. After one stage, the tubes would crack under his fingernails. VAN HALEN's first album, "Fuse of Fire," is now considered to have the best hard rock sound. It seems that the secret of that bright, taut, sharp, hard-driving guitar was also found here.
2. Volume control
As mentioned in the confrontation series, tube amps such as Marshall are designed so that the output tubes can be driven sufficiently to produce their true sound when the volume is turned up. This is true even for models with master volume. However, if the volume is turned up unnecessarily, it not only destroys the band's ensemble, it can also deteriorate the relationship between the musicians. This is where speaker attenuators come in. In short, it is a resistor. It is connected between the speaker output terminal of the amplifier and the input terminal of the speaker. The volume of the amplifier is turned up to the point where the best sound is obtained. The volume is then controlled by the speaker attenuator's output level control knob.
Speaker attenuators include the ROCKMAN Power Soak, PMG (formerly PMP!) HSK, Marshall POWER BREAK, and more recently the THD Hot Plate. Most models also have the ability to take out line-level signals. There is also the Palmer PDI-03 and Marshall SE-100, which further incorporate a speaker emulator. These can send a line-level signal simulating a speaker to a mixer or other device. Most are resistive, but there is also the transformer-type Ex-pro DM-1 and DM-05.
The most important point to keep in mind when using these speakers is that they must match the output impedance of the amplifier. If you use a different one, you will overload the amp. As you will see when you try them out, the sound is pleasant when the power tubes are fully driven! However, the speakers will not sound good unless you turn up the volume to a certain level.
I'm going to digress here again. If you have a Marshall JCM800 or earlier, you can reduce the power by half. Remove the middle two or the two outer tubes. Be sure to remove them in that combination. Then set the output impedance of the amp to 8 ohms if you are using a 16 ohm cabinet, or 4 ohms for an 8 ohm cab. Now your 100W Marshall is 50W. Note, however, that this amp was originally designed for 100 watts, so it will not sound exactly the same as a 50-watt model! Also, if you do this, please do it at your own risk. If you break the head, we will not be responsible for any damage!
3. Gain Up
If you are making a natural overdrive sound with just an amp and a guitar, you may know that you can't get the distortion you want, or you can't get enough distortion. So, they replace the pickups with higher-power ones or boost up the gain with a booster, etc. I do both, but I think it's better to use a booster than a pickup. I do both, but in my opinion, a booster should be able to increase gain purely without changing the tone. I have a chance to try many things in my work, but I can't find a good one. I am not satisfied with distortion and overdrive systems because most of them have tones that are unique to that model. I like MXR micro amps, PMG BUF, and others. I also like the VOX V941 1U rack, which is a tube valve effects loop buffer. I connect the send and return of the loop to a short shield and boost it with the send level knob. I think of the booster as part of the amp's preamp, so I try to connect it as close to the amp as possible. Simply put, it's like adding an extra pre-tube.
4. SEND-RETURN
The SEND-RETURN loop is usually connected to the amp's SEND-RETURN, and is usually used for spatial effectors. The position of this loop is between the preamp section and the power amp. This is so that the spatial effects will not be muddy when distorted by the pre amp. In short, SEND is the PRE-AMP OUTPUT and RETURN is the POWER-AMP INPUT. As you can see, the former can send the signal to a mixer or other power amplifier. The latter can be used to connect other preamps. The latter can also be used to connect a simulator such as the recently popular POD or DG Stomp as a pre-amp.
5. Link Top
Marshall's 4 inputs (see "JC-120 vs. JCM800" in the Showdown series) can be connected as shown in the photo to mix two channels. This is especially effective with single-coil guitars such as Strats. You can also connect the remaining jack to the input of another amp to make multiple amps sound.
This has the advantage that if one amp goes out during a live performance, the others will work just fine. Of course, this is not limited to Marshall's 4 inputs, but other manufacturers' 2 inputs can also be used. Most amps have a High and Low input jack, so connect the shield from the guitar to the High input, and connect the Low input to the other amps.
Episode 4 Cool Products
Let's take a look at some great new gear that has recently arrived at THE used music store.
recently arrived at THE used music store.
KOCH Pedaltone (List Price: $85,000-)SOLD
This is a tube type foot preamplifier by KOCH, a new brand from the Netherlands, which has recently been in the news for its high quality tube amps such as MULTITONE and POWERTONE. It is still a new product, so you can get it at this price as good as new, which is an absolute bargain!
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It looks somewhat like MESA BOOGIE's V-TWIN! (Right?!) Anyway, it's huge! (Right?! lol) Anyway, it is huge! It has the power of a heavy tank. The reason for this is that it is equipped with four 12AX7 vacuum tubes! It has a complete 2-channel specification for clean and drive, with an on/off enhancer for clean on channel 1, and even a booster for drive on channel 2. It is equipped with a switch that allows you to set each level for rhythm and solo. Amazingly, it is even equipped with an all-tube power amp with 0.5W output, so you can connect it to any kind of amp (such as a normal transistor-type guitar amp) without losing the unique compression sound of vacuum tubes. You can also turn it on or off as you like. The Recording Out and Headphone Out are equipped with speaker simulators, so that even the baby can be quiet! The effects loop is buffered and amplified to reduce sound loss! How gorgeous!
And the sound is... very natural, without the effects smell! It's not just a tube foot preamp, it's a quality product. The compression is great from clean to crunch, and if you turn on the enhancer, the sound comes forward and the tone is great, so you can reproduce Marshall, Boogie, Fender, or any other tone. It is designed to have plenty of high-gain, so it can be used for hard-driving sounds. The day you step on the booster, you'll have a brain-pumping lead sound that will blow your audience away. I'd like to replace my V-TWIN (laugh). But really, it also produces a JCM2000-like sound, which I've been enjoying recently, and as a Marshall fan myself, I'm quite interested in this gem.
Episode 5 Analog Delay Special
Tape echo-like repeating effect and reverb-like reverberation effect can be obtained. The warm, soft, and pleasant-to-hear sound is a characteristic of analog delay that gives it a unique taste and makes it an attractive point.
It is worth a try, especially in this age of digital omnipresence!
