Metal muff schematic

Continue Ok. Your micrometal clutch is about $50. It got one tone-handle, no topboost and smaller size. I would be really impressed if someone built a metal clutch on a vero and was able to put it in anything less than 1590BB. I really like the charm with diy, but sometimes it's hard to make it worth it. Throwing stones to the bone Swedish heritage. In response to this post, the Gaffled1 micro-metal clutch thing doesn't seem to sound as full-size. The 1590bb will be much better than the size of the 1790ns it currently is. I think 3 groups eq, why do I like the big one. Ok. I'm trying to make a layout to fit 1590bb in the scheme you posted. Throwing stones to the bone Swedish heritage. In response to this post Gaffled1 Awesome, thanks to COMPONENT VALUES MAKE THE SOUND - There is a myth that a transistor type is responsible for the sound of the Big Clutch to be good or bad. Good and bad subjective terms that will differ for different people depending on their musical or gaming preferences, but are actually a combination of different values of all the components in the chain (capacitors, resistors, diodes), and how transistors are biased against the surrounding component values that make one big Muff sound different from the other. The signature Big Muff sound comes from two diode sections clipping in a row in a four-stage transistor amplifier design combined with unique tone control. In the past, real tonal differences are from a combination of individual component values. The older the clutch, the more these values differ from unit to unit, and the newer the clutch, the more they are the same from unit to unit. These are differences that give each Muff its own unique character. TRANSISTORS - There is a lot of hype about some transistors that are more desirable in vintage Big Muffs than others. At the top of this list is the mysterious FS36999 transistor found in vintage V1 and V2 Big Muffs, which were actually 2N5133 transistors with a custom brand. Transistors have amplification measurements called hFE. Technically it is a measure ahead of the current gain rate in DC's current transistors, rather than the profit people refer to when it comes to the level of distortion of the production pedal using the distortion/support handle. The F stands for forward and E means that the transistor connection is in emitter mode. One type of transistor may have a higher or lower hFE than the other, and these values can vary greatly between transistors of the same type. The specifications for the original 2N5133 transistors were in the 60-1000 range. When I started collecting Big Muffs it was accepted that the best sounding vintage units were high hFE transistors in the 400-600 range. When I pulled all four FS36999 transistors out of the exclusive 1973 Big Muff in my collection and measured hFE I found that it ranged from 164 to I also pulled transistors from one of my High Font Green Russian Big Maffs and found that they ranged from 200-250hFE. Here are some other measurements of hFE 2N5133/FS36999 transistors to give you an idea of how diverse they are. 1971 Triangle Big Clutch - No 1: 702, No 2: 632, No 3: 655, No 4: 704 1972 Triangle Big Clutch - No 1: 666, No 2: 286, No 3: 550, No 4: 233 1973 47 Ram Head Big Muff - No 1: 431, No 2: 4: 577, No 4: 4: 425 1973 Violet Ram Head Big Muff - No 1: 164, No 2: 204 No 3: 183, No 4: 161 1973 Violet Ram Head Big Muft - No 1: 169, No 2: 189, No 3: 167, No 4: 193 19 74 White Can Ram's Head Big Muff - No 1: 141, No 2: 168, No 3: 288, No 4: 152 Modern 2N5133 Transistors is not quite the same as 1970s production. Some consider them almost too low for Big Muff, although as indicated, some 1970s 2N5133/FS36999 measure is very low too. 2N5088 or 2N5089 are close modern transistors producing equivalents. The 2N5089 have a slightly higher growth rate than 2N5088. BC549C, BC550, BC239, SE4010, and 2N5210 are some others that also work. Lower gain tranys are said to have a smoother sound than the higher ones get, and higher-get transistors are said to affect the medium and pick up the response, although actually hearing these differences is sometimes not an easy thing. The current winning transistors should not be considered alone, however, because the bias on the amount of profit for each cut-off stage is set by resistors coming from the collector and emitter of each transistor. The current winning effect affects some aspects of the tone if it is very low or very high. Too low and it may not have enough to get to cut off sections to work