In the back of the blog topic file I found a question from Jill; why is Ventura called “Ventura,” and is it because of Cory?
It is, but I don’t remember why exactly.
The collection of songs was gathered together under the name “Ventura” prior to my one visit there with him in 2006, almost certainly prior to even planning that trip.
At some point early on the east-to-west movement that connected those first few songs became apparent. With the Pacific as the end point of this twenty-something punk symphony to leaving home and growing up, Ventura could stand in for a more mythic place of serenity. It’s a milestone from which to look back on the journey so far, and prepare for the one ahead.
Plus, it’s a cool-sounding, lesser-known California town. I certainly wouldn’t have known its name without knowing Cory.
Ventura, California’s relationship to Ventura is more concrete than Dodge City Kansas’ is to You Have To Wear The Boots’ Dodge, but there’s a symbolic similarity too.
This morning I finished the design for a new pedal, the Falcon Drive. I’ll be taking reservations for a small run of them soon.
There it is on the breadboard. Doesn’t look like much, maybe, but it’ll do a nice JFET mostly-clean boost (slight compression, fatness, & edge on the pick attack; nice!), an asymmetric MOSFET/LED overdrive, and a scuzzy Schottky diode drive.
The finished enclosures will be laid out like this, with Kingman-style stamping and finishing. The second footswitch, LED, and colored knob are for a second gain/saturation preset.
True bypass, quiet switching, extremely high (10M) input impedance and low (3.3K) output impedance are featured to preserve treble and drive long cables. The Falcon has a huge range of useable gain; I love it for everything from always-on unity gain buffer to dimed out.
Video coming soon-ish. Before the reservations are closed, for sure, so you can decide if you (or the guitarist in your life) need one!
Over the past two weekends I’ve made progress on my first run of six Kingman pedals, and have finished the first two. I know #0002, the one I’m keeping, will go into immediate use as Mars Lights continues to record our double LP.
Last weekend was given over to figuring out how to finish the enclosures. I tried various combinations of paint, stamping, Sharpie, dry sanding, wet sanding, and clear coating.
Simple as the Kingman circuit is, there’s no circuit board; just parts mounted to the enclosure, point-to-point wiring, and two capacitors.
Yesterday I started wiring. It’s not the prettiest but the connections are solid and it gets the job done. No one can hear my wiring!
The first one took two and a half hours, but it worked on the first try. I consider that a win.
After getting #0002 running (I numbered based on the enclosures. Wanted to do something special with #0001 and thought it would benefit from me making and correcting any wiring mistakes on my own) I wired #0001 up today. #0001 is the only enclosure I painted and will be the only one with black knobs. Future Kingmen will look more like #0002 with the clear knobs, but without the purple smears. I learned how to fix that, but thought that since purple is a royal color I would leave mine with the weird blurs.
Like I said, not the prettiest at all. Neither were a lot of great-sounding vintage pedals! I appreciate today’s beautiful PCB and wiring jobs as much as the next guitar player, but they’re not necessary for a circuit to do its job.
What have I learned?
How to finish enclosures in a unique way. None of these first six are exactly how I plan to do them in the future; I learned how to avoid the smearing you see on #0002 (and to a lesser extent on subsequent ones) as I did the very last step. Future boxes will look similar to #0006 but even cleaner around the stamps.
Stuffing PCBs is a very small part of making a pedal! Honestly if the Kingman had a PCB with 20 components, it would only add maybe an hour or less to the 3 1/2 – 4 hours of labor I put into each of these pedals. I imagine I’ll get faster over time, but there are limits.
Stamping is tricky. Got to hit the stamp (not one’s fingers) square, hard, and on the intersection of any lines (such as where the three lines of a “K” meet).
I’m proud of fitting the input and output jacks on the same side of a mini enclosure, saving players’ pedal board space
I’m not done with this run – four more wiring jobs to do – but I’d do it again, and plan to.
While Drew’s over this afternoon, checking out my work mastering his new Dark Satellites record “Be Still,” please enjoy the track below.
I don’t know how many of you are familiar enough with late-period J.V. All*stars to appreciate this jokey butt-rock take on “Straighten Your Hair” (go listen!) but it is. spot. on. and just gets better as it goes on. It even includes a grunty metal “Ooohhhh!”
