Este pedal de efeitos permite alterar o som do seu instrumento e, desta forma, explorar novas possibilidades sonoras. Crie com maior liberdade e desfrute da música! Som extraordinário Este pedal permite gerar um efeito de overdrive que é caracterizado por oferecer uma saturação do som mais respeitosa em relação ao sinal original e permite enfatizar harmônicos de segunda ordem. Estas características tornam este efeito um dos favoritos para instrumentistas, especialmente guitarristas e baixistas. Tecnologia digital Estes pedais usam uma eletrônica digital para produzir os efeitos. Sua principal vantagem é que eles têm maior versatilidade do que os analógicos.

Sobre a Valeton GP-200 ● Tecnologia de modelagem HD realizada pela nova plataforma digital que oferece tons mais orgânicos● Conversão de áudio de 44,1 kHz de 24 bits● Mais de 240 efeitos de alta qualidade● Mais de 140 amplificadores lendários de guitarra/baixo/acústico, gabinetes● Mais de 100 efeitos dinâmicos/distorção/frequência/modulação/delay/reverb● Suporte para armazenamento de IRs de 20 usuários● 256 slots de patch (100 de fábrica, 156 usuários)● Até 11 módulos móveis livremente na cadeia de efeitos capazes de trabalhar simultaneamente● looper de 180 segundos● 100 padrões de bateria de alta qualidade● Afinador cromático integrado sensível● O LCD TFT de 4,3 polegadas apresenta uma interface de usuário multilíngue intuitiva e fácil de usar● 8 pedais de LED personalizáveis ​​com 3 modelos de pedais, aplicáveis ​​a várias situações● Pedal de expressão integrado controlando até 3 parâmetros de efeito● Vários atalhos de botões e botões trazendo eficiência para casa● Diversas E/Ss que combinam com diversas necessidades● Interface de áudio de conexão USB Type-C compatível com sistemas Win/Mac/iOS/Android● Áudio USB de 6 entradas/4 saídas, suporte para loopback e mais conveniência para reamplificação● Editor intuitivo para Windows/Mac● Chassi de metal fundido robusto● Fonte de alimentação DC 9V Especificações Conversor A/D/A: áudio de alto desempenho de 24 bitsFrequência de amostragem: 44,1 kHzSNR: 110dBMódulo: 11, pode ser usado simultaneamenteMemória de patch: 256 slots de patch, 100 patches de fábricaLooper: 180 segundos de tempo recordeMáquina de tambor: 100 padrõesMIDI (IN/OUT/THRU): Conectores MIDI de 5 pinos  Conexões de Entrada Analógica Entrada de guitarra: 1/4″ Desbalanceada (TS)Impedância de entrada: 4,7M Ohms (A.GT), 1M Ohms (E.GT), 10k Ohms (Linha)Entrada de retorno: 1/4″ Desbalanceado (TS)Impedância de entrada de retorno: 100k OhmsEntrada auxiliar: Estéreo de 1/8″ (TRS)Impedância de entrada auxiliar: 10k Ohms Conexões de Saída Analógica Saídas não balanceadas L/R: conectores TS de 1/4″Impedância de saída desbalanceada L/R: 1k OhmsSaídas balanceadas L/R: conectores XLRImpedância de saída L/R: 1k OhmsSaída de envio: 1/4″ Desbalanceado (TS)Impedância de saída de envio: 1k OhmsSaída de fone de ouvido: 1/8″ Estéreo (TRS)Impedância de saída do fone de ouvido: 22 Ohms Conexões Digitais Porta USB: Porta USB 2.0 Tipo-C Especificação de gravação USB Taxa de Amostragem: Bit de 44,1 kHzProfundidade: Suporta 16 bits ou 24 bits   Tamanho e peso Dimensões: 345 mm (L) x 220 mm (P) x 62,5 mm (A)Peso unitário: 2,37 kg Power Requisitos de alimentação: DC 9V, 1000mA, centro negativo Downloads User ManualGP-200 User ManualFirmwareGP-200 FirmwareSoftwareGP-200 Software

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Here's one of the most classic effects of all time, the Cry Baby wah-wah from Dunlop. The big red thing in the layout is the Fasel inductor, and there's room on the board for a pull down resistor at the input if you need it, I just didn't include it in the drawing. What else is there to say? Just build it!

Here's another design by Martin from Soul Sonic FX. Here's what he had to say about it over on FreeStompboxes: It's a cool little hybrid combo of an opamp driving a MOSFET. It has a great range of drive, from light and crunchy to thick and heavy. At it's highest settings, some people might consider it a distortion, I guess it just depends on how hot your pickups are. You can see some fun tricks used in this circuit; subtle things that give it the special charm it has.

