Dazatronyx - Pedals made by Darron Thornbury in Melbourne, Australia

Philosophy

I began to design pedals in my late years of secondary school, and have remained fixated ever since. My design style might be thought of as a hybrid combination of vintage and modern technologies. I build each pedal myself, by hand, as I would for myself or a close friend.

All of the circuits are hand soldered in my home to have a long lifespan, and be practical to service. The enclosures are drilled and powder coated in my garage. The printing is also done at home. My name is Darron Thornbury, and I live in the outer south-eastern suburbs of Melbourne, Australia.

parts, quality

All pedals have a 10 year warranty.

Here are some of the high quality parts which I commonly use in (most of) my pedal designs:

In-house durable powder coating (most powders by Dulux Australia).
In-house durable printing using Roland (Japan) inks.
600V teflon insulated wiring.
Reliable, long-life true bypass original brand CIC footswitch.
Lead-free soldering.
Authentic Hammond 1590 series superior aluminium alloy enclosures.
Copper > nickel > gold plated circuit boards.
Switchcraft audio sockets.
Locally made packaging.
In-house printed merchandise.

news and updates - Follow along:

Instagram: @dazatronyx

Facebook: Dazatronyx

YouTube: DarronThornbury

CLASS A

Germanium amplifier V2

Voicing switch:

Mid: Effective at boosting for more drive, without the bottom end getting too flabby.
Bright: Slightly fuller than a classic treble booster.
Full Cream: Extra body, and fat tone.

GE / SI
Silicon mode can be used as a backup in extreme temperatures, or for some harder clipping texture. This switch mechanically 'hot swaps' the transistor. Expect a small pop noise.

N.B. for purity of design, this pedal uses a positively grounded case. As such, it needs to be run from an isolated power supply, or battery. IE this pedal may not be suitable for a daisy-chain power supply. Battery use is not necessarily preferred.

OPTICAL TREMOLO

My tremolos are easily my favourite circuits, and have occupied more of my design time than anything else. This was my first effect design from scratch, which I started in high school. Development took over a decade before I was happy with it.

By shining a fading light against a photo-sensitive field, this tremolo uses all-analog photo-coupling to restrict and fluctuate the output volume. Careful waveform construction, with non-linear photocell coupling, creates an organic and lively volume fluctuation, far divorced from sounding like a basic electronic waveform function. The square wave is similarly processed, so as not to sound like a computer.

Symmetry switch: This toggles between two modes which are subtly different. The asymmetric mode (up) has a slightly uneven rhythmic pattern. I feel this mode is sweeter, as it has a less obvious tempo. The modulation ascent and decent waveforms have slightly different shapes, which change and adapt for volume with different speeds and depths. This can be heard with emphasis in the original liquid spinning can tremolos.

I prefer to use the asymmetrical mode for the square wave, as the signal stays 'on' longer, with less gap time.

The symmetrical mode (down) has an even 360 degree spin, with a very slightly deeper scoop. It has a classically pronounced tremolo shape.

This circuit operates with in a split rail power supply for increased headroom, and has a very low noise level.

As with all of my tremolo models, you should expected perceived unity volume with all depth and rate settings, without having to make any manual volume adjustments. The wet level can be adjusted internally by a trimpot.

Biiig Fuzz

A point-to-point version of my Big Fuzz pedal.

This pedal was intentionally designed to look as handmade as possible, while still being built like a tank.

The neat soldering isn't just for show, and uses skills I acquired working in a valve amplifier factory in my youth; where we worked exclusively with PTP tagstrip. I consider that period my "wax on, wax off" training.

This pedal is expensive, as it takes me days to build. Built to-order. Please allow approximately one week construction time before posting.

There's no user manual. I assume that this won't be your first muff. The only thing to know is; that the 73 switch toggles between standard muff setup (LED red) to a '73 Supa setup (LED green). With the additional mids control, of course. The '73 mode has a fuller, and less compressed low-end.

There is no internal battery space.

