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About lefort_1

  • Rank
    Hall of Fame


  • Biography
    former :
    - HW/SW engineer...12 years at Mentor Graphics
    - worked on the very first AED to get FDA approval
    - worked on 100K$ pipe organs for Rodgers organ

    Just a dentist


  • Location
    PNW, Oregon
  1. With all due respect, the CE1 uses a Panasonic MN3002 512-stage single bucket brigade chip, not a discrete, transistor-implemented bucket-brigade. Granted, the internals of any BBD is basically a chain of clocked transistors passing the sampled voltage level along from one capacitor to another (the chip-implementation/definition of a bucket brigade). That's the same be it an old Panasonic chip, one of the Reticon SAD series, or the current runs of Cool Audio chips. RE the internal power supply : another reason they could sound better with an internal transformer/rectifier/filter (aka power supply) is that the inductance of the long, stringy power-cable between an external PSU's filter-section and the power input to a given pedal is eliminated. While we don't usually have to consider power-distribution inductance in an 'analog' pedal, the MN3002 is chugging along at 30-40 kHz and is charging/discharging 500+ small capacitors at each clock cycle... that results in a fairly noticeable 'instantaneous' current spike on power/ground and the onboard power supply is better positioned to handle it than a supply that's down an 18 inch bit of 22 AWG spaghetti... the current spikes how as a voltage spike across that inductance. Of course, the whole thing could be handled even better if they'd add a little decoupling cap across power/ground right next to that BBD chip and it's clock-gen counterpart... but hey, it's their design, not mine. Another thing to look at is the post-BBD filtering they do. The topology of the filters and how well they are tuned to the frequency/artifacts generated by the BBD clocks/activity. I personally believe the first BBD-based devices (the CE-1, the early EHX BBD boxes) probably received a lot more in-depth attention on this filtering than most (they had to, they were the first) and many of the follow-on boxes kind of re-used the same parts/values even tho they might be running a different clock frequency, or maybe had a different loading on the BBD's output... anyway, it's an area that is pretty easy to get sloppy in, and it seems like there are so many BBD-based devices we like to slam because of noise or difficulty in calibration, when it might really be due to some other aspect of the design. ... and so ends my monthly contribution to HC.
  2. chicken salad ...Chi-cken Salad CHICKEN Salad !!! ... this was a test, amiright? ....OCD = diagnosed.
  3. I'm going to go out on a limb and recommend the Spiral FX Black pedal. "Out on a Limb" because it too has lots of variability in it's controls, so can get out into some splatty/glitch stuff, but there is a huge range in which it's warm, rich and tone-comes-thru tones as well. It's up to the player to chose where to go with it. It's made by Tom Cram, who was THE guy behind the DOD revival of the 2000's, and the designer of the new-classic Carcosa fuzz. On many forums, he went by "DigiTech Rep", and was universally known as helpful and intelligent. From what I've read, The Black uses the basically circuit topology of the Maestro FZ-1 as a starting point (as did the Carcosa) but has a HUGE range of Gain. It also has a direct Bias control for the clipping elements, and a Detail control that can dial in/out some of the 'finer points of fuzz'. There are 3 (THREE) clipping options : Silicon, Germanium, and the N2 Nanolog molecular junction (aka 'Quantum Tunneling' ) carbon-based device.** To re-state, Tom's pedals are made with a WIDE range of playing in mind. With that, the upper third of the Gain area is probably not for the OP. But it is there if you ever want to explore new soundscapes... soundscapes that harken to pterodactyls, swooping, screeching and attacking between every note you play. Some of the grittier settings can sound a bit odd in isolation, but they can REALLY help in cutting through the mix.If you've played a Muff-variant for long, you know what 'getting lost in the mix' is all about. The Black gives you the OPTION to not get lost in the mix. BTW, Tom has also created a distortion pedal called Yellow ... Take a look at it, as well. It can reach out to Fuzz-range, but it might actually be something a stoner-rock person could be interested in. The Girth control on the Yellow is amazing. There are 6 separate EQ settings which are detent-selectable. One more aspect.... the enclosures look amazing. Stunning. Unlike anything else I can think of. Each is the result of a custom etch/oxidation process which Tom is constantly evolving/experimenting/trying to kill himself by doing. Bunch of demos here (link below)... 3 more on 'PAGE TWO' https://www.spiralelectricfx.com/blo...al-demo-guitar There are Lots of different playing styles in there, with lots of different sounds... don't stop after listening to just one clip!! ** info on the N2 device is here https://www.nanologaudio.com/devices.html https://www.nanologaudio.com/carbon-benefits.html https://www.nanologaudio.com/nanolog...e-science.html Finally, a Caveat : I am not an employee or an endorser of Spiral FX... hell, I don't play out any more and I don't have a good recording capability. I HAVE eTalked with Tom on some aspects of his pedals....oddly enough, not so much about the electronics as the enclosures. I'd like to think it was 'inspiration', but luckily, he knows better than to listen to the ramblings of a geographically-isolated madman and former engineer/current dentist. I also sent him a couple items/tools that I have access to, which make the process of building things easier/safer. In return, he built me a special one-off box. I guess this qualifies as 'receiving an item of value'... so maybe I AM a paid endorser? I dunno. I just get a kick out of bending his ear and he was kind enough to send me something in return. I've also bought a number of his pedals at regular price... no special treatment there.
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