Posts Tagged ‘Effects’

Modding the Daphon E20OD

Wednesday, July 28th, 2010

Before

I had mentioned in my review of the Daphon E20OD Overdrive that besides it’s use of the same chip as the Ibanez Tubescreamer, the E20OD was pretty much a replica of the Boss SD-1 Super Overdrive. The PCB layout and components is pretty much exactly the same, which makes it incredibly easy to modify the E20OD in much the same way as the Boss unit.

I thought I would try out the “SD-808″ mod that has been on the Internet for some time. it is a nice simple mod with only three new parts, and the removal of a couple of other parts.

One of the parts that is removed is one of the three diodes that create the clipping stage. This is to change the clipping style from the Boss SD-1 asymmetrical type to the Ibanez Tubescreamer symmetrical type.

I decided that I wanted to be able to switch between the asymmetrical and symmetrical styles, so I installed a switch to go between the asymmetrical Boss style clipping, and the symmetrical Tube Screamer style clipping.

Installing a SPDT switch to go between symmetrical (Ibanez Tubescreamer) and asymmetrical (Boss SD-1) clipping

This is what you need to do to install the SPDT switch:

  1. VD2: – Remove stock diode. Take note of orientation.
  2. Solder to left pin on SPDT switch, negative (black line) to switch.
  3. Solder wire (blue) to other end of diode
  4. Solder wire (red) to middle point on SPDT switch.
  5. Solder wire (black) to right point on SPDT switch.
  6. Solder the ends of the blue and black wires together, leaving one end longer.
  7. Solder the merged wire to the spare hole in the PCB where the triangle points (bottom).
  8. Solder the red wire to the remaining spare hole (base of triangle).

The cool thing with the E20OD is that there is a hole just the right size for the SPDT switch already drilled in the enclosure below the tone knob. All you need to do is take a Stanley knife or something similar to the yellow plastic label, and cut a hole in it.

So after installing the SPDT switch it was just a matter of replacing some components to complete the “SD-808″ mod.

“SD-808″ mod for the Daphon E20OD

As per the image, the new components required for the “808″ mod are:

  • 10uF electrolytic capacitor (I substituted a 10uF tantalum capacitor for less leakage/quieter operation)
  • 10K metal film resistor
  • 100 Ohm metal film resistor

Whilst the E20OD is almost a clone of the Boss SD-1 the components are labelled differently. The changes on the E20OD are as listed below:

  1. R14: – Replace 100K resistor with 10K one
  2. C12: – Replace 1uF Electrolytic capacitor with 10uF Tantalum capacitor
  3. R12: – Replace 1K resistor with 100ohm one

Further tonal changes

One of the things that I didn’t like too much with the E20OD is that it adds a lot of treble to the tone. Even with the tone rolled all the way back my tone still had extra unwanted treble added. I like an overdrive that can be dialled in nice and neutral, so it just pushes the amp a bit more, without colouring the tone too much. This is something I loved about the Digitech Hardwire CM-2 Tube Overdrive. I could set the CM-2s’ tone control to 12 o’clock, and the tone I got with the pedal on was just the same as with it off, but with the added gain.

So my plan was to hopefully modify the Daphon pedal to have these sorts of qualities, as well as remove some unwanted noise. I did some scouring over the Internet to find as much information on mods that people had made to Boss SD-1 and came up with the following changes:

  1. C19: Replace 1uF electrolytic capacitor with 1uF tantalum capacitor, note negative orientation. This reduced some noise introduced after switch addition.
  2. C3: – Replace 0.047uF Capacitor with 1uF plastic (green cap) or metal film (MKT) capacitor. this gave a little more low end when switched to asymmetrical clipping.
  3. C17: Replace 0.01uF green cap with 0.1uF green cap capacitor. This rolled off the treble and added a little more compression.

After all of this I came up with an overdrive circuit that I’m pretty happy with. I still need to play with the tone circuitry a little as I want my neutral tone to be closer to 12 o’clock, and currently it’s around 9-10 o’clock on the tone dial. There is still a little bit of noise that I would like to get rid of. The sound I’m after though is there for the most part.

After: The modified E20OD now in it's new home. Time to sort out some artwork, and new knobs.

New clothes

I decided that I would also move my newly modified overdrive into a new Hammond-style enclosure, which I could decorate to suit my custom pedal. I have some ideas for this, so hopefully I will have the final product done soon.

I used all of the jacks and potentiometers that the E20OD came with, but I needed to install a new stomp switch. This is a simple enough process though. All I needed was an SPST momentary ON footswitch. Remove the wires from the stock E20OD switch, and solder to the new switch, and everything works as it did in the old enclosure.

To ensure that the PCB didn’t short out on the metal lid of the enclosure I got some rubber sheeting, and had it cut to size to sit in the lid. This sits perfectly in the lid, and didn’t even need be glued on.

