Colorsound fuzz schematic

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Colorsound fuzz schematic

This project has turned into an interesting exploration of the Wah-Wah and it's origins. While I was looking for a replacement inductor, I ran into many interesting articles and I eventually found the patent for the wah-wah.

The following three articles all cover the various aspects of the wah all the way from an artists point of view deep down to the nitty gritty technology. There is even a movie, Cry Baby: The Pedal That Rocks The Worldthat is both entertaining and well produced and features some heavy hitters in the music biz.

It looks like most of the wah pedals, past and present, are not only based on the original from Bradley J. Plunkett of Thomas Organ but are actually exact or near copies. The inductor has changed in the wah pedal through the different models and years. The first wah-wahs were made in Italy for vox and distributed under the "Cry Baby" brand for sale in the united states by Thomas organ. According to the accounts in the articles listed above, the "Halo" was the first inductor used.

Schematics

The forum posting exemplifies the obsession and passion some folks have for the elusive tone. The shot below shows a great selection of inductors from the article on DiyStomp boxes. The author measured two key elements, The inductance and DC resistance.

He did this experiment looking for the source of the mojo in the inductor. Hats off! Thanks for all the work. Most of these devices look like pot core inductors in the stack of dimes style. There are three in the middle of the photo that look different and interesting.

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Ok, we had a nice exploration through the inductor wonderland and we learned the history of the wah and its inventors. We also learned this effect was immediately cloned all over the world. So what is the big surprise, you ask? While I was doing all the research for Greg's pedal, my gear acquisition syndrome GAS kicked in and I found this pedal on ebay. It is not working but most of the components are there. I got it really cheap. I got it home and found that the inductor is missing good thing I did all this research and the POTs are in rough shape.

Shouldn't be too hard to get it working. But, that is a story for another blog series. Next time, disappointing news on the original stack of dimes inductor in Greg's colorsound and what we are going to do about it Blog Home.

Schematic - Colorsound One Knob Fuzz

Previous Post. Add Comment Body. Verification Code What's This? Add Reply Comment Body.I'm going to build this tonight. I only have 2N, but they should still work. Yes they should work fine, bear in mind you'll have to turn the transistors degrees to the orientation shown in the layout to keep the pinouts right with a 2N Just wanted to know, what may cause oscillation with this circuit?

Can the filter cap have something to do with this? I used 47uf I've built one before and it was noisy with buffered and true bypass effects. The only one it got along with was a Russian BMP. Still love the box and currently rebuilding to these specs. I did it from the Fuzz Central scheme. I'll try the Colorsound Tomorrow My hangover isn't as bad as i thought : Simple build and it's great. Pretty sick looking little thing. See you soon!

Just use the BCs. It's strange this one because usually you get the higher gain transistor in Q2, but it appears to be the other way around in this. Or at least both transistors have an upper gain limit in the datasheet of hfe, but the BC starts atthe BC starts at I haven't measure an original but that at least suggests that Q1 may be a higher gain device.

Socket and experiment I'd say. I'll try to build it this afternoon if possible I'm on call and yesterday evening there was a new realease installation, so testing team is driving me crazy :P. Anyway, I can buy some s on Monday. Next step: fit it in a A that I have here. On Monday I expect to begin finally with the Klon Centaur. Best regards! Hi again, Guess what? Just put a BC as Q1.

Slightly higher output and a little more sustain. With the Bc as Q1 the sustain was somehow gated at the end of very long notes, with the BC, the fading is more natural. Best regards. Just a question after taking a look at the original schematics.

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Don't you think that the power filtering uF cap is important? I'll try to find a place for it in order to check if any diference is perceived. The schematic I did it from didn't show any filter cap so I left it off. I know from previous experience that sometimes if you include a filter cap which shouldn't be there with some fuzz pedals, it totally tames down the fuzz. A few people have experienced that with Devi fuzzes, and found it sounded right after snipping the cap.

So with fuzz pedals, unless I know the original definitely did have one, I'll leave it off. You can always solder one straight across the DC adapter if you need to add one later. Thank you Mark, I'll try to find a place to try the uF.

Not sure where, in this A there's not room left even for a gain of sand :P. Oh, what a crap!The Colorsound Power Boost was one of the very first overdrive pedals to hit the market. It offered a wide range of tones and soon became a favourite among guitarists like Jeff Beck and David Gilmour. Both using it to create their signature sounds in the early 70s. Gary also designed the legendary Sola Sound Tone Bender. The early versions of the Power Boost was powered by 18V but later changed to 9V.

There has been many reissues over the years, with different features including 9V or 18V powering, leds and master volume control. Boost, overdrive and fuzz was somewhat overlapping in the late 60s. The Power Boost was very much designed out of need. While guitarists demanded bigger and louder amps, there really seemed to be no limits, they also had a hard time taming these beasts.

Once overdriven, the tube and speaker compression leveled out the top end.