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BOSS DM-2 Delay S/N #258600 with original box SOLD Appeared in May 1981. Delay time is from 20msec to 300msec. Currently highly popular in the vintage market. |
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BOSS DM-3 Delay S/N #433200 SOLD The perfect DM-2 has evolved even further. Equipped with stereo out. |
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Maxon AD-80 ANALOG DELAY S/N #102852 with original box SOLD S/N #103918 SOLD Delay time is variable from 10ms to 300ms, from reverb-like effect to full echo, powered by 2 x 006P at 18V. |
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MXR analog delay '78 SSOLD '80 (DELAY ONLY OUT equipment) SOLD The original analog delay model priced at 100,000 yen new at the time, with a fat AC-driven tone. |
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DOD analog delay 680 '81 SOLD This is an analog delay from DOD, famous for the Overdrive Preamp 250 used by Ingy. The unique output system allows for ping-pong delays. |
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electro-harmonics DELUXE MEMORY MAN EH1307 '77 SOLD Delay time is from 15ms to 400ms, and in addition to analog delay, chorus and fast vibrato are selectable. |
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electro-harmonics stereo memory man eh7811b '81 SOLD '81 SOLD Stereo analog delay with a maximum delay time of 300ms. It also has a unique deep chorus effect. |
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MORLEY Anolog Echo Reverb E80's SOLD An analog-style pedal by Morley, famous for the advanced wah pedal "Bad Horsie Wah" used by Steve Vai. |
Episode 6 Recent musings...
Thanks to your support, compact effect pedals have been selling like hotcakes lately. Young kids have been buying some very old and rare ones, and as a compacts lover by nature, I'm quite smitten (^-^). The other day, a young band member came to the store and told the producer, "Go to TC-GAKKI and buy an OD-1! (^O^) He bought one after trying an early quad op amp (NECμ4741C) and several later dual op amps (JRC4558DD). The op-amps make a big difference, of course, and there are many other factors like resistance and whatnot.
A while ago, I had our repairman Yoshi replace the op-amp in my own Ibanez TS-9DX. I was quite happy with it as it was originally, but I wanted to make the basic distortion itself smoother so that it would be comparable to the TS-808! The op-amp that Yoshi put in was the JRC4558DD! I could not tell the difference by my ears!
When I reported my impressions to Yoshi, he told me that he had already replaced the wiring materials in the critical input/output areas with vintage, discrete ones. Furthermore, when the mode knob is turned up one level to +, the mid boost is applied without changing the distortion feel (this is ◎!). (This is ◎!!!). The two modes above that are a different world (scary, huh?). However, the gain increase step by step is a little too much, so there is room for improvement. Yoshi is a guitar builder who started the now-defunct Rokugen brand, and he is also an amazing creator and modder of effectors. We would be happy to discuss this with you, so if you are interested, please feel free to contact us!
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On a different note, I recently received a Fulltone '01 Full Drive 2. It's not the same! The sound had changed a lot. I happened to have an orange one from '97, so I compared them. Well, the sound is brighter and the distortion texture is rougher! The sound is brighter and the distortion texture is rougher! Unfortunately, the TS-808-like wet sound has lost all of its luster and backbone. The model name has not changed, but it is different. The exterior is a bright blue color and the shape of the foot switch has changed, but when I looked at the inside of the board, I found that it has changed quite a bit. The circuit board, which used to be quite rough, was changed to an orderly printed circuit board. I am disappointed because I liked this model and recommended it to many people. Well, it is not limited to Fulltone, but there are changes in specifications, large or small. I am sure there are many reasons, such as production efficiency and cost restrictions. Yes, even Z-VEX, which has been talked about for its outlandish effects, used to have point-to-point wiring, but now it is still a printed circuit board. But I guess I can forgive them because they are hand painted (laugh). |
Finally, here is a summary of the specifications of the BOSS OD-1, which is the subject of many inquiries. It is a bit of a maniac world (^o^).
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This is a survey from the recent inventory of THE used music store.
From left to right: serial number (means production date), silver screws (black screws are omitted), board number, op-amp (IC) model number, FET switch color, LED specifications, and OD-1 logo location. In the early stage, it was a Raytheon op-amp, but it is said that there were many failures. OD-1 has a strong midrange and is a bit muddy when used alone, but when combined with a Marshall or other donshari type amp, it is good for pushing the weak midrange. There are individual differences, so if you are looking for an OD-1, please try many OD-1s to find the best one for you.
Episode 7 Loop Boxes again! Edition
It's been a while. How are you all doing? I am suffering from severe cold and hay fever every day. A while ago, I had a chance to perform at TC-Live for the first time in a while. Last time I was a member of the hard and blues band "White Smoke", and this time I was a member of the punk band "☆Usakore Friends☆This time I was a member of the punk band " Usakole Friends ". Regardless of my performance (^^;), it was a fun time. I would like to thank everyone who came in the cold weather, Okubo "Hot Shot" and all the other people involved. m(__)m
A/B Box
By the way, the set list this time had frequent changes between distorted sounds and clean, chorused sounds, and being a compact (effector) player, I decided that it was impossible to make quick changes (due to my clumsiness!) by wiring in series. I decided it was impossible to use a series connection, so I borrowed the help of a loop box.
The one that appeared on the scene was the Freedom A/B LOOP SWITCH BOX. It has two loops (A & B), an A/B switch, and a bypass switch. Set this between the guitar and the amp set to clean. The sound can be changed in an instant by simply stepping on the A/B switch!
If you don't use the loop box, you have to turn on and off multiple effectors at the same time, which is very easy! In detail, distortion is created with the RAT, soloed with the Gain Helper turned on as a booster, and clean with the Comp + Chorus, and so on. (Fig. 1) If you put noisy or thin vintage effects pedals in the loop of the loop box, you can minimize the loss when you are not using effects pedals, which is also recommended for those who prefer to play directly through an amp. Recently, a wide variety of loop boxes have been released. This time, I would like to introduce three models that I recommend.
