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Discussion Starter #1
I got this in unexpectedly yesterday, what a cool suprise!

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It's an octave up pedal with three different diode options.
They go from mild to more intense effects.

I've only tried octave/fuzz pedals and they seem to be good with single notes,
but wash out a chords or doubles stops and make bending with more than one string involved to get odd artifacts.
That can be a cool thing too, but I find this to be a clearer method, letting a full chord ring through.
Sounds great with a drive pedal afterward too. I'll have to give it a whirl through the Marshall this weekend.

A big thanks to Mark for the pleasant suprise. :)

Then there were two...

IMG_2193.JPG
 

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Almost correct, Jock. ;)

It's a hot-rodded Green Ringer (and improvement on the Earthquaker Tentacle), modded to have:
- a bit better tracking, so octaves are not the exclusive domain of the 9th fret and up,
- two additional levels of push/boost, prior to octaving, above the stock version (and output level to compensate for the extra boost)
- an additional diode pair to provide the "illusion" of sustain, which can make the octave stand out more.

I was going to label it "Ringy Thingy", but the sheet of yellow rub-on lettering I had didn't have any 'Y's left in the desired size, so Ring Thing it was.

T'was well-deserved, in gratitude for the delightful retirement present you sent me. Rock on.

 

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Nice. I made kinda matching Echo Bases for me and the other guitard in one of my bands (paint jobs by his GF; I tried to squeeze too much in there but it's all damn useful):



Got some octave stuff in the build queue but seem to never get to it (got a bud's Organizer on semi-permanent loan so not that motivated, though I would like something not as pipe organy).
 

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Discussion Starter #5
Ah, thanks Mark, I figured that I'd bungle something there.

That delay is a fun pedal too, for sure.
 

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Nice. I made kinda matching Echo Bases for me and the other guitard in one of my bands (paint jobs by his GF; I tried to squeeze too much in there but it's all damn useful):



Got some octave stuff in the build queue but seem to never get to it (got a bud's Organizer on semi-permanent loan so not that motivated, though I would like something not as pipe organy).
Daddy like...although daddy not so crazy about the pointy shoes required to aim for those buttons. :D I have another Echobase on the stack of things-to-finish-in-retirement. Same 1590BB enclosure size, but three stompswitches, with the middle bypass one set higher than the two at the side, so that poor aim can be compensated for by elevation. Sulphur's has a momentary LFO-kill button. On this one I decided to include a toggle so that the momentary stomp could be used either to introduce, or to kill, modulation on demand. The box is painted and legended, so I guess I'm committed to it now. Not a user of oscillation myself, but I can see where some would find it useful. I like the "punch-in" feature that lets one introduce new content into the delay path at will, on a riff-wise (or even note-wise) basis.

Like myself, I'm sure you owe a tip-o'-the-hat to the fellow who came up with the Echobase and layout. A simple, inexpensive (I think I paid 47 cents for my delay chip) and full-featured delay. It can get a little grainy at longest delays, so I usually include some additional lowpass filtering in the repeats path, such that it gradually removes more high-end with each successive repeat. That not only makes it sound more like real echoes, but scrubs away a lot of the dirt that accumulates with more repeats.

Not sure what you use for labelling/legending, but it looks like marker. If you've never tried them, consider paint pens (or is that what the white letters are?)
 

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I usually paint the lettering on (with a brush; I use Testors enamel) like the one on the left - marker just looked right for mine (on the right) - I did try paint but it needed to be more sharp/angular with a thinner line; haven't done that on any other ppedal and don't thinbk I ever will but I like it here.

To make the stomps easier to not misfire, the middle 2 are much taller than the outer 2, which actually works - I can hit the right switch wearing combat boots. I cheated a bit and used MusicPCBs pcb, which I think has the extra LPF integrated. Still quite a few offboard mods though (shape control etc).

One of my favorite things about this circuit is how the pedal can be completely bypassed and the instant oscillation button still works (as long as you are in buffered/tails mode, I think). I just wish that I had known to put a bit of a pad on the oscilated signal because it's quite a bit louder than the effect itself so doesn't always integrate properly into the arrangement of a song. ... which is why the first point above is so great - I tend to use it on songs where I'm not using the actual delay.

... and yeah, props to Ian Maltby for the circuit.
 

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64 Gretsch 6120, 63 SG Standard, 62 Fender Princeton and a 58 Supro 1624T
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Awesome:)
 

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To make the stomps easier to not misfire, the middle 2 are much taller than the outer 2, which actually works - I can hit the right switch wearing combat boots.

... and yeah, props to Ian Maltby for the circuit.
Another thing that helps is moving the side stomps in from the front skirt a bit more. Of course, the feasibility of that will depend on the size of the board, and where one needs to situate the in/out jacks. Moving the side-stomps further back and inch allows for side-mounting the jacks where the stomps used to be. That ends up providing a little more distance between the two centre stomps and the side stomps.
 

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Yeah, but side -mounted jacks are the devil - top mount all the way. Saves on pedalborad realestate; a tru struggle.
 
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I love
My green rínger. Moratto built it. New user setting is (as was explained to me). Tone off, neck pickup,single notes, with drive after,

It’s nutxs. Add some delay or trem and it’s bolistic.

Sounds somewhat like a synth keyboard.
 

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Ideally, octave-up units should do the filtering FOR the user, instead of the user having to roll the tone off just to use the pedal. The trick with octave-up pedals is that they desperately want the note fundamental and only the fundamental, if at all possible, in order to produce a clearly audible doubling of the note pitch. That's why folks have to use the neck pickup with the tone rolled off and have to pick above the 7t or 9th fret. That far up the neck, the string is stiffer, and harmonics are pushed way in the background Personally, I think that's part of why the Foxx Tone Machine (and its various offspring) yields such a great octave. It includes some filtering in the front end to goose the range where the fundamentals live.
 
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