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.

AUD$229 delivered within Australia only. See returns policy.

or

USD$165 delivered world-wide. Sent by EMS express courier where possible. See returns policy.

Biiig Fuzz

A point-to-point version of my Big Fuzz pedal - my attempt to make the world's finest-tuned muff.

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. All Earth connections are star-grounded from the chassis.

Speaking practically; the finish super glossy. So be prepared to do your own relicing. Unless you want to use cotton gloves to handle your pedal, as I have seen people do on the net...

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

The BMP/STB toggle is available as a foot switch option (not shown).

AUD$720. Free delivery worldwide. See returns policy.

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.

Finish

Grey hammer powder coat $329.00 AUD Swirl dip $369.00 AUD

Delivered within Australia only. See returns policy.

or

Finish

Grey hammer powder coat $229.00 USD Swirl dip $259.00 USD

Delivered world-wide. Sent by EMS express courier where possible. See returns policy.

Developed from my 'made in Japan' HM-2. This redesign extends beyond the limitations of the original circuit to give additional tonal options, without compromising the classic fundamental tone.

By using a dual-gang potentiometer, the DISTORTION knob has been redefined from the sloppy classic one. This is actually a dual-function control, which cascades gain stages together:

The first half of the range of the DISTORTION knob controls a full-bodied fuzz. The second half uses black glass diodes to add a further layer of compression and sustain.

The signal is processed through germanium diodes in the final compression stage. I found some hefty Soviet germanium pulse diodes (they look like little submarines) which are ideal for this function, and are crucial to achieving the valve-like attack response. N.B. this is unlike the common soft or hard peak clipping diode distortion configuration.

The silicon/germanium switch hot-swaps the distorting transistor of the fuzz stage. The germanium mode sounds, dare I say it, closer to "tube-like". These transistors are cherry picked from my collection. First in, best dressed.

A focus switch has been added which makes subtle adjustments to the boominess of the bass. This is most noticeable when the LO+ EQ knob is turned up very high.

The chips have been upgraded to high-performance audio amplifiers by JRC (Japanese Radio Company). Japanese audio-grade capacitors have mostly been use throughout. Full sized 1/4W metal film resistors have been used, all condensed down to fit into a compact 1590BS Hammond enclosure.

The classic HM-2 function is achievable while both of the mode switches are in the left position. 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.

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

Sold out

I'm out of circuit boards, which means that the first 50x are all gone! Thanks to everybody who caught interest. These boards were a very special fabrication, which can't be done just anywhere. I plan to engage another batch some time down the track. But first, I will likely introduce a 4 knob SMD-hybrid version, and also offer the PCB as a DIY project. Feel free to email me any expression of interest to be notified when the build is available for purchase again.

Build Documents:

• Bill of materials and build notes
• PCB component placement
• 1590BS Drill layout cut-out
• 1590N1 / 125B (larger size) Drill layout cut-out

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). These two different fuzz styles further increase the versatility of the pedal!

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.

AUD$249 delivered within Australia only. See returns policy.

or

USD$179 delivered world-wide. Sent by EMS express courier where possible. See returns policy.

A recreation of the EJ silicon Fuzz Face.

AUD$199 delivered within Australia only. See returns policy.

or

USD$145 delivered world-wide. Sent by EMS express courier where possible. See returns policy.

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 metalcan 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.

AUD$249 delivered within Australia only. See returns policy.

or

USD$179 delivered world-wide. Sent by EMS express courier where possible. See returns policy.

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.

AUD$289. Free delivery worldwide. See returns policy.

Components used may vary to those shown in the photo. Photos should be used as a general guide for construction and components quality. Carbon comp resistors are changing to carbon film or metal film.

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.

AUD$239 delivered within Australia only. See returns policy.

or

USD$169 delivered world-wide. Sent by EMS express courier where possible. See returns policy.

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.

AUD$269 delivered within Australia only. See returns policy.

or

USD$189 delivered world-wide. See returns policy.

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.

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 different 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.

AUD$229. Free delivery worldwide. See returns policy.

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.

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 is adjustable internally by a trimpot.

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.

AUD$289. Free delivery worldwide. See returns policy.

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 and through-hole assembled components.

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.

AUD$185. Free delivery worldwide. See returns policy.

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.

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.

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.

I'm taking limited orders to build a few more, as seen with the orange tropical fish capacitor on social media. This pedal is made to order. Please allow up to one week for production and postage.

AUD$299. Free delivery worldwide. See returns policy.

BIG FUZZ XL

LTD POLISHED EDITION

ALL SOLD

The polished finish turned out not to be a sustainable technique. As such, this was a limited batch of 10x polished units in this aesthetic.

This circuit continued. See: Big Fuzz XL.

Mintdrop

all sold

This is a '60s germanium Fuzz Face. Made using old recipe AC128 transistors, in Dazatronyx style.

This pedal artwork was designed with a friend and it had been on the to-do pile for a LONG time. I prepared twenty of these special enclosures as a limited run project.

GERMANIUM FUZZ 2021

all SOLD

This was a limited edition, special build. I only built two this year, to keep the project viable for me.

This is an old-recipe '60s germanium Fuzz Face. The transistors in this seconds unit are General Electric 2N43, and 2N123, where the manufacture date is the 13th week of 1956, and 4th week of 1958, respectively. These are some of the very early semiconductors which used a point-contact style junction.

Both units are now sold.

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".

Build Documents:

• Bill of materials and build notes
• Schematic
• 1590BS Drill layout cut-out
• 1590N1 / 125B (larger size) Drill layout cut-out

Include 1:1 scale paper drill template?

No $19.80 AUD Yes: 1590BS $19.80 AUD Yes: 125B/1590N1 $19.80 AUD

AUD$19.80 delivered within Australia only.

or

Include 1:1 scale paper drill template?

No $14.80 USD Yes: 1590BS $14.80 USD Yes: 125B/1590N1 $14.80 USD

USD$14.80 delivered world-wide.