Here's a collection of vero (stripboard) and tagboard guitar and bass effect layouts that we have put together covering many classic and popular effects in growing numbers. Many of these have been posted on freestompboxes.org, so check that site out for great discussions on building your own effect pedals. Enjoy the builds and please also visit us on Facebook and Twitter
Not much info on this. From what I've read from the BJFE forum is that the 3 knob Sparkling Yellow Overdrive was a short BJFE Customshop run that's supposed to have that old school early American tones, think Fender Tweed, Blonde, and Brownface.
Video of the 3 Knob
Video of Bearfoot version of the 4 Knob (Closest Video I could find)
"CC Hybrid is one of the first pedals to use one germanium and one silicon transistor in the classic Fuzz Face circuit.
Hybrid is a stand-alone pedal that contains the same Silicon/Germanium
fuzz face circuit as the original Captain Coconut and Captain Coconut2.
To my knowledge, it’s the first example of a commercially available
pedal to use one germanium and one silicon transistor in the classic
Fuzz Face circuit. It combines the warm, dark organic tone of germanium
with the clarity and sustain of silicon. CC Hybrid gives you the best of
Volume - Set the volume you like, compensate for level changes when adjusting the Grit and Fuzz controls.
Fuzz - Controls the amount of gain in the circuit. Typical setting is all the way up, or backed off a little.
- controls bias voltage to the transistors. This lets you go from
smooth to choppy and everything in between. Typical setting is 11:00.
Past the 2:00 setting the sound takes on a restricted, gated quality.
The extreme range of the Grit control is effected by the voltage coming
into the pedal. Above 9Volts, grit stays smooth at the max setting.
Below 9Volts, grit can sound choppy at gated as low as the 1:00 setting.
If you notice this - don’t worry, there’s nothing wrong with the pedal!
Just set it for the sound you like.
- There's a trimmer inside for backing the input level down a little.
Just like having your guitar volume turned down. It’s preset all the way
There are 2 layouts: one with the original trimmer and one with a fixed resistor in its place.
Interesting sounding 8-Bit fuzz, that's not typically my type of pedal that I thought will get some love. Schematic is posted over at DIYSB.
From the source:
is one of the earliest SHOE designs. It began as an oscillating fuzz
and, after intentionally adding elements haphazardly and then adjusting
the circuit so the pedal began to work again, it turned into something
else entirely. The Pixel is a gated fuzz and is commonly used
on bass, though it works quite well on guitar and other instruments.
When used with a guitar on single-note lines, the Pixel is adept at
producing chiptune and analog or 8-bit synthesizer type sounds. It can
resemble the sound of a classic monosynth or game console. This effect
is most pronounced at higher PINCH settings.
By turning up the PINCH knob, you will create a stronger gating
effect. Turn the control down and you will gain more and more sustain
until the pedal ceases to be gated and can move into some slightly more
traditional bass and guitar fuzz tones.
The Pixel is not, however, a pitch tracking effect as many synthesizer
emulators are. As a result, you can move seamlessly into highly
distorted chord playing simply by changing what you play.
Pixel on bass operates quite similarly, but bass notes will tend to
have longer sustain when played through the Pixel. By adjusting the
PINCH knob, you can also move between more open fuzz sounds or staccato
synth-like tones. Because of its popularity with bass players, the
current version of the Pixel features larger capacitor values at all
stages to let your thunderous low end through.
The Pixel also features a Low Pass control which is very useful in
dialing out upper harmonics. You can go from rather nasal to warm and
fat with this control.
There’s also a new feature on the latest version. That is the Easy
Mode/Hard Mode switch. This essentially lets you select from two
different versions of the Pixel circuit. The Hard Mode setting is quite a
bit louder than the Easy Mode setting, so be careful to turn down your
volume before switching!