The LPB-1 was the first effect made by Mike Matthews and Electro Harmonix. Like many other effects at the time, it was housed in a small box that plugged directly into your guitar. It was designed to give you a volume boost and push the amp into overdriven territory. EHX still makes the LPB-1 (Linear Power Booster) to this day, as well as its sibling circuits, the Screaming Bird (also known as the Screaming Tree) treble booster and the Mole (also known as the Hog's Foot) bass booster. The LPB-1 and Screaming Bird/Tree can be built on the same board, as the only difference between the two is the input and output capacitor values (100n for LPB-1, 2.2n for Screaming Bird/Tree). The Mole/Hog's Foot is basically the same circuit, again with differing input/output caps. However, there are 2 added 100n capacitors that make it necessary for a different board.

The Faux Spring Reverb, like many pedal reverbs is based around a Belton reverb module. Originally it used the BTDR-1 (which is massive), but in this layout I've adapted it for the newer and smaller BTDR-2H. I've also simplified the power section a little, and used a TL071 for the second IC. In the original a TL072 was used, but only used half of it. Here's what Brian has to say about his design: The great thing about the Faux Spring Reverb is that it retains the Analog base tone, doesn’t send your signal through digital/analog converters and back again (wrecking your tone completely) allowing you to be as springy as you like without your sound becoming lifeless, dull and… well, bad. With the tone control, you can control your sound completely and have your reverb be as bright as day, or dark as night… As lively and bright as a small hall, or as deep as the biggest cathedrals. Edit: I realized this afternoon that the Depth pot would hit the Belton brick, so I've changed it to a 9mm pot and it will clear the brick. The whole thing will be really snug, but it should be doable.

Here's the newer version of the Angry Charlie with the 3-band EQ. Pretty much the Crunch Box with a 3-band Baxandall tone stack (similar to this) tacked onto the end. Pots are board mounted and it should squeeze nicely into a 1590B.

I thought I'd mix things up a little this week and post some synth circuits people might be interested in. To start things out, here's a modified version of the classic Atari Punk Console. This has a few additional potentiometers for more control and a more versatile version of this popular synth. In the layout below note that VR stands for variable resistor as the schematic I laid this out from didn't have names for each control (there are 6, labeled A through F). Pardon all the jumpers, 555s are uncooperative for single sided layouts. Haha

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Nós sabemos que você estava esperando por isso.O processador de efeitos múltiplos Ampero provou ser um divisor de águas por seu tom enorme, grande versatilidade e tamanho minúsculo. Desde o primeiro lançamento, tornou-se rapidamente popular entre iniciantes e músicos profissionais. Para a melhor portabilidade possível, a quantidade de footswitch no Ampero é limitada – no entanto, para os jogadores que querem mais flexibilidade nesta unidade, isso não é suficiente…Então aqui vem o Ampero Switch, o melhor amigo do Ampero!Os melhores pedais externos para Ampero.O Ampero Switch é um controlador de pedal momentâneo ultracompacto projetado não apenas para o Ampero, mas também para outros dispositivos com suporte para controlador de pedal momentâneo. Apresentando a mesma caixa de alumínio e design de tema de aparência, o Ampero Switch definitivamente combina perfeitamente com a vibração do seu Ampero. Pedais cuidadosamente selecionados e outros componentes garantem uma troca confortável e excelente resistência.Como posso usá-lo com o meu Ampero?É bem simples: conecte o conector TRS ao conector EXP 2/FS do Ampero com o cabo TRS conectado, entre no menu Global, localize o submenu EXP 2/FS, defina MODE como Dual FS. Depois disso, você pode atribuir qualquer função necessária aos pedais.Versatilidade é o nome do jogo!Use o Ampero Switch para alternar entre os bancos com o modo de espera (que não afetará seu patch atual) - Chega de pânico entre os bancos!Use o Ampero Switch como um seletor de patch – você obtém mais quatro pedais de controle de efeito!Use o Ampero Switch para ligar/desligar os módulos de efeito - isso significa um controle de efeito mais eficiente em um patch!Use o Ampero Switch para tocar o tempo/engatar o afinador – quanto mais fácil você controlar tudo, melhor você toca.Use o Ampero Switch para ativar/controlar o looper – você não perderá nenhuma inspiração a partir de agora!Use o Ampro Switch para controlar a bateria eletrônica - agora você pode tocar a qualquer hora, em qualquer lugar!O que é pedal do tipo momentâneo? E o tipo trava?Quando falamos de pedal do tipo trava, estamos nos referindo a uma espécie de pedal que permanece no status uma vez acionado até que você opere novamente. Por exemplo, um interruptor de ligar/desligar a luz. O pedal do tipo trava não requer compressão contínua dos músicos, o que é ótimo para ligar/desligar os pedais de efeito ou alternar entre os canais do amplificador.O pedal momentâneo é diferente: ele permanece ligado apenas enquanto está sendo comprimido (por exemplo, um isqueiro com um botão de pressão). Quando você pressiona um pedal momentaneamente, ele gera um "pulso" curto on-off, que é reconhecido como um "gatilho" na maioria dos multiefeitos digitais para alternar presets, tap tempo, ativar/desativar efeitos, etc. Portanto, o pedal momentâneo é principalmente para controlar uma engrenagem digital.Com o que mais posso usar o Ampero Switch?Como mencionado anteriormente, o Ampero Switch foi projetado não apenas para o Ampero, mas também para outros dispositivos com suporte momentâneo ao controlador de pedal. A função que você pode ter vai variar de acordo com o aparelho que você vai controlar.Características✪ Controlador de pedal duplo ultracompacto e leve✪ O melhor amigo do seu Ampero✪ Pode ser usado com outros dispositivos com tomadas de controle externo✪ Design de pedal momentâneo - suporte de pedal momentâneo necessário✪ Cabo TRS incluso (80cm)  -------------------- Manual do usuário --------------------EspecificaçõesDimensões: 100 mm (L) x 40 mm (P) x 42 mm (A)Peso: 130g