ULTRA RAD DISTORTION

This pedal can be used either as a classic ratty fuzz/distortion, or as a raunchy germanium overdrive. This is a sound of the '80s and '90s, with some Dazatronyx tweaks.

The 'stock' silicon mode is the classic ratty sounding fuzz-distortion. This is achieved by a two-stage distortion of first overdriving the metal can 308 amplifier into fuzz, and then recovering some shape by further compressing the signal using hard-clipping silicon diodes.

In the germanium mode, the silicon chip fuzz has been removed. Germanium transistors and germanium diodes are used to achieve a rounded and organic overdrive-distortion.

The HAIR control dials the mid/high drive saturation. Turning this completely to the right achieves the classic metallic ratty distortion. Turning this left achieves a full, flattened response. This is a variable version of the reutz mod.

This pedal is expensive, as it takes me days to build. Built to-order. Please allow approximately one week construction time before posting. The circuit is constructed using point-to-point tag strip.

AC128 ARBITRARY FUZZ

This is an old-recipe, classic germanium fuzz, built to end your Fuzz Face search. New-old-stock European AC128 transistors are used, housed on a turret-board circuit.

The Roger Mayer Hendrix mods have been implemented, which make better use of AC128 transistors. These mods notably output higher gain than the standard fuzz face, and cleans up neater with the volume knob rolled back. The FUZZ knob has an extended range, and improved sweep.

There is no internal battery space. Power supply is internally conditioned. A battery may be used by means of an external adapter (sold separately).

This pedal should be placed first in the signal chain to voice correctly, connected directly to the instrument, and before any buffered pedals.

The aluminium can capacitors are ridiculously oversized for their rated voltages. They are audio rated for very low ESR, and low leakage.

This circuit uses PNP type transistors. The power supply input is the industry standard 9V type with negative centre. However, for purity of sound; the case is positively-grounded, and as such cannot share a power supply with other pedals unless the supply has isolated outputs.

The transistors used are cherry-picked for suitability from my collection which I have saved for many years, and as such are limited in availability. First in, best dressed. Germanium transistors are temperature sensitive, and will perform differently according to the ambient temperature.

All Earth connections are star-grounded from the chassis. A Carling DPDT footswitch is used for the familiar under-foot haptic clunk.

BIG FUZZ

The Big Fuzz began as a muff circuit, which has been critically re-tuned to improve the tone, playability, and versatility of the pedal.

The MIDS control knob sweeps from the classic scoop, through to a more focused modern tone, with everything nice in the middle. (Classic muff scooped mids will be found around the 9 o'clock position).

The BMP/STB switch toggles between a modified muff setup, to a 1973 Colorsound Supa Tonebender mode (with the variable mid knob, of course). The '73 mode has a fuller, and less compressed low-end.

This fuzz uses gain-selected transistors, and black glass silicon diodes. Due to internal signal processing, this effect is not particularly fussy with input or signal chain positioning.

MIKE HERMANS

WORKSHOP
brett kingman
A todo Fuzz
Rhys Warden
brett kingman
KFIRO	View this post on Instagram A post shared by Kfir Ochaion (@kfiro) on May 5, 2019 at 2:02am PDT
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The Super Fun Awesome HappyTime Pedal Show
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The Pedal Picassos
InTheBlues
Captain Cherry's Guitar Lounge
SHAUN KLINGER (iphone)
The Fifth String
The Fifth String

THD

The THD is an '80s metal fuzz distortion, a rework of the original Japanese HM-2. This was my first guitar pedal, which later formed its own cult following.

By using a dual-gang potentiometer, the DISTORTION knob has been redefined from the sloppy classic one. This is actually a dual-function control for two cascading gain stages: The first half of the range of the DISTORTION knob controls a full-bodied fuzz. The second half adds a further layer of compression and sustain.

The signal is processed through germanium diodes in the final compression stage. This is a crucial part of the tone, which would be omitted from commercial reissues due to RoHS.

The LO+ and HI+ are frequency boost controls. For a flat EQ response, try starting with these set to zero, rather than high noon. If you want to 'max out' all of the controls for the Swedish chainsaw tone, then you will need to reduce the VOL control to-taste, as it has an increased output level from the classic.