The Pixel definitely takes a bit of practice to grasp and you will
likely need to adjust your playing style when playing it to achieve the
best sounds. This is OK, though. Some SHOE pedals are intended to
enhance your guitar and your existing playing. The Pixel is, more or
less, a different instrument and you should approach it as such. With
some creativity and the right mindset the experience is quite rewarding
both sonically and creatively. Use this pedal to write new types of
songs and go on new adventures!
Volume (Top Left): Sets the output level of the pedal
Easy Mode/Hard Mode (Toggle Switch): Use
this to select between two different Pixel circuit versions. Hard Mode
is a bit tougher to master (and much louder) but greatly expands the
number of sounds available in the pedal (it’s based on the very first
Pixel). Play with the Pinch and Input Level knobs to get a number of new
synth-like sounds (Pinch all the way left and Input almost all the way
up is a personal favorite). Easy Mode is a bit more forgiving and has a
softer sound that can be tuned into a more traditional fuzz sound at low
Pinch and Input Level settings.
Input Level Adjustment (Top Right): Used
to adjust the level of signals coming into the pedal and can also be
used to “clean up” harsher attacks due to its built in mild low pass.
Low Pass (Bottom Left):
A simple tone control. Use it adjust how much treble is present in your
output signal. This control will never cut your bass frequencies.
Pinch (Bottom Right):
The heart of the pedal’s sound. Turn the pinch knob up for more
staccato and synth-like sounds. Turn it down for longer sustain and less
synth-like fuzz sounds.
Well as usual just finished a round of exams, so it's time to start posting the layouts I did when I was taking study breaks. This time I'm going to space them out so there's not a sudden flood.
First up the 18v Colorsound Power Boost. Same topography as the Colorsound Overdriver, but ran at 18V, and to my ears boarders on a fuzz. I made 4 different layouts, 2 identical to the original (early & late version), and 2 that have an added master volume pot. On the original the pot labeled volume is really more of a gain pot then a true volume pot, so I figured that it would be much more usable to be able to max the gain and control the output level. The original came with BC184L transistors, but you should be able to use any NPN Silicon Transistor.
Apparently mimicing Mesa MKIV head's distortion. Hadn't seen this type of distortion control in a pedal before, so i thought this might be a nice addition. Has nice amount of gain and there's room for tweaking. Update 12.9.2017 - Don't know what was going on in my head with the original layout revision. It had tons of profound errors in it. Now fixed per schematic and let's try this verification thing again...
Schematic was recently posted at FSB (Thanks Manfred!), but there are couple small things i decided to tweak for this layout. For one, the original has 4558 dual opamp in the circuit with other half left hanging. This layout has 741 in its place and the transistors are with more common pinout. Nice singing overdrive circuit nevertheless.
traditional overdrive stomp boxes, the VH4 Pedal is a true preamp which
delivers an authentic representation of its namesake – real Diezel tone
– not emulated, not modeled, but sincerely reproduced. The entire
signal architecture is faithful to the original: Bass, Mid, Treble and
variable Deep and Presence controls allow you to tailor the uniquely
Diezel Overdrive character. The command found in the Gain control gives a
player everything they will ever need with lower gain settings
producing the classic Diezel sparkle and chime to saturated mid-gain
sounds, to scorching Diezel leads by cranking it all the way up.
As close to the original VH4 preamp, the VH4 pedal can be used as
either an overdrive or as a standalone preamp to feed into your amps
power section. What players take away by going direct into the power amp
is all the dynamic, unfiltered Diezel tone by simply plugging into your
amplifiers clean channel. Two outputs are provided with the first
intended to connect to the front of a guitar amplifier and the second
allows for a connection to a line-level power amp or power section of
your amp via the Effects Return."
Original FSB thread and schematic available here.
This is a buffered effect.
Follow the layout's footswitch wiring.