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Starting the week out with an early version of the Tone Pump from Barber. It's very similar to the Silver LTD with a few value changes and a simplified tone control. Here's the schematic for reference and you can use the Barber Silver LTD drilling template. I believe if you put two of these in one box you get the two channel version.

The XB-70 is a clone of the Captain's personal '77(?) Guild Foxy Lady, which were built by Electro Harmonix and generally very similar to Ram's Head Big Muffs. In the Captain's own words, "It sounds like torn leather soaked in piss and salt smushed lovingly into ears... It is a brute of a pedal, has a really intense roar at full tilt, like any good Big Muff really." I used my old Ram's Head layout as the starting point, but altered the pot placement and it should be a nice fit in a 125B now.

Another brutal fuzz machine from Devi, and sounds great on bass and guitar. Pretty straight forward design–two cascaded transistor amplifier stages with a pre-gain control (intensity) and standard volume control. Pots are board mounted and it shouldn't take all that long to throw together.

Got a request for this one, it's a good addition to the collection. It's Ibanez's take on the RAT in their Power Series from the mid-late 80s. It's very similar to the LM7 LA Metal circuit, with just a few value changes and omissions (detailed below). I removed the FET switching and output buffer to simplify things. Here's the schematic for reference. If you're interested in building the LA Metal, populate the board like this:

True Bypass Loopers, Switchers, Muters, and Volume Controls I get a lot of questions via email about variations on looper pedals, switchers, A-B boxes and the like. Such projects are fun and easy because they are typically passive designs, easy to create with basic components, and don't require power or circuit boards. And there are lots of variations on what people are looking for. So it makes sense to have one big-ass article that covers as many variations as I can think of, all in one convenient place. Here we go... The Mute/Kill/Stutter Switch Let's start with the absolute simplest of switches: the Kill Switch. A kill switch simply kills the signal. Press the footswitch down and it mutes the signal. And its a good introduction to the basic parts and wiring of a lot of passive projects. Here are three variations using various switch types. You can also see from this diagram the basic input and output jack arrangement. Ground is hard-wired between the two jacks, and the tip (signal) is intercepted by the switch. A great source for the Momentary SPST NC switch is at Small Bear: http://www.smallbearelec.com/servlet/Detail?no=1222. Input/output jacks: http://www.smallbearelec.com/servlet/Detail?no=87 A Simple Volume Attenuator Let's say you want a foot-switchable volume attenuator. For example, you want to drop your signal by a bit at the stomp of a switch. Like the kill switch, this is phenomenally easy: two jacks, a potentiometer, and a switch. Want to do the same thing in stereo? Simply add a few jacks, a second potentiometer, and a 4PDT switch. True Bypass Loopers This is a circuit that provides hardware true bypass capabilities to any pedal or outboard gear which lacks such bypass. For example, you have a Boss pedal that you love. But you don't love the buffer being in your signal chain all the time. So you want to add a true bypass switch around it. You could try to hack a big mechanical switch into your awesome Boss pedal, but that is rarely practical. So a true-bypass box would be ideal. Here's another place where a true bypass looper would be ideal: you have a rack-mount device and you want to incorporate it into your pedal board. a true-bypass looper makes this simple. To understand this circuit, check out the following diagram: There are two basic versions of this device: with an indicator LED and without. First up, the True Bypass Looper with no LED indicator. This version uses a simple DPDT switch and four 1/4 mono jacks. To add an LED indicator, you have to add a few parts. First, the DPDT switch is replaced with a 3PDT switch (the extra two lugs accommodate turning the LED on and off), and a power source. The power can either be a 9 volt battery or an AC adaptor. In the following diagram, we'll use a standard power jack so you don't have to worry about batteries. Let's throw in one more variation: we'll add a volume control that makes it easy to attenuate the level of the signal returned from the loop. This is accomplished by splicing a 100K log pot in the signal line, configured as a voltage divider. Like this: A/B Switch The A/B switch is dirt simple: it switches a single input between two outputs. A great example of this is when you want a switch that routes your signal to one of two amps: First up is an A/B switcher using a DPDT switch and no LED indicator. As with the true-bypass looper discussed above, adding an indicator involves just a few parts. For this one, we'll use two LEDs to show an indicator for A and an indicator for B. The Effect Order Switcher Phaser before fuzz? Fuzz after delay? The order of effects can change the overall tone of your signal. So wouldn't it be nice to have a switcher that makes it easy to switch between pedal order? This circuit does just that. Here's how it works: Plug your guitar into the input Plug your amp into the output Plug Send A into the input of the first pedal Plug Send B into the input of the second pedal Plug Return A into the output of the first pedal Plug Return B into the output of the second peal Fire it all up: when you stomp on the switch, A will be in front of B in the signal chain. Stomp again and B will be in front of A. Great for A/B testing of pedal order.