Japanese polyester audio capacitors are used, as well as low noise resistors, and low ESR ceramic power filter capacitors. These do not suffer the limited shelf life of electrolytic capacitors, and are distributed throughout the board in key locations, rather than one large electro filter cap serving the whole circuit. Low noise JFET input Texas Audio amplifier chips have been used.

This pedal stacks best when placed after other distortion and overdrive pedals.

N.B. this does not include the two toggle mod switches shown in demo videos of the first round build. Contact me for those options.

Or buy just the circuit board including all of the SMD parts preassembled. No other parts are supplied. This is an easy level project as only the audio capacitors and germanium diodes need to be added to the board. Circuit boards are posted as letter post.

Build documents:

Previous build documents:

RAD DISTORTION

This pedal is the classic ratty fuzz/distortion. This is a sound of the '80s and '90s, with some Dazatronyx tweaks. This is achieved by a two-stage distortion of first overdriving the metal can 308 amplifier into fuzz, and then recovering some shape by further compressing the signal using hard-clipping silicon diodes.

Please note: the germanium mode switch shown in demos is no longer included on this model as standard.

RAD Distortion XL

A larger size version of the standard model (above). This pedal can be used either as a classic ratty fuzz/distortion, or as a raunchy germanium overdrive. This is a sound of the '80s and '90s with some Dazatronyx tweaks.

The 'stock' silicon mode is the classic ratty sounding fuzz-distortion. This is achieved by a two-stage distortion of first overdriving the metal-can 308 amplifier into fuzz, and then recovering some shape by further compressing the signal using hard-clipping silicon diodes.

In the germanium mode, the silicon chip fuzz has been removed. Germanium transistors and germanium diodes are used to achieve a rounded and organic overdrive-distortion.

The HAIR knob can dial the mid/high drive saturation. Turning this completely to the right achieves the classic metallic ratty distortion. Turning this left achieves a full, flattened response. This is a variable version of the reutz mod.

Components used may vary to those shown in the photo. Photos should be used as a general guide for construction and components quality. Most carbon comp resistors are changing to carbon film or metal film type. The flametop/sunbust finish is also avialable for this build.

FFS

A recreation of the EJ silicon Fuzz Face.

TSX OVERDRIVE

The TS10 circuit had some minor variations to the TS9 and TS808 circuits, and is now highly sort after for its secret-sauce flavour.

The classic TS10 stock tone is achievable in STD mode, as well as two other variation modes:

STD - Classic TS symmetrical clipping, with a focus on mids.
ASYM - Asymmetrical clipping shape begins to ‘look’ more like valve amplifier clipping. This can better suit input signals which already have a full bottom-end, such as a neck pickup, and allows chord detail to better shine through.
FAT - Asymmetrical clipping, with a fuller bottom-end.

The gain control has twice the amount of gain range as a classic TS. The extended range begins at the 2 o'clock position onwards.

The chip has been upgraded to a higher performance audio amplifier by JRC (Japanese Radio Company). The 'soft clipping' is achieved using three black glass silicon diodes.

TWIN FET BOOSTER

This is the continuation of a design which I have been building over the years under the names Fetish Booster and Little Fetish. This discrete circuit is an adaption of a valve topology used to squeeze extra gain from vacuum tubes. 5457 Field effect transistors are used, being the closest sold-state counterparts.

The body control shapes the output tone. Turn it all the way up for a full bodied, flat frequency response.

The Twin FET Booster runs on a split-rail power supply (-9, 0, +9) for increased headroom. Noise levels are very low. There is an internal gain adjustment trimpot which can be dialed for clinical sterility, through to crunchy FET breakup.

This circuit is also available as a DIY build as the Discrete Boost.

The artwork was drawn by Melbourne artist Mr Kade.

PROFESSIONAL DRIVE XL

This is the result of my work redeveloping the classic TS overdrive circuit over many years, and critically evaluating every tone-shaping aspect of the signal path.