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The Power Boost is placed after the Muff. The effect is subtle but like how David Gilmour would use his, the Power Boost acts similar to an EQ, enhancing the tone. The Power Boost is a pre-amp booster and EQ in one.

You could drive the front end of your amp and use the treble and bass controls to shape your tone or compensate for anything lacking in your amp. The Power Boost also made it possible to achieve overdrive or distortion on smaller amps, without having to drive the pre-gain tubes.

Its open and transparent tone is really the secret to be able to drive those old Hiwatts and Marshall heads for smooth, singing overdrive and distortion. The silicon transistor based circuit creates a fat low end and glassy top, with lots of sweet sustain.

colorsound fuzz schematic

The pedal was also used on the Obscured By Clouds recording sessions. Another favourite of mine is the Ontario, Canada June show. It was once again used for the Animals recording sessions, notably for rhythm tracks on Pigs and Sheep.

Both albums stands as some of the most iconic recordings featuring the Power Boost. Notice the Colorsound Power Boost on the lower shelf.

The ST-2 was used for the recording of The Wall and the subsequent tour. Although tube driven and sonically closer to a early Marshall JTM type of amp, the Tube Driver and Power Boost do have some similarities and David often use the Tube Driver similar to how he would use the Power Boost — both for boosting and overdrive.

David is also spotted using an Overdriver during various recording sessions in the early 90s, including the soundtrack for La Carrera Pan America and Division Bell. Whether or not it was used for the Endless River and Rattle That Lock recording sessions is not documented.

In an interview with Guitarist Magazine in David mentions an orange treble and bass boost that apparently was featured in his current setup. Everyone, including me and well known pedal makers, was searching for this mysterious holy grail. Pink Floyd perforing Have a Cigar at the L. My history with the Power Boost dates back to And there, displayed in the window, was this large orange pedal.Tone Bender is the name of several fuzzboxes. Macari's Ltd, who also own the Sola Sound Brand, and who have built and sold the pedals since now own the Tone Bender trademark.

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By September he was selling them through the Macari brothers' Musical Exchange shops. Later on folded steel enclosures were used. Although this was de facto a second version, no version number was used on its case. This successor of the original Tone Bender was available, at the latest, by February The electronics are contained in a sand-cast aluminum enclosure, with sheet metal steel base plate.

It was also available in different guises as Sola Sound made OEM products or prototypes for other companies such as Rotosound. Another variant was the elusive Rangemaster Fuzzbug.

Little is known about this unit. As Dallas Musical Ltd. The bias point was slightly adjusted to make it less susceptible to temperature changes. V version, but with an additional amplifier gain stage. Other variants may exist.

colorsound fuzz schematic

These MK1. Only few Sola Sound branded units with a large circuit board exist. It seems the last of them were rebranded from Sola Sound to Vox. Marshall continued producing a slightly different looking version of the Supa Fuzz until at least Shortly before production ended a batch of pedals using Mullard OC81D audio driver transistors had been made. It's a three transistor circuit with a germanium diode, that came in several different enclosures and is closely related to the Burn's Baldwin Buzzaround.

It was available under different names and brands. The Sola Sound version is scarce. The circuit was discontinued around and reintroduced inonce again with MKIV graphics. A short lived version of the MKIII with only two controls, containing a circuit with four silicon transistors exists. It probably predates the more common germanium version.

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Sola Sound made this pedal under various names, in various enclosures and for various distributors. Fuzz, G. The Vox Tone Bender model no.

colorsound fuzz schematic

It was made for Thomas Organ Co. Different transistor and capacitor setups have been used over the years. Earlier variants are fuller sounding, while later ones are rather bright and cutting. They also released it under their own name of JEN and used the enclosure for a range of other effects.Mesure d'audience ROI statistique webanalytics par.

A Wild Ride This is probably one of the most legendary fuzz pedals that has ever existed, and for good reason too! This thing can produce some completely saturated fuzz that is capable of slipping into feedback easily if you crank it up loud enough. I just can't say enough about this pedal. This is, without a doubt, my all-time favorite fuzzer. It's a genuine kick in the teeth that will have a permanent spot in my setup. Supposedely, this is the fuzz pedal that Jimmy Page used on the first couple of Led Zeppelin albums, which makes it even more famous.

This capacitor helps to get rid of some of the intense treble that this circuit has without it. I would recommend that you replace the 8K2 resistor on the collector of Q3 with a 20K trimpot which will allow you to adjust Q3s collector voltage to I would also add a pulldown resistor to the input of the circuit and a reverse polarity protection diode to help protect those expensive Germanium transistors.

Another nice tweak is to replace the ohm resistor in the original circuit with a 1K or 1K2, which will boost the available output quite a bit. The original OC81D transistors will be very hard to find The gains don't have to be exact, but it helps for them to be close to these values. The sound of the pedals should be nearly the same, although the Supa Fuzz will probably be bassier since the input capacitor is quite a bit larger, especially with that 0.