properly and can be weak or dark sounding. There are other characteristics transistors can affect as well as clarity, raspiness, thickness, volume, and white noise levels. These characteristics can range from transistor manufacturer to manufacturer and vary between old and new transistors of the same type. In the blind test, I couldn't pick one over the other to listen to the recorded samples, and the differences I thought I heard by changing them using outlets were probably just my imagination. The only real difference I noticed was the transistor at the last stage. Different transistors and different hFE values seemed to change the sound in this position, but it's a subtle difference. I believe that the effect of different transistors is minimal, but many pedal builders believe that they have a big impact on sound. This is why many of these screen manufacturers party transistors to sing away the less desirable ones. Electro-Harmonix never screened transistors when they did Big. This may explain some of the wide range of different sounding Big Muffs of the same model, but this diversity actually comes from different circuits used from one production startup to another, and how the value of the component part has changed over the course of the as parts of age. I suggest not too hung up on a transistor type when looking for a vintage Big Muff though. Muff with old 2N5088 or BC239 transistors may sound as good or bad as the one with the old 2N5133 transistors. Other components of the chain are much more important to the tone. If you've never opened your vintage Big Muff to look at transistors on PCB, here's AN INSTRUCTION for taking one apart...... Shown left: V1 Big Muff wine chain with ceramic capacitors, carbon composition resistors, and NPN FS36999 Silicon Transistors. Shown to the right are two other vintage silicon transistors used in large maffs, PNP 2N5087 and NPN BC239 CLIPPING DIODES - There were many different types of silicon clipping diodes used. Although the effect is negligible, different types of diodes trim the sound frequencies at the cut-off stages in different ways. Most modern large clutches and clones are made using a common use of 1N4148 or 1N914 diodes, which measure similar values of some diodes found in vintage large, but not all. This probably overlooked the aspect of sound when creating clones of vintage circuits, but the problem is that many of these old diodes had non-standard markings, making it difficult to determine the actual type used, and many of which were marked no longer made. The anterior voltage of the diodes used in the triangle, and the early large Ram's Head clutches range from about 0.5 to 0.6.V. Diodes in the old perf board of the triangle I own measure 0.481 - 0.487V, and diodes in 1971 Large Muff measured 0.560 - 0.572. Diodes in the head 1973 Ram Big measured 0.586 - 0.626. The diodes from the bubble font Russian Big Muff measured 0.571- 0.580. The diodes used in V1 had various markings, such as SYL GD938, or SYL GY925 926, SYL, GY920 or GY819. Most of the diodes used in V2 were unmarked (only black cathode). Some of them were marked 125 (1N125 is a diode of germanium, but these were silicon), and some of the 1975-76 period was 1N925 or 1N802 (grey/black/red stripes) diodes. The diodes used in the V3 and V6 were 1N4148 or 1N914, while others were unmarked. The diodes used in Russian Sovtek Big Muffs production were very different from the U.S. models, all of which were out of production. All in all, they seem to clip higher frequencies than the standard 1N4148 diodes. Red army overdrives and large civil war clutches used Russian types of KD521A and KD521V. The Green Civil War and high fonts and some bubble fonts used KD521A, KD521V and 2D510A. Later, Bubble Fonts and almost all black Russian large clutches used KD522B. RESISTORS - Electro-Harmonix used cheap carbon resistors throughout the 1970s dark brown cylinders with colored stripes), gradually moving to the type of carbon composition (smaller cylinders with thicker ends, and different body colors - tan, light brown, dark brown, red-brown) in the late 1970s and early 1980s. When the Big Big Returned to production in 2000, the carbon composition was re-used, with the rare use of some modern carbon film or metal film resistors (similar to the composition of carbon, but the color of the case is usually blue), appearing in later years. What's the difference? Carbon and carbon composition resistor tolerances (electric variance from part to part) are very high, but film resistor