This XL sized version is 808-based, and using over-spec'd parts.

The three-way switch which toggles between three modes, which is helpful to suit a broader range of pickups and play styles.

STD - Classic TS symmetrical clipping, with a focus on mids.
ASYM - Asymmetrical clipping shape begins to ‘look’ more like valve amplifier clipping. This can better suit input signals which already have a full bottom-end, such as a neck pickup, and allows chord detail to better shine through.
FAT - Asymmetrical clipping, with a fuller bottom-end.

The gain control has twice the amount of gain range as a classic TS. The extended range begins at the 2 o'clock position onwards.

Please note: The second toggle switch option seen in the demo videos below is no longer included in the current production model for sale here. I found that the tone knob can make a setting which sounds the same as the "2 knob" mode, so it was removed. Components used may vary to those shown in the photo. Photos should be used as a general guide for construction and components quality.

EMS Express international delivery is still sometimes taking a little over a week to depart Australia. Once landed, it usually is delivered very quickly as a regular express courier service.

STEREO PANNING

OPTICAL TREMOLO

After a decade of development, I've created this completely unique circuit as my ideal tremolo. This is easily my favourite effect circuit.

By shining a fading light against a photo-sensitive device, this tremolo uses all analog photo-coupling to restrict and fluctuate the output volume. There is automatic perceived volume compensation for the full sweep of the controls.

This is a stereo variation of my smaller Optical Tremolo. It can take a stereo input, or split a mono guitar input between stereo channels. The PAN switch changes the oscillator of each channel to be out of sync - so one comes up in volume while the other drops. This creates a strange swirling effect. All original analog circuitry and true bypass mechanical switching.

The new boards are using surface-mount assembled parts. This has allowed me to upgrade many aspects, including using Burr Brown audiophile amplifier chips.

The signal is now processed with a true split rail power supply (not a voltage doubler), thus eliminating the need for audio coupling capacitors, and has the highest headroom, and lowest noise levels of any model so far.

SMD multi layer ceramic capacitor arrays are used for power filtering instead of electrolytic capacitors, offering much lower ESR. This also extends the service life of the pedal, as there are no shelf life concerns as with ceramic capacitors which common electrolytic capacitors have. Nor are ceramic capacitors prone to leakage or value drift issue. SMD capacitors are not used in the audio path. Only low noise thin film resistors are used for the audio path. This has allowed me to keep the price down after materials cost inflation, while moving to much more complicated circuits where human assembly error is a significant concern.

BROWN SOUND

The BSIAB2 circuit (Brown Sound in a Box 2) was my favourite distortion during school. The cool thing was; if you wanted one, you just had to build one. Or know somebody who would. The circuit was designed by Ed Guidry, similar to works by Jack Oran and Aron Nelson.

Back in the day, it was one of the highest-recommended builds on the forums. Forums were a thing. Many would suggest that this design was the original precursor to many of the "high gain amp" pedals that came out in the 2000s.

It has a tonne of gain, and can dial in a fat bottom end to fake a big amp sound. Some pedals claim to "stack well" together, but the Brown Sound can also be a "stack" all by itself. This circuit also responds excellently to rolling back the instrument volume knob. It stacks best with other drive pedals running into the input.

Distortion is achieved by overdriving NOS Fairchild 5457 field effect transistors (FETs), being the closest solid-state relative to vacuum tubes. There are three stacked gain stages. No diodes are involved for distortion

These new models use a hybrid mix of both surface mount capacitors and through-hole assembled components (SMD).

BROWN SOUND X TSX

A dual build of the Brown Sound and TSX pedals.

Tweedsville

The three-position switch toggles between amp models of varying gain and bottom-end saturation. This is achieved by a bipolar silicon transistor preamp, with secondary distortion created by J201 field effect transistors.

This circuit is where I have landed from requests to build a pedals similar to the Lovepedal Les Lius, which is fundamentally a '70s Electra Distortion circuit.

