This is a unique synth that reminisces through a time of particular circuitry. The unit itself looks the part, but it’s true glory in design relies on how you interpret the controls to master it’s depth. This was the video I watched before I saw it’s potential for what I sought.
It is my main controller via MIDI. Note: Reflow the solder of joining connections to membrane button boards. Inspect with a loop. Never should you have to press hard on the buttons unless the tact switch is bad, I did this fix and the my problem of intermittent control went away permanently.
In edit mode you select a number which corresponds to the illuminated bars above, adjusting the level of the parameter. This feature can be simplified (finding your tone/characteristics) by running a midi-in arpeggiator sequence while adjusting your parameter/s. After you like your sound, save it and try playing without the midi.
I route my tape-out midi dump straight into a DAW for archiving. Attached you will find patches 1A, 1B, &1P.
I had a chance to play on a mint original Ampeg V-9 guitar amplifier with distortion. The crunch on the distortion was alive, rich, unique and the power through a 4×12 V-2 cabinet was face melting. The original cabinet had 9×12 speakers in upside V formation and one could only imagine the full fury of 300w Tube power through that monster. These original Magnavox USA tubes all pegged my century 100 tube tester to max power. Small little fires glow in them.
*For some reason I decided to re-cap this unit. Feelings were never the same after the sound changed.
For this setup I ran all the 16 synth’s into two 8 channel stereo mixers using 2 16ch snakes. I took the stereo mixes of each rack mixer and ran them into 2 stereo channels on the main mixer. Using the mute buttons I can easily select which synths to blend for unique single tracking sounds. This is helpful if you don’t have 32 available inputs for all your synths. During Installation custom ears were made to double mount the two mixers on the underside of this table becoming part of the main mixer sub mix controls.
Wiring all of your devices accessible in the signal line can be daunting if you don’t use patch bays. Whenever a larger number of devices are present patch bays help simplify. Wire every device and connection to your patch bay, IN’s and OUT’s. Using small patch cables you choose which effect, synth or keyboard to run. Here are some useful images to understand the different arrangements a patch bay may be configured. If you wondering which one to get, buy a full TRS patch bay with selectable routing on the front.
This is the Ampeg V-7 Guitar Amplifier. The footswitch is a powered three channel XLR 5 Pin Configuration. On the Main Board of the V-7 it controls what the switches modify. Located at the bottom of the schematic you will see where I labeled the 5 Pin XLR. Most of the time I wire my pedal to only have one button, for distortion. This unit above has the reverb and channel 1 as kick switches, pedal should be securely mounted to kick “ON” function.
V design with double Classic Cry Baby Wah. The Wah on the left has been modified to incorporate a front facing “kick on” switch. It engages a Dunlop Power Booster that has been inserted into the shell. Volume to boost is on the bottom left of pedal. Stereo chain from distortion to out through. The custom pedal on the left is a 5pin xlr input box for controlling an Ampeg V-7 (CH1, CH2 & Reverb). This box has been simplified for head distortion control only. The version with all three uses the same box but has 2 buttons on top pan L/R & 1 “front kick” placement switch. (From L to R) V7 controller, Digital Reverb RV-7, Digital Delay DD-3, Digital Metal MZ-2, Dunlop Cry Baby X2, Power Pad II, Phase Shifter PH-3, Flanger BF-2, Chromatic Tuner TU-2 on .5″ Plywood Custom Board.
Pedal Board shapes should vary based on your live performances and comfortable stance. Try to think about where the microphone stand would sit if you play effects and sing. From those ideas sketch out your shape on a blank board and cut/paint/finish.
This is an easy way to restore a vintage Boomerang Looper Pedal. The original plastic click style buttons have been removed and replaced with quiet soft press buttons. Be sure to mark your pin target locations on the new installed momentary switches. btw, if the machine sounds garbled when using, power off, unseat and reinstall the ram.
This is a restored Washburn Tour 24 Chicago electric guitar. The pickup rings were reconstructed in solid machined plastic by http://www.fretsonthenet.com and the original bridge was replaced by a vintage Ayers Rocker II. The tremolo was blocked and professionally set up to stabilize the tuning. Guitar has a nice grinding play and clean tonality, made in Japan & issued 1985.
So when your ready to create a pedal board there are a few things you need to keep in mind. First you want to be able to get the correct tones and effects for what you are trying to create. It is best to set up your pedals on the floor loose and determine each placement in the chain as well as whether or not you even like what it has to offer. Once that is figured out you will need the following items.
A large piece of 1/2″ quality plywood, spray paint, drywall screws of different lengths, a drill, a reciprocating saw, all the required cabling and a good power supply. Lay out your pedals not wired on top of the plywood. Create the most comfortable layout so that you can press on them without hitting another pedal by accident. I typically place my pedals a 1/2 a foot length spacing apart. this way if I was to press in the center point of that spacing I could engage two pedals at the same time. this technique only really works well for pedals like boss style because there is not a small button switch you have to engage. After you layout is complete then carefully trace in pencil around the outer edges of each placed item. then draw an x on the left and right side of the pedal where you will send you zip tie through. make sure that it will not interfere with the inputs and outputs. draw your outer perimeter of where to trip as well as a handle option. once you have that done remove all items from the board. spray paint your board. using you drill create 1/4″ holes on the x marks. return your pedals to the board and zip tie them all in place. next wire up your entire board. then using the screws you will attach them around each pedal, on a slight angle away from the pedals to secure each on firmly in place.
This one is very unique. I tried to make a dual unit with the smallest footprint possible. If you put the backs together they can attach for portable carry. this one is a an Arion built with Arion original power supplies. As you can see I did a similar layout with the plywood, placed my pedals for spacing and functionality and then drew my outlines and cut lines. below also are finished product views.
1/2″ plywood, the pedals don’t ever budge and it don’t slide on wood floors…(trick) Take a few 1-1/2″ drywall or wood screws and place them left and right of your center wood. Screw them through until you feel them pierce out 1/8″, Done. no one will see it at a show but those little guys will dig in and prevent your board from pushing around.