A Kay Fuzztone. Modified from the corrected original schematics, substituting equivalent modern transistors and improving the input filter to better deal with radio interference common to San José. The fuzz control is wired to a switched expression pedal jack, allowing for operation that’s closer to the original pedal, as well as a standalone box without it. I also modified the clipping section to offer both symmetric silicone clipping, as well as asymmetric clipping by way of an additional green LED added to the circuit via switch. Ala the color, I think I almost managed to match the repulsive hue of the original. Almost.
The Platano Mini-Amp – my first venture into amp building. It’s based off the 1/2 watt Ruby amp with a Bassman mod, but with a buffered JFET input and a switchable Platano Verde circuit sandwiched between the buffer and and power amp, creating a swash of feedback when engaged – useable, but definitely an extreme example of a dirty channel. I built it as a gift for my uncle who recently retired – hopefully this inspires him to pursue a nice second career as a noise guitarist.
A simple, yet elegant stereo footswitch designed for a Pigtronix Echolution’s loop and reverse controls. The LEDs, unfortunately don’t work with the pedal, but in the context of a simple amp channel switch, you’ve got yourself some fancy green light there. Currently under the employ of BOMBMOB’s Electrosavage.
A simple, yet elegant mono footswitch designed for a Pigtronix Mothership’s glide control. The LED, unfortunately doesn’t work with the pedal, but in the context of a simple amp channel switch, you’ve got yourself some fancy blue light there. Also under the employ of BOMBMOB’s Electrosavage.
A 1 in, 8 out CV Multiple built for Woodstock NY’s Bombmob’s Electrosavage. The input is a straight CV/LFO channel from a Moog MP-210. The outputs are 4 straight TS CV outs that pass the original signal and 4 TRS opto-isolator expression outs, allowing the Moog pedal to interface with Pigtronix and Electro-Harmonix gear, creating advanced control paths with just a single expression pedal – with on-off switches for each out and LED-monitoring to keep things classy. Also, it’s bus powered and works with any other standard CV source. In other words, a fancy, simple way of linking your pedal array to your modular synth rig. Awesome? Yes, it is.
A custom overdrive with a mild octave up inspired partially by old Octavia pedals as well as Death By Audio’s Octave Clang and various incarnations of the Maestro Brassmaster. At it’s core, I’m using a transformer that I originally picked up during my time at Mills College, when a handful of my pieces centered around amplified glass. However, instead of using the transformer to drive transducers placed under various bottles and tuned bowls, I’m running two series Pejibaye overdrive circuits into it, with a clipping stage immediately afterwards. The result is a compressed, gated buzz with an interesting signal response – maybe less than functional for guitar, but amazing for violin. I mean really amazing. Don’t believe me? Check out Liz Meredith in concert sometime – she makes this thing sing.
Hypermetacontextual 