Components used may vary to those shown in the photo. Photos should be used as a general guide for construction and components quality. Some carbon comp resistors have changed to carbon film type.

harmonic

OPTICAL TREMOLO MK1

The function of a 'harmonic' tremolo, as opposed to a regular tremolo, could normally be described as splitting the audio spectrum into two registers of treble and bass, and then modulating the volume of each register in opposing directions. IE at one side of the wave you hear the treble, and at the other side you hear the bass.

This build is not a black face style tremolo. This particular circuit works a little differently. Instead of modulating the volume of two registers, it actually modulates the frequency cut of each register. This is done using two very particular photocell sensors, paired against lights which fade in and out.

As with all of my tremolo models, you should expect perceived unity volume in all modes with all depth and rate settings, without having to make any manual volume adjustments. The wet level can be adjusted internally by a trimpot. There is an internal voltage boost for increased headroom, while keeping low noise levels.

I have temporarily suspended sales of this model, while I move it to an SMD board. The current board is so dense, that it actually has some parts soldered on the back side also. I also have a proto for a more traditional-sounding harmonic tremolo, but completion of that is on a long to-do list.

TSUCHI FUZZ v2

The Tsuchi Fuzz V2 takes a new look at the classic two-transistor fuzz circuit. The circuit's tone has been carefully evaluated at every shaping point, to produce either classic or modern fuzz tones.

For a classic germanium fuzz, dial the GAIN back, and turn the CUT right up. Leave the BASS EXPANDER off.

For some reshaped flavour: turn the GAIN up higher. This is more gain than you should rightfully squeeze out of a two-transistor fuzz, but dialing the CUT knob back a little can tighten the bottom-end flabbiness and make some refined fuzz-drive. The BASS EXPANDER can optionally be used to-taste to replace the low end reduced by the CUT control.

Not in production

Dazatronyx Discrete Boost

DISCRETE BOOST

This is an easy beginner project; a discrete boost using two JFETs. There are options for either through-hole transistors, or SMD pads. The IC chip is used to create a split rail power supply (+9V, 0V, -9V) for doubled headroom.

The controls are MASTER (volume) and BODY. With the BODY knob turned fully up, you get a flat and even boost across all frequencies. GAIN can be set by an internal trimpot, or a fixed value resistor.

To make things simple, there are some pre-installed surface-mount parts included (shown). These mostly help to build the power sections. This leaves only a small handful of audio parts left to solder, saving you on part costs, and build complexity errors.

The surface-mount multilayer ceramic capacitors offer superior ESR properties, and don't have the short-lived shelf life as compared with the electrolytic capacitors. Included SMD parts are: schottky polarity protection diode, self-resetting overcurrent fuse, 33K LED limiter (with through-hole option for value reduction), 3M3 input pull-down resistor, and 12x 22μF capacitors for power switching and filtering. No other parts are included.

I have previously built this circuit under the names "Fetish Booster" and "Little Fetish".

Circuit boards are posted as letter post.

Build Documents:

Contact Darron Thornbury

Email me at thornbury@gmail.com. I might be a little slow to respond sometimes, but am happy to help out wherever I can.

Please note that I am not taking orders for custom builds. I am also not interested in modifying or repairing pedals of other builders and brands, as I'd rather spend time working on my own effects.

Please follow Dazatronyx on Instagram and Facebook to receive the latest news.

Workshop Assembly
ASSEMBLY TIMELAPSE
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Brett Kingman
James Ryan
Shaun Klinger
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TRI PEDAL REVIEWS
James Ryan
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James Ryan
Joshua Cheyenne

James Ryan
The Super Fun Awesome HappyTime Pedal Show
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InTheBlues

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AVERAGE PUNTER

Rhys Warden
Brett kingman (teaser)
Abel Franco
The Super Fun Awesome HappyTime Pedal Show

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The Super Fun Awesome Happy Time Pedal Show

The Super Fun Awesome HappyTime Pedal Show
Captain Cherry's Guitar Lounge
FIRST DEMO

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ADAM MILLER

Mike Hermans
COLEMAN's MUSIC

Philosophy

parts, quality

news and updates - Follow along:

effecTS

Contact Darron Thornbury