The origins. Tone Bender MKIII, Tone
Bender MKIV. Same party different frock. Aside from the obvious
differences in the enclosure type of these pedals any true solid
definition of which is what in regards to circuit type is and will
always be a little bit of an ambiguous subject. The way I always made
sense of it in my head was in regards to the biasing. The early MKIII's
were choppy, heavy, clumsy, a fuzzy lump hammer. The later MKIV's were
smooth, dynamic, articulate, a distorted boxing glove. In between, you
have a foggy transitional period. Even with the those definitions in
place it never always runs true.
I think the best description of the differences between the MKIII & MKIV tonebender comes from non-other than the captain:
The origins. Tone Bender MKIII, Tone Bender MKIV. Same party different
frock. Aside from the obvious differences in the enclosure type of these
pedals any true solid definition of which is what in regards to circuit
type is and will always be a little bit of an ambiguous subject. The
way I always made sense of it in my head was in regards to the biasing.
The early MKIII's were choppy, heavy, clumsy, a fuzzy lump hammer. The
later MKIV's were smooth, dynamic, articulate, a distorted boxing glove.
In between, you have a foggy transitional period. Even with the those
definitions in place it never always runs true.
Couldn't find a video of an original, so I figure the best example of the pedal is going to be the DAM version. Want to be clear, this layout is for an original Tonebender MKIV not the DAM one as travis pointed out.
Here's four different versions of the DAM Fuzzsound, all of which are a mix of the MKIII & MKIV Tonebender.
From the captain:
Fuzz Sound MKIV (used to
be badged as the MKIII) Basically a pimped out version of the Tone
Bender MKIII and MKIV but with more tonal scope, more muscle and packing
space age features.
First up, a few quick words on the differences between a Tone Bender
MKIII and a MKIV. They do both use the same circuit blue print if you
will but there are subtle and noticeable differences to each pedal in
the tone department. Without over complicating matters, as I do what to
get to the point, the Sola Sound made MKIII and the MKIV basically sound
of their time. The early MKIII's sound fuzzy and choppy, later MKIV's
sound smooth and distorted. Then there's a blurry line in the middle.
Basically the biasing evolved to the point that the pedal became more
overdriven than fuzzy. Ya know, I guess, to suit the needs of Musicnauts
of the day.
The FS-75 is the blurry line in the middle and some. It's not a direct
replica of either but the flavour I have gone for is an all out balls to
the wall, big hair, big boobs, fat cars, fast food, dirty denim, dirty
hippies, 8-track stereo cranking, 3-D glasses rocking fuzz tone. To
quote, its: "1970 rollin' in sight"
Well I've been in a bit of Tonebender kick lately, so I decided to do a bunch of MKIII & MKIV variants. The Rotosound Fuzz was built by Sola Sound in the late 60's and is based on the MKIII Tonebender.
From blistering, octave-tinged fuzz all the way down to dirty, fat
overdrive with a turn of your guitar's volume control, the Raincoat has a
sound all of its own. Is it an overdrive that does fuzz? A distortion
that does overdrive? A fuzz that does it all? We have no idea. All we
know is, it's a Raincoat; the Raincoat.
Not much info on this one, not even who actually made it. Found the schematic years ago over at DIYSB where it was reversed with the help of none other than dino. Figured I'd tale a shot at a vero since I did so many other wahs.
Found an old schematic of Standard Hemmo Fuzz, which has two outputs. One for cleanish boost and second for fuzz. Drew it as described and added diode clippers as notes suggested. Added volume pots for both modes, 2PDT stomps for mode select and basic bypass. Some of you might find this rather usable...
"Starting with the same germanium transistors as the
much-loved original Sputnik, but with slightly different specs, we added a few
slight tweaks to get very close to the sonic details of the original circuit.
Many of the other parts in the Sputnik II are different but of same or similar
value, including many vintage and rare parts.