The list below was in a folder of stuff from Mom on my last visit home. It’s all the stuff Scott and I bought for our first home studio, and the core of which (the Digi 001 and a generic PC, which isn’t listed) I’ve used up to now.
I think I wrote it for my tax preparer in 2003 or 04.
It’s coincidental for it to show up now, as I’m halfway through buying a new core system (Focusrite Scarlett 18i20, new Mac, Reaper DAW) to replace ProTools and the Digi. A lot of music has passed through the old rig over the years, and I’ll do an appreciation post once everything is unplugged.
It lives, with thanks again to Jack Orman and Brett Miller. I’ve mixed their ideas with my own and as you can see, if you look carefully, I have six new component values working in the DS-1 lab. (They’re the ones on the tall, spindly legs.)
It’s sounding great; clearer, more responsive, gain range brought under control. At minimum gain it’s a barely-there overdrive, just a dirty edge to the string attack, and if less drive is needed you’d need to not start with a DS-1! At maximum gain I played Sabbath riffs for ten minutes. The distortion is amp-like without trying to be anything it’s not. That’s in keeping with my goal; to bring out the best in a cheap, widely available platform with the minimum effective number of changes.
I haven’t messed with the tone stack yet, but I have some ideas and it’s up next.
I spent the afternoon installing sockets for some components in a DS-1 pedal so that I can easily experiment with some mods, turning it into a DS-1 laboratory of sorts.
You can see the sockets well in the photo below. They’re the little black legs on the PCB that components can just pop into, instead of soldering components directly to the board. There’s a transistor labeled “Q2” close to the center of the frame; look to the right of that for two socketed resistors.
No component values have changed, yet; I don’t have a real amp at home to test things on, just a tiny practice amp that’s enough to let me know I’m passing signal :-) Video to follow once I figure out some sounds I like.
R6 and R9 (input transistor bias and gain, respectively)
R7 (opamp gain)
Edit 2015 Nov 14 – C5 and C7 (different values than the MIJ DS-1s, as described by Brett Miller. I left C8 alone, though he includes it in his MIJ mod, because I like the cutoff frequency created by the stock MIT DS-1 value for C8)
D4, D5 (the hard-clipping diodes), and C10 (low-pass filter)
R16, C12 (the low pass filter side of the tone stack), C11, R17 (the high pass filter side of the tone stack), and R15 (in series with the high pass filter side of the tone stack, reducing its output)
R18 (a resistor in series on the output; just cuts output, from what I can tell, though now that I type this I realize it may be part of biasing the Q7 transistor)
That amounts to two gain stages, the hard-clipping stage, three post-gain filter sections, and possibly the output level. I plan to jumper all of the socketed components from the output back to the first gain stage to hear what that sounds like, see what improvements can be made (likely the Jack Orman phat mod), and build back toward the output from there stage by stage.
I’ll be experimenting with various hard-clipping options as well, with the goal of finding a few good ones to put on a switch.
Rob, James, and Business Cat have planted the flag of the geek rock revolution farther inside the neoliberal front lines than ever before, celebrating and skewering the dot com economy with equal nerve and verve. Check it.
A quick listen to the headphone surround mix of “Thank You” on earbuds didn’t jump out at me… until I listened back to the original stereo mix. Then, the original mix seemed two-dimensional and flat compared to the headphone surround mix.
The Eleanor Rigby sample is cool because it A/Bs the standard and surround mixes back and forth for you, allowing you to compare the two. You also hear the different points in the surround mix solo’d (left-surround, left-front, center-front, right-front, right-surround). I notice that the surround mix does sound spacier, not necessarily in a pleasant way. Maybe it’s achieved using some type of convolution processing on the “-front” sounds, placing them “farther away” perceptually in the mix.
The standard mix sounds dry in comparison (again, not necessarily a bad thing; it is, after all, how the artist originally presented the material). One slightly weird thing about the standard mix, in comparison to the surround mix, is that I notice how the standard mix seems to place the sound directly inside my brain, instead of spread out in front of me like the surround mix.
Drew checked it out, too, saying “I listened to Eleanor Rigby and strongly prefer the standard version.”
I don’t disagree. Remixing existing studio works into headphone surround doesn’t do anything for me. I can see it working for live material, though, and it seems like a cool tool for artists to create sound specifically intended for headphone surround in the future.