I came up with one problem with the install, and that was that some of the components were too tall to fit comfortably in the enclosure! I used a template I found on the Internet to drill everything, but didn’t take into account if they would be in the way of components on the PCB!

For this prototype (I’m thinking of building a better 2nd prototype) I ended up cutting out a rubber gasket of sorts to go around the edge of the enclosure to space it out a bit from the lid, giving me a bit more room for the PCB.

I have found this modifying experience to be a great stepping stone between modifying a standard pedal, and building a pedal from scratch. Turning a dirt cheap pedal into something a little special costs you a little bit of money, but what is learned from doing this is an invaluable thing.

Once again a big thanks goes out to cubisteffects for kindly helping me out with any questions I had regarding things like switches, and modifying parts of the circuit.

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Line 6 FBV Shortboard MkII – review

Tuesday, July 6th, 2010

The perfect partner for running your Spider Valve MkII.

If you have a Line 6 Spider IV or Spider Valve MkII series amplifier you are going to be hard pressed taking full advantage of the power of the amp without some sort of foot controller. The Line 6 FBV Shortboard MkII foot controller is Line 6′s top of the line, Rolls Royce of the FBV series, and it will certainly give you complete control of almost everything your Line 6 amp can achieve when performing.

There are 13 foot-switches to change patches, effects within patches, set tap tempos, engage the built-in chromatic tuner, set and activate loops, boost volume, and more. There is also a full-sized volume/wah pedal which acts as a volume pedal, until you stomp down to activate the toe switch.

Line 6 have installed an over-sized back-lit LCD where you can read all of the patch information, and see the chromatic tuner when it is activated.

The FBV series foot controllers connect to your Line 6 FBV-compatible amp via a RJ-45 plug (Ethernet network cable type), which seems a little odd for music gear. Take into account that the Line 6 modelling gear runs pretty much like a computer though, and then it makes a bit more sense.

It’s pretty easy to understand what most of the foot-switches are for on the FBV Shortboard. There are 4 switches at the bottom of it labelled “A”, “B”, “C”, and “D” which are obviously for switching through the patches in a bank. On the left hand side of the pedal there are up and down arrow labelled switches which are for selecting patch banks. Along the middle are four switches to turn on or off effects banks, and in the bottom right hand corner there is a switch for tap tempo controls and if you hold it down it will activate the built-in chromatic tuner. Up the top are two “Function” switches. Out of the box one will enable you to switch a pre-recorded loop on or off, and the other can give a volume boost for solos and the like. I’m sure they can be further programmed too. On the right hand side is the volume/wah pedal.

Effect switching is nice and quick, with no noticeable delay when switching the effects on and off. However, when switching patches there is a noticeable leg where the sound actually cuts out for a moment.This is a bit of a shame, as you may want to have the ability to switch patches during a song, but with the volume cut it’s probably not so useful.

A USB port is located on the back of the FBV Shortboard, which enables you to hook your amp up to your PC, download firmware updates, and manage patches and pedal settings via Line 6 software available on their website.

The build of the FBV Shortboard MkII is definitely high quality, where a sturdy metal chassis houses solid metal foot-switches and pedal. It all feels as though it could easily survive many rough gigs, and come out with only a few scratches on the chassis. The foot-switches and pedal have a nice solid feel when operating them, and don’t feel like they would wear out very quickly.

Operating your amp via the FBV Shortboard is fairly simple, but I do have a few problems with it. While the patch and effects switches are on separate lines on the board, and they are tiered, it is still extremely easy to accidentally hit the patch switches rather than the effects switches. If I have this problem while playing in my studio sitting down, it would be even more cumbersome if I were on stage performing. There is nothing worse than accidentally triggering the wrong effect or changing to the wrong patch during a song.

I believe at the very least that the effects switches should have been put on the bottom tier so there is less chance of changing patches while playing. The other option is re-engineering the Shortboard chassis, and making the tiers bigger higher so there is less chance of bumping the patch switches. Either way I think the best option would be to have the effects on the lower line at the end of the board.

Line 6 have FBV software for editing and saving patches on your PC. I was hoping that there may be a way through the software to change the default switch commands, but I was unable to locate that functionality. I Definitely think that a software update to add that ability would be worthwhile, but if it is already there I would love some instructions on how to make these changes.

I’d like to state though, that this might just be a problem for me. Many other users may have no difficulty at all with the layout.

The volume/wax pedal is a nice solid pedal which inspires confidence for those playing on stage. The toe-switch to activate the wah component is nice and solid, and operating the pedal has a nice smooth feel with a reasonable amount of resistance, ensuring that you shouldn’t overshoot your position on the pedals range unless you are being extremely overzealous with the amount of force you operate the pedal with.

The LCD screen is nice and easy to read for the most part. The only real issue I have with it is when using the chromatic tuner. The characters used to represent the traditional needle layout are a little too abstract, and make it a little hard to follow.

