The original Ibanez Tube Screamer is one of the most popular and imitated overdrive pedals of all time, and the Ibanez TS9 Tube Screamer reissue is made in the same factory, with the same parts, to get the same tone. This pedal has three controls to help get the tone you need. Continue reading “Ibanez TS9 Tube Screamer”
The Soul Food Overdrive is yet another great effect pedal from the people at Electro-Harmonix. This is their representation of the KLON CENTAUR overdrive pedal, one that can cost thousands of dollars. Continue reading “Electro-Harmonix Soul Food Overdrive”
The TC Electronic MojoMojo Overdrive is designed with extra headroom and precise control in mind. Made in Denmark the pedal features an inner circuit that boosts the voltage three to four times the amount of most overdrive pedals. Continue reading “TC Electronic MojoMojo Overdrive”
The Electro-Harmonix Crayon Full Range pedal is designed to overdrive the full frequency range of the signal, unlike most overdrives which concentrate on the midrange frequencies. Continue reading “Electro-Harmonix Crayon Full Range Overdrive Pedal”
The Outlaw Effects Deputy Marshal has three control knobs for fine tuning your sound. With Level you adjust the overall volume, which is in great abundance in this pedal, unity being achieved around the 9 o’clock position. Continue reading “Outlaw Effects Deputy Marshal”
Why a Mini Toggle Switch?
A humbucker pickup contains two coils, and with a simple modification we can use a switch to “shut off” one of the coils, causing it to sound and act like a single coil pickup. The choice to use a mini toggle switch is purely aesthetic; you can use absolutely any kind of switch that you want to but you will need to modify your guitar to hold it. A mini toggle requires drilling a hole that is less than 1/4 inch and takes up very little space once it is in place.
If you have the type of guitar that requires you to drill a hole through the wood, into the electronics compartment to add a toggle switch, then I recommend taking it to a pro, unless you really know what you are doing. If you’re lucky enough to have a Stratocaster or another type of guitar with those large pickguards that give you access to the electronics by removing them, then you can probably drill a small hole in the pickguard and add the toggle switch yourself if you are very careful and have the tools.
Continue reading “Coil-Splitting a Humbucker Pickup with a Mini Toggle Switch (DPDT)”
Phillip from Wales asks:
“Hi, can you help please. I got this Marshall MG10, and I’ve had this buzzing and crackling problem when I play the Strat. I sent it back to them and they listened to the sound recording I had of the buzzing and they said I had a loose earth connection or the cable I was using to connect the guitar was no good.
Do you have a diagram of how to check the earth connection; would be most grateful to you.”
Continue reading “Buzzing and Crackling Problem with Marshall MG10”
Fuzz is a type of distortion that was originally marketed in the early 1960s as a device that you can use to emulate the sound of Orchestra instruments such as the Trumpet, Cello, Bassoon, Saxophone, etc. It was a Saxophone sound that Keith Richards wanted for the beginning of “Satisfaction,” that prompted him to try out a Fuzz pedal. It was also during this time that the Kinks, Link Wray, and many other early Rock & Roll and Blues guitar players reportedly punched holes in their speakers to get a fuzzy sound. You can hear a torn speaker in “Rocket 88” (the first Rock & Roll song), by Ike Turner and Jackie Brenston. Other notable songs from that time that feature Fuzz are “You Really Got Me,” by The Kinks and “Rumble,” by Link Wray. The aggressive Fuzz tone of this song actually caused people to feel fearful, so the song was banned from the radio.
Continue reading “How Does a Fuzz Pedal Work?”
Well, here we’ll talk about how to wire a humbucker pickup so that it can be split into a single coil pickup using a push-pull pot. For the split you need a four-wire humbucker; you cannot split a two-wire without first modifying the pickup itself. Each coil has a Hot and a Ground, and a determination must be made as to which is which before we get started.
Continue reading “Coil-Splitting a Humbucker Pickup with a Push-Pull Pot”
In discussing the differences between distortion and overdrive, what creates them, and how they’re used, we’ll begin with the relationship between a device’s maximum signal level and its threshold.
Every device in your guitar rig, or your home recording studio, has been designed to accept a maximum signal level. The maximum signal level that a device can accept is called that device’s threshold. If you introduce a signal to a device that exceeds the threshold, the parts of the signal that exceed it will get “clipped” (like tall grass), in various ways. Often, when a signal gets clipped, additional frequencies get created and added to the signal, as a sort of by-product of the clipping. These additional frequencies are known as overtones and harmonics.
Sometimes, the way a signal gets clipped sounds musical, natural, and warm, while at other times it sounds harsh, brittle, and as though there was something wrong with your equipment. Clipping the signal adds a “buzzy/crunchy” character to the tone, and that buzz is what we call distortion. Distortion is everywhere — on TV, in radio, etc. and it is rarely a good thing. Luckily, however, guitar players have found a way to make it work for them.
Continue reading “What is the difference between overdrive and distortion?”