Category: Good to Know

Jazzmaster Replacement Pickups

I wanted to archive this information. Taken from OffsetGuitars.com forum

Fender AVRI
Official reissue of a ’62-ish jazzmaster pickup. Good quality, faithful recreation of the vintage sound, although some feel they are a bit on the bright side. Cloth covered hookup wire.
Fender Japan
Decent quality pickups. However, these have a taller narrower central bobbin so the wind is shaped more like a Stratocaster pickup than ‘true’ Jazzmaster pickups, and this gives them a more Strat-like character with lower output and a thinner, brighter sound.
Semour Duncan SJM-1 Vintage for Jazzmaster
Good quality, faithful recreation of the vintage sound. Not quite as bright as the AVRIs. Supposedly based on the sound of a ’58 pickup. Uses Alnico V rod magnets. Cloth covered hookup wire.
Semour Duncan SJM-2 Hot for Jazzmaster
Overwound SJM-1, resulting in a lot more output and a bit more emphasis on the lows. Uses Alnico V rod magnets. PVC covered hookup wire.
Semour Duncan SJM-3 Quarter Pounder for Jazzmaster
Overwound pickup using long, 1/4″ thick Alnico V rod magnets, and a narrower and taller coil than a standard jazzmaster pickup. High output and a lot more emphasis on the mids. PVC covered hookup wire.
Semour Duncan Antiquity I for Jazzmaster
High quality detailed replica of an early black bottom jazzmaster pickup. These pickups have been slightly demagnitized to accurately simulate the sound of an aged original. Fairly dark tone. Alnico II magnets. Cloth covered hookup wire.
Semour Duncan Antiquity II for Jazzmaster
High quality detailed replica of a mid 60s grey bottom jazzmaster pickup. These pickups have been slightly demagnitized to accurately simulate the sound of an aged original. Brighter tone than Antiquity I. Alnico V magnets.Cloth covered hookup wire.
Curtis Novak Jazzmaster pickups
High quality custom made vintage replicas. Although based on an original ’63 pickup, since they are custom, you can have them wound to suit your specific requirements. He aslo offers P-90, PAF, Charlie Christian and standard humbucker pickups that will fit inside a jazzmaster pickup cover, with no modification required.
Jason Lollar Jazzmaster pickups
High quality custom made vintage replicas. Can also be wound to suit your requirements.

Jacob’s post on Mojo

I am following a thread over at Madbean and Jacob (JMK) has some great comments.

I don’t ‘believe’ in mojo in the sense that some parts are better because they are older, rarer, extinct, or somehow have inherent ‘majick’ to them. However, I do believe in another sort of Mojo.

Have you ever held a guitar and it just blew you away, not because of it’s name, or it’s reputation, or even of it’s cost, but because it was a special instrument? It just screamed ‘play me,’ and you felt like you could be a better, more creative, more inspired musician if you owned/played through it? There’s the mojo I believe in. I believe that there are special elements to certain pieces of gear. Sometimes they’re historical, sometimes they’re personal, and sometime’s they’re just something you can’t define.

I like my mojo infused, axial caps and carbon comp companion fuzz. Why do I like it? I think it looks cool inside, and it looks cool outside. It sounds cool, and yes I ‘believe’ it sounds better than the cheapest parts used standard build NOT because they are ‘better or mojo’ parts, but because I want it to be a better pedal. Why do I believe that? Because I play better and like what that pedal does for me when I make MUSIC.

Sure, there’s BS marketing out there. But there’s a reason why Bonomassa plays his 59s, and there’s a reason we’re seeing a resurgence in old, mass produced, russian tall font Big Muffs, and there’s a reason why Mayer chooses a Dumble and a standard Fender to simultaneously play through. It isn’t the cost, or the ‘value,’ or the rarity – it’s the mystique, the special ‘je ne sai quoi’ that makes using them feel special.

I rest my case. Jon, you’re right, but you’re wrong. You’re right – mojo is ‘sometimes’ about old/rare/certain types of parts that sound better. But you’re wrong because that’s not what most people mean about mojo, and that’s real man.

Jon’s post on mojo

I am following a thread over at Madbean and I love Jon’s (Midwayfair) breakdown. I always love to hear his opinion on subjects.

I’ll just go through individual parts …

Resistors

RG Keen did an excellent article on Carbon Comp resistors, which is fortunate because I don’t have the equipment to test this. They are capable of introducing resistor distortion at VERY high voltages. This property CANNOT occur in stompboxes. I’m not saying “is likely inaudible” or “maybe a little once in a while.” It is literally impossible to produce this property in a stompbox running on 9, 12, 15, 18, 24, or even 30 volts, which I imagine is every guitar pedal and almost every rack unit ever created.

I did matched resistor replacements one at a time and could not hear a difference except a little added noise. That was good enough for me.

