ilovefuzz.com

Yeah. The real deal is that I had a shit load of MPSA14's laying around because I had ordered too many for Resonant at some point. They're what are called Darlington transistors, which is kinda like one transistor giving another transistor a piggyback ride. Anywho, I wanted to design something to get rid of all these extra transistors I had laying around, and the idea for this just sorta popped into my head.

Trivia: Your average bipolar transistor has a gain (hfe) range of ~ 200 to 2000. The MPSA14's in this circuit have an hfe of about 20,000

I have a bunch myself.. but I'd take a few more in one of your devices..

Just sayin

Thank you for the answer Mr. Bregman. So did your already owning the predominant materials have something to do with your pricing decision (this is out of curiosity, not supposed to come off as 'interrogation' or a 'pop quiz' question)?

If we can get abstract for a minute. From the Brothers Promo, that came from the three Resonant Electronics circuits (which came from that amp you had) and then this came about from feedback from Brothers. I guess what I am trying to ask is 'what exactly are the objective sonic aesthetics you aim for when designing?" (you mentioned that in your post on the last page). I mean I like what I hear but I would like to get in your head for a minute. Sorry if I'm being invasive, this is supposed to be fun.

If I remember correctly, he was commissioned to design the pedal. El diablo was the buyer. They would have made the major decisions regarding for sale price, etc.

$harkToootth wrote:Thank you for the answer Mr. Bregman. So did your already owning the predominant materials have something to do with your pricing decision (this is out of curiosity, not supposed to come off as 'interrogation' or a 'pop quiz' question)?

If we can get abstract for a minute. From the Brothers Promo, that came from the three Resonant Electronics circuits (which came from that amp you had) and then this came about from feedback from Brothers. I guess what I am trying to ask is 'what exactly are the objective sonic aesthetics you aim for when designing?" (you mentioned that in your post on the last page). I mean I like what I hear but I would like to get in your head for a minute. Sorry if I'm being invasive, this is supposed to be fun.

No, I'm happy to answer this stuff. I always figured the "how the sausage is made" stuff would bore people, but if you interested:

As for pricing:
Basically, I had this idea based on some transisors I had laying around (which by the way, made up maybe 1% of the parts cost), and Alan at El Diablo guitars and I had chatted about doing an exclusive pedal. Before I even had the idea fully formed, we both decided that it would be cool to come in sub-$200. This was really a philosophical decision, not a buisiness one. The math behind pricing is gross, but if you take it in the abstract, most pedals cost somewhere between $40 and $80 in parts and labor (lots of variables). Dealers typically take somewhere around 30-40%. So....lets say a pedal is priced at $150. Around $50 is gone to the dealer. That leaves $100, of which, let's say $60 is parts and labor. That only leaves $40 (note: less than the dealer makes) for the pedal maker. Add in the fact that there's usually other business expenses, and you can see pretty quick why boutique pedals are almost always more than $150.

$185 ended up being a compromise between Alan and I. Neither of us made as much money as we could/should have, but we both feel good about how it all went down. If this were a production pedal, it would probbaly have to be a little more to cover real business expenses. Maybe this is way too much info, idk.

Getting abstract:
As I mentioned in the Brothers promo (at least, I think I said this), I started out as a recording engineer before making guitar pedals. I also built pro-audio gear (I built preamps and EQs at Great River Electronics for the studio nerds out there). So, I definitely came from a studio tone kinda world. Not "hifi" necessarily, but definitely "full" and "rich" (god, talking about sound is stupid). When I did run a studio, guitar player after guitar player brought in their TS clones and pony boosts, and all the other usual suspects, and 90% of the time, what came out of their amps sounded like garbage. It was scooped and ice-picky and dumb. I wanted the opposite - something with nice mids and a full but clean low end. I don't think that's changed much. I try to make stuff that lets the tone of the instrument shine through, is always touch-sensitive, super dynamic, and "rich" (or whatever word is better). Maybe I'm just rambling now. I don't know, does that answer your question?

Yeah, I know Great River. Dan Kennedy is a mensch--I remember him going above and beyond to support DIY dudes the age ago I stalked recording forums.

Gone Fission wrote:Dan Kennedy is a mensch--I remember him going above and beyond to support DIY dudes the age ago I stalked recording forums.

100%. He had a big influence on my design ethos.

@Mr. Bregman - Finally finished work so apologies for the delay. That was perfect. Thank you for answering (I understand one may be reluctant to answer such subjective questions). Definitely not rambling. Again, the stuff on price wasn't stemming from a complaint (I think $185 for a dynamic dirt pedal is a GREAT price but that's just me).

From what I heard from your designs (i.e Brothers + Resonant Electronics Demos, and playing my HEQ1) there is a lot of 'breathing' room in the sounds. I'm really not trying to sound pompous so I 'think' what I mean by breathing is 'not compressed' + that 'full' tone you spoke of. I also love the latitude for dynamics (as you mentioned) and envelope response.

Thanks again for answering!

Sooo can you tell me how to make my Brothers pedal louder? Like which trimmers do I turn?

Jesus Was a Robot wrote:Sooo can you tell me how to make my Brothers pedal louder? Like which trimmers do I turn?

My buddy Paul Uhl made a good diagram/description for the CBA FB group:

This whole thread makes me happy.

PeterBregman wrote:No, I'm happy to answer this stuff. I always figured the "how the sausage is made" stuff would bore people

No we love sausage and also things that aren't sausage.


1000th post!

PeterBregman wrote:

PeteeBee wrote:Any idea if this will be one of those fuzzes that is most interesting first in the chain? Seems real reactive with your pickups. I’m bored and dreaming of pedalboard layouts.

100% most definitely. It's crazy volume sensitive. Your guitar volume (or the volume of the pedal before it) becomes an internal part of the circuit.

Not to be all: GAWD-already-covered-on-page-5, but yeah, makes sense that given the above Q-andsubsequent-A that PuP, electronics, etc will make a huge diff.

You know what's funny. I just remember Jack already told me how to up the volume. LOL. Thanks for that post though Peter!

Just wanted to mention again that I put together a version of the manual that you can print out if anyone wants one. Just shoot me a message with your email and I'll send it your way. Happy Holidays!