If you ever make your own CAPI preamps, or if you have an API console that occasionally burns through op amps, you’ll be seeing plenty of these little guys. Fully discrete API style op amps, known commonly as 2520’s (which according to UD also means white dude).
This build was for a dear friend who has a deep affinity for all things… ‘Henley’. Suffice to say, if the man owned a juke box, half would be filled with Eagles records. The other half, of course, with some of Henley’s finest solo hits. Among his favorite of the jams is the bass-laden track “Sunset Grill”. So when asked to build a bass guitar pedal that included both fuzz and auto-wah, the name came simply. Sunset for the wah, Grill for the fuzz.
The design for the Auto-Wah is based off of the Snowy White pedal and the fuzz is based off of the wooly mammoth- among my favorite of bass sounds. The stacked effect is rather unpleasant and is suggested in small doses. However, if one found the particular genre of music where this guy fits in, then there truly is no substitute. Perhaps a RATM cover band; perhaps a 70’s rock tribute group called ‘Sex Drive’. The possibilities are limited.
For the paint job, I taped off what would make somehow of a rising (or setting) sun, the drip painted it and pulled the tape off. The effect was pretty neat and lended something extra to the overall aesthetic of the build.
This is a boost pedal designed after a Landgraff Boost (very similar to the Zvex SHO) and a Fulltone Fat Boost; it contains both circuits which run independently. Between these two pedals you can get an extremely wide range of clean boost sound- if you’re in to that sort of thing.
As you can see, it is a bit crowded inside, but not unreasonably so. It still has plenty of access to make any modifications or fixes, should the need ever arrive. The knobs had to be placed on the top of the pedal, because the potentiometers would have been in the way of the circuits inside otherwise.
update: This may or may not have been used in the new Camera Obscura album. But it totally was.
This is a Fuzz pedal designed (‘tuned’) to be particularly useful with bass guitar. Though it sounds wonderful on many instruments. It is essentially a ‘Wooly Mammoth’ style clone. This one, in particular, was made for Ali, bass player in the Portland band ‘Talkative’.
And here is the finished product all cased up. The body is ‘fire-mist’ (charcoal powdercoat with green sparkle) and the bottom lid is pink sparkle, to match the pink Davies-style knobs and the pink LED.
The intention of this Blog is to chronicle various projects that I work on that will center mainly around the bands that I play in or the musicians that I work with. It is not meant to be a personal reflection or insight into the vast caverns of my extraordinarily interesting life; sorry. There will sometimes be contextual information that gives a bit of insight to the reasoning behind certain projects, but hopefully not too much more than that. For instance, Deep Search is my moniker for recording. Thusly, Deep Search Electronics are the electronic endeavors that follow within that pursuit. I hope to share some ideas as well as help anyone else along with their projects by making myself available for answering questions as well as posting reasonable pictures and explanations along the way. I will probably only post about finished projects, with the exception projects that require much more involvement and take place over several months; these may have several updates along the way. Anyways, I hope that you enjoy it.