Notice no one claims that carbon film resistors have mojo? Maybe it’s because they just weren’t used during a period of time where people think everything had mojo.

Now you want some REAL mojo, get spendy and find glass resistors. Those things look frigging awesome and are super rare and expensive. I never was able to get enough together for a treble booster, but I really wanted them for an all-glass-and-metal booster.

Capacitors

There’s another RG Keen article where he examined capacitor types and scoped them. This is another thing that only appears when you have enough voltage and bandwidth to produce changes.

Most of the capacitor mojo ends up being applied to guitars, where it is utterly and completely absurd. A lot of multimeters (including mine at home) don’t measure capacitance, and capacitors have horrible tolerances, so it gets particularly laughable when people swap them out in a guitar or something and say, “look, this one sounds so much WARMER” (and man what a stupid word that is). Add to that the fact that the human brain is incapable of remembering a sound for more than 2 seconds (which is surely longer than it took you to switch that cap in your guitar) and it’s <shakes head> time. In particular, because it’s an RC filter, differences between caps become even less noticeable the second the guitar’s tone pot is adjusted.

However, caps really do sound different in the right circumstances. Some electrolytics have less internal resistance, so they actually work better, which can be important for filtering out noise. Ceramics really do introduce distortion when working with enough voltage (not the couple hundred microamps your pickups). Film caps have reliably good performance. Some paper in oil caps really do have the lowest distortion of any other types of caps.

But like resistors, most people building mojo-riffic products, and dare I say it most people building their own stompboxes with mojo parts, get it into their head that some type of capacitor sounds better, so when they go to test it OF COURSE it sounds better, and you will never be able to convince them otherwise, even if you run it through a scope with matched capacitance. Suddenly it’ll become the Emperor’s New Ears, or “the scope isn’t sensitive enough” (!), or something like that.

Transistors
Yes, germanium transistors sound different from off-the-shelf silicon transistors. And I say this as a lover of germanium. But the reason is that they just happen to have some properties (mainly leakage) inherent in their construction. You can fake leakage. You can match the lower gain characteristics (it’s tough getting low-gain silicon, but nothing says that you have to max out the gain on any particular transistor …). There is really only one property of germanium that can’t be faked with a couple extra passives, and that’s temperature drift — a characteristic that we usually take measures to minimize or eliminate!

Germanium transistors ARE useful in that different types might have more of a particular property that you need without needing the extra parts (usually a treble bypass and an adjustment of the positive bias resistor). Use them for that reason. Don’t use them because you think germanium is some magic spice. It isn’t.

Diodes

Let’s all have a nice laugh at Am for tracking down some super rare silicon diode and buying all of them up because they think that forward voltage can’t be matched with other diodes.

Germanium diodes also have leakage, which results in a softer knee. If you want to fake this with schottky diodes, you can use some small amount of resistance in series with the diodes.

Temperature drift is, again, not generally considered a desirable characteristic by anyone.

For the most part, mojo is almost entirely about the idea that older components somehow sound better. You can always introduce flaws intentionally. Even a lot of cheap modern parts are made better than older parts, but the high-quality components now are worlds better and more reliable. Every time I see someone posting that the carbon comp resistors are what makes their pedal sound so good I want to ask them if they’re typing their build report on an Apple 2 or a Commodore 64.

Business Plan?

A user over at BYOC was turning his hobby into a business and I like some of the ideas he came up with so far and wanted to make some notes.

Goal: Design unique guitar pedals that appeal to a wide range of consumers.

Business Rules:

  • No Pre-orders
  • No Advanced Cash
  • Products Ship within 2 Business days
  • Waiting List OK as long as no cash involved.
  • Unique Circuits
  • Limited reverse engineering capabilities
  • Lifetime Warranty
  • Trial Period (Maybe, still trying to work this one out)
  • Customer Service is a MUST
  • Straight forward marketing, no HYPE etc.
  • Direct from Manufacturer Purchasing

There are some great ideas listed and it gives me a lot to think about. When working with friends I want to make sure they are happy with what I build and feel confident in using the pedal I have built for them. I will need to come up with my own business rules. Right off the bat I would say the “Limited reverse engineering capabilities” is not important to me. I really like to share the things I build and seeing how I rely on the DIY community for my projects, I would give right back.

Midwayfair Ge Transistor post on madbean

I found this post to be informative and wanted to archive it. It’s  no surprise that Jon gave a great answer. He has a great way explaining things.

Original Post

Being “most desirable ones” has very little to do with whether the transistors will be “the most useful ones.” Look up the polarity and the gain range. Otherwise, just test a couple transistors out of each bag if you have a DMM that does that; if the gain is really low, like under 40, there are very few guitar pedals that will even work with them.