tolerances are lower and more consistent from piece to piece. Some also argue that film resistors have lower noise levels in audio circuits than carbon types. Having a lot of large clutches with both types, and a few clones exactly the same chain with all one type and all the other type, I hear absolutely no difference in noise level between them. CAPACITORS - Electro-Harmonix uses ceramic, poly film, polarized electrolytics and various other types of capacitors in all periods and models produced by Big Muff. Some great Muffs used all the cereamic capacitors, some mixed film and ceramics, some mixed all styles. It doesn't really matter in this scheme. Do they sound different? As with most audio electronics, opinions change wildly. The general consensus among audio lovers is that film caps sound better in audio chains than ceramic, but there is no evidence and the difference cannot be heard in blind comparisons. In fact, the evidence point to sound distortion differences actually very much below what the human ear can hear or differentiate (my opinion is that if you can't hear it, it doesn't matter). All capacitors lose ability over time as parts of age, but leakage into electrolytics is faster than other types, and tolerances (electric variance from part to part) are not very good. Film capacitors last much longer and have better tolerances than ceramic and electrolytic. However, in small signal circuits such as effect pedals, minor changes in capacity over time usually have little effect on sound. If you add up the electrical value of changes in all parts throughout the circuit however, you'll probably hear a small difference between when the pedal was brand new compared to thirty and forty years later. VINTAGE COMPONENT MOJO - Some Big Muff enthusiasts claim that a certain set of component values (1uF clipping caps vs. 0.1uF caps, for example) give Big Muff the best sound, but it is subjectively sound-based one person prefers that the other can't. Some also think that there is a MOJO in old vintage components that make these Muffs sound much better than later issues (old ceramic caps vs. new film caps, or old 2N5133 tran vs. new 2N5088 tran, for example) and I would agree with since most of the big Muffs I like most are old. However, I played vintage pedals side by side with precise clones made using modern components and sound very close. I'm not saying mojo doesn't exist in old Muffs. It can be, and is in opinion, but you can get one vintage Big Muff that sounds great and another that sounds average, with exactly the same components. If you want a decent vintage Big Muff tone you don't necessarily need to fork out hundreds of dollars to buy a vintage one, hoping you'll get a good sounding unit when you can spend less than two hundred dollars and get a vintage Big Muff clone like the BYOC Big Beaver, or Stomp Under Foot, all made with modern pieces that are more consistency than most vintage pieces...... Shown above (left to right): Vintage 1973 Big Clutch and Muff brick replicas made by Stomp Under Foot for the big Muff Classic series using all modern components. Brick was the Big Muff Classic #4. Custom graphics were added by me with the help of a wonderful work by Gerald Scarfe created for Pink Floyd's The Wall. '73 BIG MUFF VERSUS '73 S.U.F. CLONE TEST - Here's an experiment I did with one of my favorite vintage big muffs, V2 Head Ram Big Clutch with 1973 pot dates (shown above), FS36999 transistors, polyester film caps, and all carbon compsers. Matt in Stomp Under Foot made an accurate clone of this in 2010, Brick Muff, for his Big Muff Classic Series. It was based on my outline of the original trail. The clone was made using modern carbon comp resistors, diodes, ceramic caps and transistors 2N5088. Matt is well known in the Big Muff community for being very accurate, high-quality clones of almost every model or popular circuitry of various vintage large maffs, many of the spin from vintage Big Muff variants, and his own unique pedals like Big Muff. Here are the sound clips comparing the original '73 BM brick clutch, with volume, tone, and steady match as close as possible. In each clip, '73 Big Muff is the first and the brick is the second. Played with the Fender Strat loaded Seymour Duncan SSL-5 Bridge pickup truck and Fender CS '69 neck pickup in Reeves Custom 50 (Hiwatt Custom 50 replica) with Vintage Purple Fane replica speakers. Tone Pot Comparison with Chords and Rhythm Comparison with Leads/ Solo Comparison Solo 1 - with Demeter Compulator (compressor), Boss CE-2 