1. Freedom LOOP SWITCH BOX
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First is the Freedom LOOP SWITCH BOX, which, as mentioned above, has two loops (A & B) and is equipped with an A/B switch and a bypass switch. It is a passive circuit and is completely through when bypassed. |
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2. Providence P-2LD
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The Providence P-2LD has two loops (1 & 2) and an A/B box, so it can be used to switch between two amplifiers or send the signal to a tuner, etc. Unlike the Freedom, it does not switch between 1 and 2 loops, but instead has an on/off switch and a bypass switch for each. Unlike the Freedom, the A/B box has an on/off switch, a bypass switch, and an A/B switch, rather than a 1 or 2 loop switch. This is also a passive circuit and is completely through when bypassed. |
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3. sobbat A/B Breaker
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The later sobbat A/B Breaker, like the Freedom, has two loops (A & B), an A/B switch, and a bypass switch. However, this is an active circuit, and all signals passing through the A/B Breaker pass through a built-in buffer circuit. Although there is a slight change in sound quality, the signal is converted to low impedance, which has the advantage of reducing noise and sound quality degradation, such as when the shield is lengthened. |
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The other most visible? There are other products like the BOSS LS-2 LineSelector, which allows you to adjust the output of each loop. This makes it possible to adjust the level of the effectors connected to the loops, and to easily adjust the volume difference between each loop. Unlike effects pedals that actively create sounds, loop boxes may be a modest item, but they are very practical and powerful (for live performance). We encourage interested readers to find the model that best fits their needs.
On a side note, Hanoi Rocks live concert! (^^)/ I was able to get tickets! I am looking forward to it!
Episode 8 A Little Core Pedals and Effects Pedals
It's been a while! How are you? It's been quite a while, but I had the chance to experience "Hanoi Rocks" at Akasaka Blitz! I was right in front of Andy McCoy, so I was almost killed by the excited crowd... (^^;). They played pretty rough, but they were so energetic! Especially Mon-chan was so cool! I was also blown away by the outrageous costumes. I was blown away by his dapper outfit! (^^)/ In addition, they are covering Hanoi's number with their new band that they have recently formed, and I am already looking forward to their live performance. I'm embarrassed to say that I'm acting like a child, but my taste in music hasn't changed at my age.
This time, we would like to introduce several rare pedal type effectors from the '6 to the '80s that our staff at THE used music store has finally unearthed through sweat and tears in faraway foreign lands. The term "multi-effects pedals" back then is a bit of an exaggeration, as they were at best a combination of wah and fuzz, etc. (laugh). Come to think of it, I think it is an effect pedal that could be called the originator of the Boss V-WAH PW-10, a recently released combined distortion and wah effect pedal.
'71 National FUZZ WAH PEDAL MODEL: FW939 SOLD
The first one is a wah fuzz made by Shin-ei Denki in Japan in 1971. Although the brand name is now "National," this is the same company that produced the famous Uni-Vibe, which Jimi Hendrix loved to use. At that time, Shin-Ei Denki was producing a number of effect pedals on commission from many manufacturers in addition to its original products.
The pedal part is an appropriation of late Uni-Vibe pedal parts. The fuzz circuit seems to be the same as that of Univox's SUPER-FUZZ. It has a distortion and level knob, and a switch to switch between normal fuzz and octave fuzz. The switch on the tip turns the fuzz on and off, while pressing down hard on the pedal turns the wah on and off.
The fuzz sound is very eccentric, and the silicon transistor design provides long sustain with coarse distortion grain. The fuzz sound is very eccentric, and the silicon transistor design provides long sustain with coarse distortion grain. Combined with a wah, it is a powerful effect pedal that can produce very emotional backing and soloing.
M'70s Ibanez STANDARD Wau Fuzz $58,000- $60,900- including tax
Next up is a rare mid-'70s Ibanez wah fuzz. Ibanez" is an export brand made by Nisshin Oto-Wa Seisakusho, which is well known for its "Maxon" brand. Ibanez was also exported under the brand name "MICA. At that time, Nisshin Soundwave Manufacturing was manufacturing pickups for electric guitars for Fuji Strings Mfg. The bold looks of this product are hard to believe that it was made in Japan!
First of all, the fuzz sound is a silicon transistor specification, but it has a coarse distortion sound like a germanium transistor specification that is extremely crushed (compressed), and when you play a chord, it becomes a mass of sound. It is a strong fuzz sound, and it doesn't matter if you play 7th or 9th. I recommend it for single-note players. The right side of the two switches in the front panel is for turning the fuzz on and off, and the left side is for switching the fuzz tone. You can choose between a don't-shatter type tone and a mid-boost type tone. In the high position, both upper octave tones are quite noticeable. The right knob controls the amount of fuzz distortion, and the left knob controls the output of the fuzz.
The wah can be turned on and off by pressing down hard on the tip of the pedal. The wah sound has a large variable range and a large amount of room to step on the pedal, which produces a very large wah effect. When the pedal is turned up, the wah can be quite boomy, and when the pedal is turned down, it can produce a hysterical scream that hurts the ears. When used in conjunction with the fuzz, it can produce a chattering sound similar to that of a talking modulator.
It may seem a little difficult to use, but when the time comes, you can get a very impactful effect.
☆Postscript☆
I have also seen the "WAU-WAU-WAILER SG-17C" by MICA and the "WAU-WAU-WAILER SG-17C" by Guyatone.WAH-FUZZ FS-5" by Guyatone, and "WAU FUZZ WF-1000" by ELK also exist. All are Nisshin SoundWAU FUZZ WF-1000" by ELK and "WAH-FUZZ FS-5" by Guyatone.
However, Ibanez's "FUZZ & WA" was an OEM of FOXX, and the world of effect pedals is also a very deep one.
'60s JENNINGS GROWLER ? REPEATER ? SOLD
Jennings Music Industries (JMI), founded in 1956 by Tom Jennings, an English accordionist and organ player, and Dick Denny, a guitarist and electrical engineer, signed a distributorship agreement with VOX and began producing VOX products around 1958. JMI began producing VOX products around 1958. JMI rose to the top of the group with the successful sales of the AC15 and AC30 guitar amplifiers. Needless to say, the Beatles were also behind this success. In 1964, JMI sold the rights to the Royston Group, also in the UK. Jennings and Denny started a new company called "Jennings Electronic Developments (JED)" and produced Glowler(wah/fuzz), Repeater, Fuzz, Wah-Wah, Hi-Lo Boost, Harmonic Boost, Siren Foot Control (wah, fuzz, and siren effects), and Scrambler (volume/wah). Their common feature is the fan-shaped body and rotary control.