Stumbled across the schematic for this recently. It's takes inspiration from the Sparkle Drive with the clean blend function but uses a different drive section. I thought it was interesting and drew up a layout with board mounted pots and it'll be an easy fit in a 1590B.

Got a request for this one. It's a barely modified Tube Screamer with a clipping switch to go between silicon and red LEDs. The switch is a SPDT on/off/on by the way. Gearmandude really seems to like it.

Starting the week out with an early version of the Tone Pump from Barber. It's very similar to the Silver LTD with a few value changes and a simplified tone control. Here's the schematic for reference and you can use the Barber Silver LTD drilling template. I believe if you put two of these in one box you get the two channel version.

One of the higher regarded Big Muff derivatives out there, the Mk III is Skreddy's latest version of their Mayonaise BMP. On the board is a dip switch which allows you to switch in or out 2 extra capacitors to the tone section. You could wire these as external SPST switches (you'll need 2 of them) if you like. I used my Triangle Big Muff layout as a starting point, but there are several changes so the two aren't interchangeable. But like the Triangle layout, this one is designed for solder-side mounted right angle pots and should fit just fine in a 1590B.

How you connect the tone cap and potentiometer to the volume control has a huge effect on your sound.

The XB-70 is a clone of the Captain's personal '77(?) Guild Foxy Lady, which were built by Electro Harmonix and generally very similar to Ram's Head Big Muffs. In the Captain's own words, "It sounds like torn leather soaked in piss and salt smushed lovingly into ears... It is a brute of a pedal, has a really intense roar at full tilt, like any good Big Muff really." I used my old Ram's Head layout as the starting point, but altered the pot placement and it should be a nice fit in a 125B now.

Jon has contributed a lot to the DIY pedal building community and I always learn something new when I layout one of his circuits. So I think we'll have a Jon Patton week, starting with the Clipper Ship. There's a good bit of flexibility with this one. Q1 can be pretty much any low gain transistor, germanium or silicon. If you're using a germanium transistor, use a germanium diode for D2 (if you're using a silicon transistor, omit D2). For D3-4 use anything with a low clipping threshold–1N60, 1N34, BAT41, etc. Q2-3 form a cascaded JFET stage (much like the AMZ Mini-Booster and a ton of other designs). Way more info on the circuit can be found here, including the schematic. I've laid it out for a typical 1590B with board mounted pots. Oh, and D1 is a 1N5817 or similar for power protection.

The LPB-1 was the first effect made by Mike Matthews and Electro Harmonix. Like many other effects at the time, it was housed in a small box that plugged directly into your guitar. It was designed to give you a volume boost and push the amp into overdriven territory. EHX still makes the LPB-1 (Linear Power Booster) to this day, as well as its sibling circuits, the Screaming Bird (also known as the Screaming Tree) treble booster and the Mole (also known as the Hog's Foot) bass booster. The LPB-1 and Screaming Bird/Tree can be built on the same board, as the only difference between the two is the input and output capacitor values (100n for LPB-1, 2.2n for Screaming Bird/Tree). The Mole/Hog's Foot is basically the same circuit, again with differing input/output caps. However, there are 2 added 100n capacitors that make it necessary for a different board.