It was the same basic circuit with only a few minor component value differences. Check out the schematic of the Vox MKII below, which was emailed to me by Peter, who traced the schematic from an original he owned. The pedal wasn't equipped with the original three-transistor MKII circuit, but rather a modified version of the Fuzz Face. If you take a look at the schematic of the MKII reissue pedal below, you'll see that there have been a couple of changes and add-ons to the Fuzz Face circuit.

The two most notable additions are the pF and 10pF capacitors that are across the collector-base of Q1 and Q2 respectively. These two added capacitors help to smooth out the sound of the pedal, as well as to remove some high-end from the circuit. The input capacitor has been increased from 2. These two changes will certainly increase the bass response of the circuit The "level" pot has been changed from KA to KA to help remove some of the muddiness from the circuit.

The MindBender I decided to use NPN Germanium transistors for mine so that I'll be able to use a negative ground arrangement, which allows use of modern power supplies.

Colorsound Tonebender Fuzz Reissue

I made a few more changes to the circuit to enhance it's overall performance:. First off, I added a 1M pulldown resistor to the input of the circuit, which will prevent "pops" when using true bypass switching. The second change that I made was to replace the K resistor on the collector of Q2 with a 47K resistor. This helps tighten up the sound a bit, making it less "farty", and it helps to increase sustain. Third, I changed the ohm resistor that's in series with the output capacitor with a 1K2 resistor.

This helps to boost the output of the pedal so that I don't have to crank up the volume control so much. This change doesn't really have any effect on the tone of the pedal, but it does help to prevent Q3 from becoming saturated. The Fifth change was to replace the 8K2 resistor on the emitter of Q3 with a 20K trimpot so that the collector voltage of Q3 can be adjusted to exactly 4.Aces, cheers buddy.

Didn't get out for the piercing moose the other night :0 Will let you know how I get on mate. Thanks, Matt. IvIark, Have you seen the "proximity wah" version of this effect? Essentially it replaces the variable resistor with an LDR. I believe it is the first link when google searching the term "proximity wah. It is definitely unique and a cool variant of this effect. Let me know what you think After some reading, it looks like that project is based on the Zvex Wah Probe Ah piss, I can't find my old wah now!!

Now I'm thinking I may have chucked that sucker out! I've got an old crybaby shell with a hole drilled in it for a switchable input cap. Anybody build this and try any of the typical wah mods for adding extra controls? Maybe an input cap switch or replacing the k trimpot with a pot for adjustable gain that wouldnt be my choice I dont know anything about how this guy works I just finished this I'm thinking that n input cap is totally wrong I've seen a few other layouts for this that use 10n capacitors and 1xn caps I did sub a 12nf for the 15nf capacitor I am a newb well with like 30 builds under my belt so sorry if these observations are dumb but that schematic only has 3 n caps instead of the 4 in this layout.

Also there is only 1 2n2 cap in your vero and 2x 2n2 caps in the schematic I'd really appreciate it if you could take a look- I think i've got it This is a really, really cool sounding pedal. I'm surprised more people arent interested in this Aah well spotted, I've posted the first version of the layout that I did which had a couple of values wrong copy and paste without changing values.

I corrected it but posted the old one! I'll change the layout now. Cheers for that. Anyone have any suggestions for adjusting the pot to work better? I was thinking it might work to make the pot smaller like put a k resistor across lugs 1 and 3 to make it a 50k pot So close to being perfect!

If we want to increase the pot rotation resolution between bass and treble then the taper would need to be changed.

colorsound fuzz schematic

If the transistion is late in the linear sweep then reverse log should give you more resolution, early in the sweep and a log may be more suitable. The W taper was designed for graphic equalisers and has a reverse log tape between the fully CCW position and centre, and a log taper between centre and fully CW.

That may be more suited to this but I'd check the log or reverse log first. I'd really like to get this circuit working well I just discovered the Analog Alchemy site where it shows calculations for tapered potsLog in or Sign up. The Gear Page.

Colorsound Wah Wah Pedal - Info & Repair

May 18, 1. Messages: Anyone have experiences with them? I really got into them because I heard they are almost exact copies of the fuzz on the old Super Beatle Vox Amps. Would like to try it on bass too. May 18, 2. Look well, listen! May 18, 3. That's a recreation of the wah-fuzz fuzz. The one knobber is a bit different and very similar to the Vox Distiortion Booster circuit in the Super Beatle, indeed.

ElectricWarriorMay 18, May 18, 4. Messages: 2, Only similarity between the One Knob Fuzz and the Vox Distortion Booster is that the basic topology is a shunt-series feedback amplifier. As such, you can get pretty much any Fuzz Face tone out of it depending on how you tune it. So you can get thin and nasty or thick and smooth.

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May 18, 5. Messages: 1, I had Mark Black Arts Toneworks make a version of the silicon Colorsound single knob for me I demoed it on YouTube quickly with my squier vm jazzmaster. I hope the link above works.


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