And now, the GROWLER is here! I immediately started to play the sound! What's that? GROWLER is a wah fuzz, right? Is it a malfunction? Check the circuit. Look inside and be surprised! There is no wah-like circuit in it at all! I had a professional technician check it out, and he said the circuit is perfectly normal. Could it be a modification? The circuitry is neat and tidy, and the parts are old enough for the era...well, it's a model that is more than 30 years old, and you can hardly see it! I am only guessing, but I think it might be the "Repeater" model that existed in the lineup at that time! For some reason, the GROWLER case may have been diverted! I would like to think so myself. The reason being is that the resulting sound has a certain flavor! The effect is similar to that of a tremolo, with a unique sense of rotation. The sound is mild and thick, and I have not been impressed since Dallas Arbiter's Trem Face!
The foot switch "W" turns the effect on and off, and "F" turns the low pass filter on and off. The delay time (speed) can be adjusted by placing your toe or heel on the rotary and twist! Isn't this fun? (^o^)/
'80 musitronics C-200 VOLUME-WAH PEDAL "N.O.S." SOLD
Next up is a product from Mutron, a company that exudes a sense of luxury. MUTRON is known for the MU-TRON III, the world's most powerful envelope filter! However, the "C-200 Volume/Wah Pedal" we picked up this time is also a unique model like MUTRON. And it is miraculously unused and brand new! (◎◎;) As some of you may know, this is an effect pedal familiar to the feet of the super Latin rock guitarist "Carlos Santana," who won a record-breaking eight Grammy Awards at the 42nd Grammy Awards and is still going strong.
This concludes our introduction of the four effect pedals. What do you think? Did you find any of them that moved your heart? I am sure you cannot understand it well from my poor explanation. If you are interested, please try them at our stores! (Sorry for those of you who live far away...) I am always interested in old effectors because they are so simple but unique. They are all a bunch of jalousies, but that's what makes them so cute (^o^).
I would like to report on this page when I find something interesting. Recently, there have been a lot of unpleasant topics such as the Iraq War and the North Korean problem, but here I would like to skip those political matters and just go on with my life.
Episode 9 ELEHAMO BIG MUFF π Special Edition
Hello, everyone! How are you doing? It's getting warmer at last, but suddenly it's hot! (;^_^)A I'm a sweaty person, so when I play the guitar a little bit, the strings get rusty in a day. I have to change the strings every time I play, and it quickly turns into a rusty mess.
This time, I would like to introduce the "Big Muff π" by Electro-Harmonix. A while ago, Guitar Magazine, a long-time favorite magazine of mine, did a feature article on Elehamo! The BIG MUFF π is one of the most popular models in the ELEHAMO lineup, and as many of you know, it is a fuzz guitar! It is still fresh in our memories that they dominated the grunge scene in the early 90s, including the late Kurt Cobain's use in the early days of Nirvana. Hmmm, that was a long time ago (^^;)? More recently, Mogwai and KOЯN have been known to use it.
The first BIG MUFF pi, designed by Bob Meyer, an engineer at Electro-Harmonix, led by Mike Matthews, was born in '71. Unlike the rough and tumble fuzzes of the past, the BIG MUFF π had rich sustain and harmonics, and a soft, smooth distortion sound. Jimi Hendrix bought it at "Manny's" in New York and named his BIG MUFF π "Jimmy James" and used it in his session work. He named his BIG MUFF π "Jimmy James" and used it in his session work. Carlos Santana also got it by mail order.
The current version was manufactured in Russia until Mr. Matthews sold the company in 1984 (production resumed in Russia around 1990, and now USA-made products are back! (Production resumed in Russia around 1990, and now USA-made products are also back!) The following is a list of the first to third models that were released during the period between 1985 and 1985. However, please be aware that not all of them are included in this issue, as there are many specifications. Also, there are individual differences, so please use the sound as a reference only!
Currently, it is very difficult to obtain the first and second period models in particular.
BIG MUFF π E'70s (1st Triangle Knob/Snake eye base,point to point wiring)
This is an early model released in '71 ('71-73). It is commonly known as a "triangle knob" because of the placement of the knobs. This is an extremely rare proto type, which was released before the printed circuit board was adopted. The parts are set on a serpentine base, and the legs of each part are soldered directly to each other. Instead of an on/off slide switch, it is a volume with a switch. The other two knobs are not SUSTAIN and TONE, but SUSTAIN and FUZZ.
If you have only tried BIG MUFFs from the second phase onward, you will be surprised at the difference in sound! Or, to put it another way, it is a very fuzz-like, thick, and rough sound. The latter is probably more of a distortion than the former, lol. When the knob is turned up, the sustain is ended. When you turn it up, you get a fat low sound with sustain. A bombastic sound!
BIG MUFF π '72 (1st Triangle Knob)
This is "Triangle Knob" made in '72. It is not as quirky as the first model, and has a stronger low end and more fatness than the second model. Roughness and smoothness cohabit in a good way. It seems to be easy to use, and I personally recommend it.
BIG MUFF π EH3003 '76 (2nd Lamb's Head) w/box "MINT" SOLD
This is a 2nd period ('73-76) model in excellent mint condition. It is commonly known as "Lamb's Head" because the woman's face on the body looks like a sheep's face. Recently, the popularity of this model has been increasing rapidly, probably because Shintaro Sakamoto of "Yurayaura Teikoku" was a favorite user of this model. Blue-letter models are also available on rare occasions.
It has a moderately violent sound, with a thick and sustain-rich sound. The highs are not as harsh as in the third period, and there is a peak in the mids, giving it a mellow sweetness. A little bluesy!
BIG MUFF π EH1322 '77 (3rd Version) SOLD
This model is from the 3rd version ('76-84). This is probably the most familiar design of BIG MUFF, as reissued versions with the same appearance are also available now. Some of the later models are also available with op-amp IC specifications.
The highs are quite strong and the lows, on the contrary, are clear. Quite hysterical! The distortion is smooth and edgy without being crushed by intense chord work.
The currently reissued USA BIG MUFF π has the appearance design of the 3rd period, but it has LEDs and the tone bypass switch has been removed, making it closer to the 2nd period and earlier models in terms of circuitry.