While extremely similar to the original,
the Sputnik II is a beast all its own. The Sputnik II takes everything we loved
about the original, and adds in the things we dreamed of after its original
• Full-size control knobs for every
parameter • Foot-switchable DRIFT mode, with its own status indicator •
Additional FILTER options for maximum tone-shaping • Additional circuitry
making it more friendly to active pickups, buffers, synths, pedals, etc
Within Sputnik II lies a plethora of fuzz
tones. Smooth, gritty, vintage, modern, thick, thin, buzzy, bassy, splatty,
sputtery, noisy, buttery, controlled or very much out-of-control. A truly
endless cornucopia of fuzz."
Here is another pedal reverse-engineered by Dino (Digi2t).
He also added an extra diode reverse switch.
For all infos on how to build this pedal you can find Dino's original thread (with his own vero) and schematic on the DIY forum here.
We do get quite a lot of requests to post the schematics with the layouts. Please note that we can't do that unless it's our own work. We may link to a forum thread etc. but we cannot post other peoples work witout their permission. This is the reason for not posting schematic files. Once again. Since we can find the drawings, you should be able to do so too.
This one is work of mine, and thus, ok to post. You can still check the FSB thread for more details.
So as most of you guys know when I'm studying for exams I tend to do a bunch of layouts when taking breaks to keep my sanity. So since I did a layout for the Tubeworks 903 I thought to myself if it's basically a tube pre-amp I thought why couldn't the tone stack be modded to that of some legendary amps. With that in mind, I modified the original layout I made with various tone stacks.
JohnK had made a layout for the 903 awhile ago, and since I did a layout for the 901 i thought I'd see if I could make a smaller layout for the 903 to make it easier to put this in a 1590BB with plenty of room. I took his
switch wiring to make it true bypass, and removed the additional LED to
tell you that it's got power, which I feel is unnecessary. Schematic can
be found on Revolutiondeux.
JohnK had made a layout for the 903 awhile ago, so I thought I'd give the 901 a shot. The layout should be small enough to give you plenty of room in a 1590BB. I took his switch wiring to make it true bypass, and removed the additional LED to tell you that it's got power, which I feel is unnecessary. Schematic can be found on Revolutiondeux.
With 1000 verified layouts in site, I figured I'd throw in something small, simple, and usable.
From the Source:
The Signal Pad is a passive attenuator that allows you to instantly
switch to a different preset volume. It's like your guitar's volume
knob, with a fully-passive and color-free circuit. Leave your amp's
volume set high for overdrive, and use the Signal Pad to lower your
level for a clean sound -- then switch it off to kick in your amp's
natural overdrive. You can also experiment with the Signal Pad anywhere
in your effects chain -- you'll bring out new tonal combinations from
your favorite old pedals.
Found this while searching for some schematics for Silicon Tonebenders I came across it on revolutiondeux. Miro posted a layout awhile ago for the Hot Silicon, which is pretty much the same, the difference being the trimmer off the gain control (abuse) which lets you set the gain rather then having a set resistor. Since my layout different then his, and the added trimmer I figured it was worth adding.
Here's mictester's advice on tweaking:
"Adjustment: set the 1k "Abuse" pot halfway. Play though it, and adjust 5k preset until "gating" just stops. That's it!
You'll find that it has plenty of output, that the "Abuse" control gives
a good range of colour, the "Sparkle" control has a very wide range and
the sound is remarkably reminiscent of early Jeff Beck (certainly not a
Put small value capacitors from base to collector of the middle two
transistors - start with 47pF. This "smooths out" the sound a lot, but
reduces the treble available.
If you have radio interference, put 100pF from base of the first transistor to ground.
Experiment with the capacitor values in the tone control - the 8n2 could
go as low as 3n3, which would give a ridiculous range of treble
Increase the value of the 47k feedback / bias resistor - try as high as
470k. The gain will rise, the touch sensitivity will disappear, and it
will become a high gain screaming monster! "
I saw a request for a Silicon Tonebender MKII based on a perfboard layout over on StompBoXed's page, which is the modified Tonebender MK II Professional. So after making a layout for it I started searching for other Silicon Tonebenders.The other 2 schematics can be found over at DIYSB.