Your best bet for figuring out what the mot valuable part number is is to look at the schematics for a bunch of old fuzz pedals and then write down the part number. Not the series (like “OC”), but the specific part number. Then look up the equivalent transistor from other companies. New Market, for instance, is a brand name, but the same transistor construction as in the 213 and 275, which are very valuable, have different part numbers by RCA or Telefunken, for instance.

Here are the most useful “numbers”:

PNP 40-80: Q1 in classic Fuzz Face
PNP 80-130: Q2 in classic Fuzz Face and Q3 in a MKII, Three-knob bender, or Buzzaround
NPN 40-50: Q1 in a low-gain NPN fuzz face
NPN 60-70: Q2 in a low-gain NPN fuzz face
PNP 40-60: Q1 in a Percollator
PNP 20-40: Q1 and Q2 in Tonebender MKII, but requires moderate leakage
PNP 70-80: classic Rangemaster, requires low leakage; Skreddy Screwdriver if moderate or high leakage

Distortion Pedal Genealogy

This was a cool post by garrobos on FSB

Distortion Pedal Genealogy

Fuzz Family
Circuit type: discrete transistor gain stages.
Original design: 1962 Gibson Maestro Fuzz Tone.
Influential derivatives: 1965 Sola Sound ToneBender, 1966 Dallas Arbiter Fuzz Face.

Muff Family
Circuit type: discrete transistor gain stages with limiting diodes.
Original design: 1969 Electro Harmonix Big Muff Pi.
Influential derivatives: 1974 Maxon D&S, 1974 Ibanez Overdrive.

Distortion Family
Circuit type: op amp gain with hard clipping diodes to ground.
Original design: 1973 MXR Distortion plus.
Influential derivatives: 1978 Boss Distortion, 1978 Pro Co Rat.

Overdrive Family
Circuit type: op amp gain with soft clipping diodes in op amp loop.
Original design: 1974 Maxon OD808.
Influential derivatives: 1977 Boss Overdrive, 1979 Ibanez Tube Screamer.

Tube Family
Circuit type: tube gain.
Original design: 1978 Butler Audio Tube Driver.
Influential derivatives: Chandler Tube Driver, Tube Works Tube Driver.

From 1978 to date, the contribution in the development of distortion pedal circuits has been iterative.

First Mouser order : Updated

I placed my first Mouser order on Sunday November 3rd. I used the shipping option of USPS just to see how long it will take to get to me. I received a shipping notice on Monday November the 4th. So buy the fact that my order was processed and sent out in 1 day has already impressed me.

I hope to use Mouser for the parts I can not get from Tayda Electronics

Order Revived: November 7th

I am very happy with the transaction and will definitely order from them again. Standard USPS only took 3 days so my next transaction I will try their FedEX service and see if its any faster.

photo 3

photo 4

 

Black Arts Toneworks Pedals

black-arts-toneworks-pedals

I am a fan of their pedals and wanted to make a quick list of what their pedals are based on. I am still researching some of these to see what makes them tick. I will update this post when I find more information.

  • Dark Forest – Colorsound Overdriver
  • Quantum Mystic – Ross Grey Distortion
  • Destroyer – Ritual and an Oath in one box
  • Pharaoh – Electro-Harmonix Big Muff Pi
  • Ritual – Colorsound One knob Fuzz
  • Oath – Revelation Superbass version (No Knobs)
  • Coven – Pharaoh and an Dark Forest in one box
  • Revelation –
  • LSTR – Electro-Harmonix Big Muff Pi
  • Fnord – Ampeg Scrambler and Electro-Harmonix Muff Fuzz
  • Sarcophagus – Pharaoh and an LSTER in one box with change order switch
  • SHOD –
  • Badascan – Moded Pharaoh for the Doom Room

Testing new copper clad

I recently ordered some new copper clad from eBay and I noticed the prices of the red laminate that I like useing went up in price. I decided to jump on a deal he was having on 4″x6″ CEM (Composite epoxy material) single sided copper clad. I got a great deal on a 49 pieces so I jumped on it. I figured that if they don’t work well as PCBs then I can use them as faceplates. Here is the information I found on them.

20130923-211948.jpg

First thing I noticed was the copper was cleaned up pretty well and I just hit it with some 600 grit wet sandpaper before etching.
20130923-211956.jpg

It seemed to etch well and even.
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If I was going to complain about anything it would be the fact that CEM will chip when cut with my table top paper cutter. So I may have to use the jigsaw or Dremel.

Maestro FZ-1S Super Fuzz-Tone

I did an etch of the General Guitar Gadgets clone and started populating it today. I wanted to jot down some notes I came across at DIYSB that I may need to refer back to.

To help achieve utility gain replace R12 (10k) with something more like 68k-100K.

“finished another unit this time with 2n5088s (Hfe about 500), BC548B(Hfe about 250) for clipping and BC550C for Q4 (Hfe about 680). It is the best sounding unit of the 3 i have built. And the sustain is really smooth.”