What do you think? Did you get the idea? (^^;) Compared to recent effectors, it looks a little cheap. The lunch box-like case is cute and handmade, isn't it? Unfortunately, it was not included this time, but it was an early Russian-made one from the '90s (★Along with the MXR, the ELEHAMO is one of the most representative effect pedals from the '7s to the '80s! It has always been inseparable from the music of that era, and new followers are still proliferating.
On a side note, my friends and I are hosting a live concert at Okubo Hot Shot, and I have a little time to play a few songs. This time, most of the songs will be covers of Hanoi Rocks, with me on guitar and Imoto on vocals from the acoustic section. In addition to the main band "Drunker's Powwow," there will be several other bands and a session time, so if you are free, please come and visit us.
Episode 10 Ogachan's "Magic Box
Wah and Fuzz
When combining a vintage wah and a fuzz, the wah may not work well. This is because the input impedance of the fuzz is extremely low.
Boosters and Distortion
Structurally, a booster is one that purely increases volume only (without distortion). However, it can also be interpreted as a booster in a broader sense, such as when an overdrive effector or other device is used to overload an amp to obtain an overdriven sound.
Buffer Amplifier, Impedance
Passive (no preamp) electric guitars have a high impedance output. Generally, guitar effectors are designed to receive high and output low, but if the input impedance of the effector is low, the sound will be thin (high dropout).
A buffer amplifier converts a high-impedance signal into a low-impedance signal. Low-impedance signals are resistant to noise, etc., and are not easily degraded, making it advantageous to use long shielding.
True Bypass
Effects pedals equipped with electronic switches, such as the BOSS Compact for example, pass through a buffer circuit regardless of whether they are turned on or off. This is hardly noticeable when using a stand-alone effector, but when many effectors with built-in buffer circuits are connected in series, it can cause changes in tone and loss of sound.
True-bypass type effect pedals minimize sound changes by not passing through any circuits when bypassed. Although true-bypass type is becoming more and more popular these days, it is important to pay attention to noise, since the signal is not converted to low impedance when everything is turned off.
Volume pedal position
If you have multiple effectors connected between the guitar and the amp, and you connect the volume pedal closest to the guitar, it will act like the volume control on the guitar itself. On the other hand, if you connect the volume pedal at the end of the effects pedal, you can control the final volume without changing the sound created by the effects pedal. However, if it is connected later than the delay machine, the reverberation tends to be cut off unnaturally, so it is better to connect it before the delay machine.
There is a lineup of volume pedals with different input impedance, such as BOSS's FV-50H and FV-50L, so select one according to your application.
Order of connection of booster and distortion pedals
If a booster is connected before a distortion pedal, the distortion pedal will be boosted when the booster is turned on, and the distortion will become deeper. Conversely, if the booster is connected after the distortion, the volume will increase. However, in settings where the amp is easily distorted by the load, this will only increase the distortion of the amp and will not increase the volume sufficiently.
Chorus, Flanger, Delay Machine
Chorus and flangers are basically the same as delays. Both are short delays with modulation (shaking) added. The latter, the flanger, is more aggressive than the chorus. In general, the longer the delay time of a chorus or flanger, the more aggressive it becomes.
Tremolo, Vibrato
They are both shaking sounds, but what is the difference? What is the difference between them?
Tremolo is based on a change in volume, while vibrato is basically a change in pitch. There are two types of tremolo: triangular wave (continuous volume change) and square wave (intermittent volume change). The latter can be used to create a machine-gun effect when played quickly.
Distortion and Overdrive
Distortion is often categorized as containing many odd-order harmonics, while overdrive contains many even-order harmonics, etc. Recently, however, distortion and overdrive have become more complex structurally, and the names should be taken as a mere image.
Low-pass and high-cut filters
The FILTER control on the RAT, the poster child of LA metal, differs from a normal tone control in that it is a high-cut (low-pass) filter that reduces the high-frequency component as you turn it to the right. In other words, the minimum position is fully open.
Alkaline and manganese batteries
It is often said that "manganese batteries are better than alkaline batteries for fuzz. Alkaline batteries have a characteristic of rapidly dropping in voltage as they approach the end of their useful life. On the other hand, the voltage of manganese batteries drops little by little. I believe that this is a popular belief among musicians who say that the sound is better when the voltage drops a little, but in fact, regardless of which is better or worse, the sound changes slightly with the drop in voltage.
Discrete and IC
There are two types of effectors: discrete circuits, which consist of only transistors, and integrated circuits (ICs), which consist of many transistors on a single chip. However, this situation has changed with the advent of high-quality ICs such as the 4558. Unlike hi-fi audio devices, distortion effectors have their own unique sound due to differences in the characteristics of the ICs.
Inch and mm
In most cases, jacks for domestic effectors are millimeter-standard, while jacks for imported effectors are inch-standard. The difference in dimensions is so slight that it seems to cause almost no problems, but there are many problems with poor contact caused by the combination of inch-standard jacks and shielded cables with domestic millimeter-standard plugs. You should check before you get into trouble!
Maxon, Ibanez
Both are brands of Nisshin Onpa; Ibanez was originally an export brand of GRECO guitars. The vintage Ibanez tube screamers TS808 and TS9, which are famous overdrive machines, are basically the same in content as the Maxon OD-808 and OD-9.
OEM
OEM" or Original Equipment Manufacturing has long been a common practice in the world of effects pedals. This is a system in which the manufacturer manufactures under the brand name of the supplier. There have been many cases, starting with VOX, JEN, THOMAS, etc. in the past, and including Shin-ei, KORG (Keio Giken), etc. and Univox, KORG KES series and YAMAHA 01 series in the 1980s, and so on.
Big Muff pi.
Muff is as popular as ever, but by the way, is Muff a fuzz? Distortion? Maybe it doesn't matter which one it is, because the sound is great f^_^;?
The first "triangle knob" was introduced in the early 70s. It is a genuine fuzz from the era, including the sound. After that, after "Ram's Head", the grain became finer and the sustain became longer. Compared to the more extreme fuzzes of recent years, such as the Fuzz Factory, the Muff could be considered a distortion.
Fuzz Face
The germanium transistor in the original Fuzz Face introduced in late '66 was the NKT275, which was replaced by the BC108 in the late '60s and the BC109 in the '70s and later, but these were silicon transistors that were less affected by environmental changes and produced more more intense distortion.