Chorus (modulation), and Carbon Copy (Delayed Echo) Comparison Solo 2 - David Gilmore Style Solo with Compulator, CE-2, Carbon Copy They Sound The Same To You? They are different, but the differences are insignificant. There is a little more fluff in the bass notes with the SUF pedal, and a little different feel to the clarity of the fluff. The original is a little tougher in bass. Differences are more noticeable when using modulation, as these filters can bring up frequencies that are not so noticeable without. There is also a slightly different look between them during the game. However, overall I feel these two pedals sound and play 90% the same. This is 10% vintage MOJO? It's possible. A small little in transistor and diode types can be a factor. We have no idea what type of original diodes were, as they are unmarked. It may also be that the value components in the vintage Big Muff have changed a bit over time as the materials decompose, giving some parts a slightly different tolerance than what they labeled. Capacitors lose their ability with age. These values, marked on old components, can also be unreliable, so the actual values of the old parts compared to the new ones may explain the small difference. I suspect that if each component value were individually removed from the chain, measured, and exactly matched (they weren't), these two pedals would sound even closer. But still, the similarities are incredibly close, considering these two pedals were designed with components made about 37 years apart! Shortly after this demo, I replaced 5088 transistors in the SUF clone with a set of high hFE Fairchild SE4010 transistors. They seemed to get clarity a little closer to matching the original FS36999 transistors in 1973's Big Muff (although most 4010 transistors are actually very low hFE), but in a blind test I couldn't tell which one. I was also able to check out a set of supposedly vintage 2N5133 (thanks To darrin) transistors with hFEs in the 800s against modern SE4010s and 2N5088 transistors. Based on my experience working with them in vintage large, I was sure that the 2N5133 trani would make a much more noticeable difference. Surprisingly, there wasn't much difference, if any. Later, I pulled all four FS36999 transistors from the 1973 Big Muff that I was separately for repair and measured hFE. Two measured in the mid-160s, one 184, and one 204. Hardly what I would call a high current gain. I think most of the signature tone is really determined by the key cap and the resistor value, not the type of transitor. To a lesser extent, diode types can also change the tone because they affect frequncies cropped during the cut-off stage. The poor quality of transistors can also affect how noisy the pedal will be. VINTAGE VS. NEW - Modern Electro-Harmonix Big Muff pedals and custom boutique versions of the Big Muff scheme, such as the Blackout Effects Musket or the Skreddy Pig Mine, are made of modern components. They sound very different from each other, and very different from vintage E-H Big Muffs. What sounds good all depends on the person - what tone you're looking for or what tone you prefer, as well as the guitar amp used. Some people don't like the current E-H Big Muffs, referring to the fact that the old ones just sound much higher. They sound different, but that's because E-H always changes the circuit with each new version, so it will sound different. It's kind of a tradition with every new Big Muff model Does this mean that the new Muffs sound gives way? Again, it's all a matter of question The older the thought doesn't hold up when you look at the reliability of older components compared to new ones, but many prefer older tones simply because they are not common with modern Big Muffs. I also suspect that sometimes there is some sense of superiority from someone who paid $500-$1,000 for a vintage Big Muff, which makes this person talk negatively about the new Muffs, which usually sell for less than $100. Even so, what kind of person loves is really just a matter of individual taste. David Gilmour of Pink Floyd made his vintage Ram's Head Big Muffs, and his modern Pete Cornish made Big Muff clones and variants, sound incredibly fluid and melodic, and unlike any other guitarist. In a completely different style of music, someone like Jack White of the White Stripes makes fantastic, raw and rough distorted guitar tones, simply using a modern US reissue of Big Muff. I think both eras sound different, but equally cool. 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