If you are looking to work on song writing, or just improvise some soloing over a riff the 14 second loop function is perfect for your needs. Hitting the “Function 2″ switch activates the loop mode, and pressing the “Tap” button will start recording your guitar part. Hit the Tap switch again and the loop is done.

To add more parts to the loop all that needs to be done is hold down the Tap switch and let go when you are ready to record the next part, and press again when done. Any more layers and then it’s just rinse and repeat.

This is a fairly simple process, And stopping and wiping the loop isn’t too difficult either. Just hit the Tap switch to stop the loop, and press it again to activate, or hold down the Tap switch to clear it. You can even go back into  your previously recorded loop after leaving the loop function by switching Function 2 back on and pressing the Tap switch.

Overall I believe that Line 6 have almost got it right with the FBV Shortboard MkII. It carries all of the functionality that you could want and need, and the build quality is second to none. If the Effects and bank switching  controls had been reversed it would be perfect. Unfortunately the way the control board is currently laid out is just a bit awkward for stage use. If the volume didn’t drop out when switching patches you could probably switch between patches rather than turn effects on and off, and it would make up for the difficulties of cleanly switching effects. As it stands though, it’s just a little too much of a gamble.

Again, this may just be a problem for me. I’d highly recommend that any prospective buyers should not be put off by my statements, and actually go try the FBV Shortboard MkII themselves.  You may find that it works perfectly for you.

A special thanks must go out to Alan at Jemsite, and Line 6 for sending me out the FBV Shortboard MkII. It was provided as part of Jemsite’s review program. My original Jemsite review can be found here.

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Waves GTR Solo – review

Sunday, November 15th, 2009

Waves offer you a fantastic opportunity to try out their GTR amp and effects modelling software.

There have been some great advances in digital and software modelling of amplifiers and effects in the past few years. There are a number of different options out there in the market, all with varying prices, and options. Some companies also offer hardware like footswitch boards to interface with their software, making the line between “real” music gear like amps and effects pedals and software very thin.

One of the companies I started to look at is Waves. Their range of GTR packages has price points to suit all budgets, even if you have no budget!

I received a copy of Waves GTR Solo on a one year free trial directly from Waves. I thought it would be a great way to play guitar quietly, and still get the sound of a cranked up tube amp.

GTR Solo is a condensed, “light” version of Waves GTR package, and contains 10 amp models, and 13 effects pedal models, as well as a range of cabinets and microphones. The amp range are as follows:

  • Clean
    • Clean Based on a 1959 tweed Fender® Bassman®
    • Sweet Based on a 1968 Gibson® Skylark
  • Drive
    • Edgy Based on a 1980 Vox® AC-30 TB-2
    • Drive Based on a 1964 blackface Fender® Super Reverb®
    • Overdrive Based on a 1980 Marshall® JMP
  • High gain
    • Crunch Based on a boutique amplifier from Paul Reed Smith’s personal collection
    • Shredder Based on a Marshall® JMP1 preamp
    • PRS Scorch Based on a boutique amplifier from Paul Reed Smith’s personal collection
    • PRS Crush Based on a modified 50W Marshall® MK2
  • Solid state bass
    • Solid State Based on a Hartke® 3500

Each amp model has it’s own distinctive tone, and when you can pair them up with any speaker cabinet, ranging from 1 x12s to 4x10s and 4x12s, and an array of microphone it opens up a whole world of tone. And don’t forget all the standard effects too.

I personally favoured the clean amp models hit with an overdrive pedal model, and the noise gate/compressor pedal to cover up the extra noise that the models generated. Yes! That’s right, this software acts just like real amps and pedals. Cranking a clean amp model such as the Sweet Gibson Skylark, and hitting it with an overdrive pedal resulted in awesome tone, but as it would be in the real world with these amps a high degree of noise was generated too. This all adds to the authenticity of the models.

I also quite liked the 3 Drive amps. They were capable of generating awesome rock and metal tones. I found the high gain models are little too much for my tastes, and I didn’t really play with the bass amp model.

Changing the cabinet and microphone also offered a huge array of tonal variations with the amps, and all react much like the real thing.

One thing I was a little disappointed with was I could not find a way to open GTR Solo in an audio recording program. I’m not sure if this was because GTR Solo, being a “light” variation in the GTR range of software didn’t have the functionality, or if I just could not work it out. Either way I think it would have been fun to record with this package.

If you would like to try out some computer based amp and effect modelling software Waves GTR Solo is a great starting point. Their one year free trial is a brilliant, as it really gives you plenty of time to play around with the software, and decide if you really like it. And the amp/FX/Speaker/Mic combinations all work so well.

I have also reviewed this on Jemsite’s comparison shopping. Go check it out for more reviews on this product, and prices at different online stores.

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