AD-900, early/late
The BBD chips used in the AD-900 from the '90s are different from those used in the AD-900 from around 2002. The former has two MN3005s and the latter has four MN3008s. Whether it is due to the difference in the BBDs or the semi-fixed setting on the board, the early model has weak feedback and does not oscillate, while the late model has strong feedback and can be made to oscillate.
Centaur/CENTAUR
Recently, Centaur has been equipped with a vintage look and feel. Needless to say, it is a booster that has earned its name. It has already been nearly 15 years since it was first released in 1994, but the fact that the specifications have basically remained the same shows the high level of perfection. Despite the fact that it has been manufactured for a long period of time, the small number of units produced still causes a chronic shortage of products.
Since its launch, there have been parallel sand-cast gold and silver versions, but the silver version has a serial number beginning with S and has been produced in much smaller quantities. The famous horse design changes slightly around 1998-9. And in recent years, it has become a specification without a picture pattern. Rumor has it that this is because the designer of the design left KLON.
MXR
The well-known MXR, the pioneer of high-performance compact effectors such as Distortion+, DynaComp, and Phase90, has undergone a transformation in its exterior design.
[first period circa 73-5].
BUD lightweight die-cast aluminum case / script logo (written) / unmarked back panel
[circa 76-7]
MXR original die-cast case / script logo / script engraved back panel
[from '77-'08]
Same case / block logo / script engraved back panel
[circa 1980]
Same case / block logo / block engraved back panel
[circa '82-'03]
The matte case will be equipped with a DC jack (for adapter) and LED indicator. MXR is then sold to Jim Dunlop.
[from around '87].
Produced by Jim Dunlop; basic construction was similar to the original final specs until the mid-90s, but in recent years the specs have changed considerably, including pots, switches, and jacks integrated into the circuit board.
ACA and PSA
BOSS effectors are compatible with two types of AC adaptors: the black-labeled ACA and the red-labeled PSA. The corresponding adaptor is indicated on the label on the bottom or next to the jack of the AC adaptor.
Some models, such as the PH-1, do not even work. Even if it does work, the LED indicator glows darkly and the output sound is distorted or does not work properly. In fact, although ACA adapters are clearly labeled as 9 VDC, they actually produce about 13.2 VDC. This is because ACA models are designed to reduce the voltage to 9V inside the effector. Just the other day, an acquaintance of mine who had been using a CE-2 with a PSE adaptor for many years was very impressed with the clarity of the sound when he used the correct ACA adaptor.
ACA and PSA Part 2
The BOSS effects pedals' adaptors can be a bit complicated and intimidating, but there are some useful tips to keep in mind.
If you connect the PSA Adapter to a BOSS PSM-5, LS-2, or TU-2 and supply power to each BOSS compact with a dedicated 8-pin para cable, you can drive both ACA and PSA. Also, if power is supplied to two BOSS compacts via the PSA Adapter and DC-DC2 Para cable, there is no problem if PSA-compatible and ACA-compatible compacts are used together (two ACA-compatible compacts are not acceptable). In both cases, the compacts used must be shielded from each other and within the allowable current of the adapter.
ACA and PSA Part 3
This is a backdoor application of the TIPS described in Part 2 to drive an ACA-compatible model with a standard 9 VDC power supply unit.
For example, a power supply unit that does not have individual regulated supply terminals, such as the CAJ AC to DC STATION, can be used to drive ACA-compatible models. However, it is assumed that the power supply unit is connected to a general 9VDC effector (PSA compatible BOSS product or other third-party product is OK) that is powered by the same supply unit via a patch cable and used at the same time.
VOODOO LAB's PEDAL POWER 2 is also conveniently compatible with ACA by switching an internal DIP switch; it seems that domestic supply was temporarily halted after the PSE Law went into effect, but has been renewed and re-released.
OD-1, Quad and dual op-amp versions
The OD-1, a masterpiece that established the stance of overdrive, was initially equipped with Raytheon RC3403 and NEC μPC4741 quad op-amps, but the specifications were soon changed to 4558 dual op-amps.
All of them have a sound that is hard to compare, but especially the early Raytheon-equipped ones have tight lows and a strong treble sound.
The LED indicator on the early BOSS compacts was a battery checker!
The LED indicator on 70's BOSS compacts such as the quad op-amp OD-1 does not flash ON/OFF. When the footswitch is depressed, the LED indicator lights up and shows the battery drain status by brightness.
CH-1, CE-5
Both were originally analog chorus units, but were secretly converted to digital specifications due to the discon of the BBD chip that was installed in them. Since the sound is almost the same, few people notice the change, but we take our hats off to BOSS for their technological prowess.
However, in comparison, the analog version has a deeper sound. The digital version has a clearer sound and a different appeal, though. The blue and pink labels on the bottom are the analog version. The early gray labels also have the analog version.
Koch PDT-4 Pedaltone
The PDT-4 is a full-fledged floor-type preamplifier with a total of four 12AX7 tubes. From left to right: Clean Ch, Drive Ch, Boost Ch, and Power Amp Ch. The second tube for Drive Ch is a 12AX7WA for microphonic protection.
Backstage of A/B box
There is a backdoor technique to alternate between two modules such as ROCKMAN distortion generator and stereo chorus (one is on, the other is off).
Connect the ON/OFF terminal on one module to the A-OUT on the A/B box, and the ON/OFF terminal on the other module to the B-OUT on the A/B box, using shielded cables. Then, insert a shorted dummy plug into the INPUT terminal of the A/B box. The two modules will then operate (ON/OFF) alternately by switching the switch on the A/B box.
This is a switching mechanism in which A-OUT and B-OUT are grounded (earth/ground) and ungrounded, respectively. This allows you to switch between drive sound and clean chorus in an instant. Also, by using a "Y" cord, it is possible to turn on and off both units at the same time with a single footswitch.
This is an idea only possible with effectors that do not support MIDI. In fact, this is introduced in the ROCKMAN manual, and it may be useful not only for ROCKMAN but also for other effectors.
Analog Delay and Digital Delay
Analog delay uses a delay device called a BBD (bucket brigade device) to create a delayed sound that is mixed with the original sound." Bucket Brigade Device" translates to "bucket relay device" and inside the BBD, water (sound) is carried from bucket to bucket like a bucket relay. As you can imagine, the more buckets there are, the longer the delay time becomes. The more buckets there are, the longer the delay time. The more buckets there are, the longer the delay time. This creates the characteristics of an analog delay. The repeating sound gradually deteriorates, losing some of its high frequencies and becoming milder (in other words, more muted) in tone.
Although the mechanism of digital delay is omitted, it produces an almost perfect (no degradation) repeating sound. Sometimes the sound quality can be hard (cold), and some digital delays are equipped with a high-cut filter to produce a milder tone.
Analog delays with their fat, warm, nostalgic sound are attractive, but digital delays with their clear repeats, extra-long delays, tap delays, reverse delays, etc., have a different and greater appeal. Is it mature to make a choice according to your usage and preference?
Power supply separation between analog and digital systems
As the number of effectors under your feet increases, you may be concerned about power supply noise. Many people use a power supply to supply power, but if it is a general parallel output supply, digital noise will be covered by the analog effectors when using digital effectors and analog effectors together. It is better to separate the power supplies for analog and digital effectors.
Power Supply Trouble
Especially, the recent digital effectors consume a lot of power (amperage), so be careful to use the power supply within its capacity to prevent malfunctions due to insufficient power. In addition, with parallel output supplies, if one effector shorts out, not only will all connected effectors not work, but at worst, they may malfunction. To prevent this problem, some power supplies have built-in short-circuit protection.
Choosing a Volume Pedal
In traditional volume pedals, the pot (variable resistor) and pedal are interlocked via a vinyl or fiber wire. Then, there is some margin for the pot to open and close when the pedal is raised the most and depressed the least. This prevents excessive load from being applied to the pot that has turned fully and damaged it. However, this may cause the pots to not open and close completely, resulting in a slight drop in volume and sound leakage.
Some volume pedals, such as BOSS, use a crank to interlock the pot and pedal. By providing an escape in part of the crank, the pot can be almost fully opened and fully closed while preventing excessive load on the pot.
There are also pedals, such as the MORLEY, that use an optical element to control the volume electrically. This eliminates the generation of buzzing noise due to wear and dust on the pots.
The old-fashioned wire type pedals seem to remain stable and popular today due to their moderately weighted pedals and sturdy chassis. The volume pedal is actually a very deep volume pedal in terms of the resistance of the pot used, sound changes depending on the presence or absence of buffer, comfort (variable curve, torque, and tread), durability, size, weight, and so on.
Is the guitar being used active or passive? Is it a humbucking PU or a single PU? What are the connection points in the effects array? First and foremost, it is important to choose the best type for your application.
The recent proliferation of boutique effectors and modification models is astounding. As you all know, it would be an exaggeration to say that every year, every month, there are exactly as many stars.
As you know, there are numerous new models released from all over the world every year and every month. Especially in the field of overdrive pedals, there are many new models, starting with KLON CENTAUR and FULLTONE FULL-DRIVE, which can be said to be the driving force of handmade pedals, to Keeley and ANALOG.MAN, which have brought about a trend of modifying pedals, to Lovepedal, which boasts a maniac lineup, to the 3-mode pedals, to the 3-mode pedals, and so on. Lovepedal, LANDGRAFF DYNAMIC OVERDRIVE that established a new standard of 3-mode OD, and FUJIYAMA DRIVE.
One of the sources of this trend was the "TS-808 TUBE SCREAMER" released at the end of the 70's, wasn't it? The TS-808 (OD-808 in Japan), which was produced from '79 to '81, has a rich midrange, and a mild and glossy drive sound is obtained by adding pleasant overtones and a perfect amount of compression to the original sound. Many professionals, including Stevie Ray Vaughan, used the TS-808 as a booster for their tube amps. The price of the OD-808 in Japan at the time was 9,000 yen (7,500 yen for the early narrow case version). Around 1982, the model was changed to the TS9 (~ '84). Although the basic circuit was the same, some parts were changed, which called for subtle sound changes. Later, the generation changed to TS10 ('86-'93) and TS5 ('91-'99), but many people wanted the sound of the original tube screamer TS-808 (4558 series), and emerging manufacturers including Mr. ANALOG.MAN, a famous researcher of TS-808, started to produce modified products and respected products, MAN, a well-known researcher of the TS-808, and other emerging manufacturers began to focus their efforts on modifying and respecting the sound of the TS-808. Nowadays, Ibanez is selling reissued models of the TS-808.
The rival to the world-famous TS-808 is the OD-1 overdrive, which was released in October 1977, a little before the TS-808. Jeff Beck used it on stage and praised it as "just like the Marshall sound," and it was the birth of the original overdrive unit of today. The OD-1's sound was more natural than the hard distortion of the MXR Distortion+, and it established a new category of "overdrive" as opposed to "distortion. Although Ibanez had already released the OD-850 Overdrive and OD-855 Overdrive II models overseas, the OD-1 was truly an epoch-making event in the history of effects pedals. The OD-1 was sold in Japan from October 1977 to July 1985, and the list price at the time of its release was 8,500 yen. The list price at the time of release was 8,500 yen, but was later revised to 9,000 yen. However, from the lot number and the printed date on the English manual that came with the product for overseas export, it seems that the product was produced for the overseas market together with CE-2 until around the end of the '80s. The mild, raw sound of the asymmetrical overdrive circuit was groundbreaking, as if a tube amp had been turned up to full blast. It had rich overtones and long sustain that seemed to ooze out, and above all, it did not kill the nuances of picking or fingering touch, making it popular not only with rock guitarists but also with fusion and jazz guitarists. The sound concentrated in the mid-range was a good match for Marshall and other stack amps, and it was excellent as a booster.
This model was manufactured by Nisshin Soundwave Manufacturing (Maxon) from 1979 to 1981 for the overseas market. For the Japanese market, it was released as the "Maxon OD-808 OVERDRIVE. From the beginning, it was equipped with a "Q-1" FET switch, commonly known as a "caramel switch.
The early narrow-case version for Europe had a different circuit than the popular late wide-case version, with two Motorola MC1458Ps (and two UA 1458Cs from Texas Instruments in the OD-808), an early dual op-amp, on the OD-801 (D&S) board. The DC jack is used for the INPUT. The DC jack is located next to the INPUT jack. Compared to the later wide case (TL4558P) version, the sound is surprisingly very similar: the MC1458P version is slightly lower in highs and has a mild, moist sound, while the TL4558P version is higher in lows and has a more gentle sound. On the other hand, the TL4558P has a dry sound.
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TS-808 and OD-808 with narrow case |
OD-808 (MC1458P) Ca. '79
Unlike the European version, the TS-808 and OD-808 have a flat case. The internal circuit is basically the same, and the board is covered with a plastic cover.
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The later wide case version has serial numbers starting from 100000, and is equipped with JRC4558D from Japan Radio, RC4558P (made in Malaysia) from Texas Instruments, and in some cases, its improved version, TL4558P from Texas Instruments. RC 4558P (a.k.a. Malaysian Chip) has a wide range, edgy and clear contours, strong lows and extended highs. It has a strong comp feel, and at times, when playing chords, you can feel a little bit of a rasp in the sound. The JRC4558D equipped with a JRC4558D has a mild, glossy sound with a concentrated midrange. The TL4558P is similar to the JRC, but the lows are a little tighter.
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Maxon OD-808 in Japan |
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TS-808 #116965 (RC4558P) Ca. '80
This model has the (R) mark (registered trademark mark) in the upper right corner of the "Ibanez" logo, a hyphen in the model number "TS-808", and a fixed nut on the DC jack. There is a brown paper insulation sheet and no scale around the control knob.
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TS-808 #145621 (TL4558P) '80-'81
The fixing nut in the DC jack section is eliminated, and a black plastic insulating sheet is adopted.
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TS808 #163060 (JRC4558D) Ca. '81
The (R) mark (registered trademark mark) on the upper right of the "Ibanez" logo was removed, and a scale was added around the control knob.
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The following table shows the data of TS-808s that THE Used Musical Instruments Store has handled up to now.
The units marked with * may have had their chassis (S/N) replaced due to irregular specifications.
From the booklet "BOSS Effectors Encyclopedia VOL.1" that came with the product.
Quad op-amps were used in the circuit of the early OD-1. The Raytheon RC3403ADB was used in the very first OD-1s from lot 6400 to 8400 or 8500, and the NEC μPC4741C was used in lot 8600 to 8800. The LED indicator was for battery checker only. Around No. 260000~270000, NEC C4558C or JRC4558D was used, and later JRC4558DD, but some Texas Instruments TL4558P, etc. were also used. In the early 80's, around No.0400-0500, the silver screws are changed to black screws. After that, the position of the letters OD-1, the thickness of the logo itself, and the shape of the pot and control knobs were changed in the main areas.
The RC3403ADB has tighter lows and more highs, and the μPC4741C has a brighter sound. The µPC4741C with RC3403ADB has richer low-mids, less highs, and a fat sound compared to the RC3403ADB. It is more suitable for single coil pickups. The dual-op NEC C4558C pickup with μPC4741C has a sound that is clearly in the vein of μPC4741C. It has even stronger lows and heavier sound than μPC4741C.
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A quad op amp is an op amp that contains four op amps in one package. |
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A dual op amp is an op amp that contains two op amps in one package. |
OD-1 #8000 (052-281B/RC3403ADB) '78
FET switch transparent and external spring-loaded, large quad op amp on board. Paper insulated sheet, silver screws (coin screws).
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OD-1 #8700 (052-281B/NEC μPC4741C) '79
The FET switch has a special color and shape, perhaps due to a transitional period. The battery snap pull-out position is also different from #8000. Instead of Raytheon, which had difficulty with quality stability, it was replaced by NEC's Quad-OP.
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OD-1 #9600 (052-281D/NEC C4558C) '79-'80
FET switch changed to similar to current product. The board is equipped with a small dual op-amp. Insulation sheet is now made of plastic.
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OD-1 #262200 (NEC C4558C) '82
Lot No. is stamped instead of label, and "Roland JAPAN" is on the bottom label. Black thumb screws. The circuit board of this model is MADE IN TAIWAN.
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OD-1 #922512 '89
The position of "OD-1" has been changed, and the control knobs and pots are the same type as the current model. Lot No. label is attached on the bottom of battery cavity. This model was exported to overseas, and the date on the attached English manual is "May. '88".
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Below is a table showing the individual data of OD-1s that THE Used Musical Instrument Store has handled up to now.
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Sound comparison of OD-1(RC3403ADB) and TS-808(TL4558P), general comments
Finally, I made a test comparison of the two masterpieces. Both are overdrives with a range in the midrange, but they still have unique characteristics. First, the OD-1 has a relatively high frequency range and a dry sound with a crisp edge. The TS-808 does not produce as much high frequency as the OD-1, even when the TONE control is turned up to the max, and has a milder, wetter texture. Personally, I have the impression that the OD-1 is suited for humbucker pickups and the TS-808 for single coil pickups. The OD-1 can be used with the JC Jazz Chorus (guitar amp) to produce a hot, raw drive sound. Of course, its charm is doubled when used with a tube amp, and the sound tightens up nicely as the gain is increased. The TS-808 is now unbeatable with Fender twins and Strats and Telecasses! The sound blends and swells, and the fatness of the mids and the overtones in the highs add an indescribable sweetness and color to the sound, in addition to a pleasant feeling.♪ There are also differences in sound due to the aforementioned differences in operational amplifiers, etc. If you get down to it, you will find a very deep and maniacal world.
The two models we picked up this time were the very best of the best. Just as the foreign-made fuzz pedals of the '60s and '70s swept the world, the overdrive pedals born in Japan in the late '70s are loved all over the world and still alive in the latest music scene. Many of our customers who used the OD-1 or TS-808 in the past (back in the day), and then for some reason decided to pursue new pedals, experienced many trials and troubles, and then one day, after connecting them casually, they realized how wonderful the OD-1 or TS-808 was and loved using them again. I feel that many of them are using them again. Like guitars and amplifiers, effect pedals are just tools, but when they produce a good sound, you are truly moved, and it's amazing how much you come to love them. Is it just me? No, I'm sure every guitarist has that feeling! Even if it is a machine, something may be in it.