The JOYO JF1 overdrive is a copy of the Ibanez Tube Screamer. The Tube Screamer doesn’t produce as extreme a clipping distortion as a Fuzz pedal and can be adjusted from a light rhythm crunch to a heavier lead tone. It maintains some of the input note dynamics and as well as the distortion, it introduces a mild mid boost. It was originally intended to mimic the effects of over driving a valve guitar amplifier. It has three controls and a mechanical ‘true’ bypass foot switch (original Ibanez Tube Screamer’s use electronic bypass switching) –

The Caline design is probably a copy of an early Wampler delay and like many current delay pedals, is based around the Princeton Technology Corp. PT2399, a CMOS digital audio echo chip, supported by a SA571D compandor. The compandor helps to reduce noise, which increases as the delay time is increased. The longest delay time is 600mS, roughly twice the delay the manufacturers of the PT2399 show for their example circuit, which does not have a compandor. A JRC4558 bipolar input dual op-amp is used for the input and output buffering. All three controls are 50K linear. There are no trimmers inside and most components are surface mounted. The pedal does have room for a battery and has a battery clip, but the current drain is 22mA for the PT2399 alone, so a 9V battery won’t last long. Otherwise some of the pedals have Level controls and some don’t. Usually pedal level controls are used to set the level, when the pedal is engaged using the foot switch, to be equivalent to the volume level when the pedal is bypassed. Level controls are often found on distortion and fuzz pedals because the apparent volume of pedal output is significantly affected by the settings of the distortion controls. Other pedals such as tremolo or delay may not have level controls because it is assumed that the various settings of the pedal controls will not affect the apparent volume. This board was built for a client with no previous experience of foot pedal effects and who therefore had no existing pedals to incorporate. The brief for this pedal board was to build something that provided a basic range of effects for the lowest possible price. This review is for the Caline Time Space delay pedal. I've bought four of these, they've all worked fine, one was a gift and the other three are on my pedalboards. I actually appreciate the external battery, it's super easy to swap and it will never leak inside and spoil the circuit board or battery clip. I have over 200 pedals in my studio, it would cost a lot and create waste populating them all with batteries. Range– a six way rotary range switch that switches in different values for the resonating capacitorIt’s maybe best quality is that it’s a solid chunk of steel, feels like you could drop it off a building and she would still work. For an effect that produces a simple cyclic change in volume it is surprisingly atmospheric and effective. London Guitar Repairs,Guitar Repair London, Guitar Repair, Guitar Setups, electric guitar repairs, acoustic guitar repairs I extended the triangle cut out to 6mm in length, while maintaining the general triangular shape and now get a really full range of sweep from the pedal. The other way around – fuzz into wah – produces a much more pronounced and consistent tone and since the guitar is connected directly to the fuzz input, all of the fabled Fuzz Face interaction with the guitar volume is available. However some players feel the effect of the Wah is then too exaggerated and that the low end of the guitar sound is lost.

The Caline Puffer Fuzz is a slightly modified Fuzz Face circuit using silicon transistors. I had to modify it myself by adding a bias trimmer to get it to work properly. It has three controls and a mechanical true bypass footswitch. The controls are; Modifications– Out of the box the Behringer HB01 had very poor control characteristics. The auto-on switching was very choppy and the usable wah range was compressed into the final few degrees at the toe down position. Tremolo is one of the oldest effects and, apart from the very early electro-mechanical DeArmond tremolo, was often built in to guitar amplifiers of the 1960s and still is today. Fine – the Fine control (the rearmost on the side of the pedal) fine tunes the upper limit (toe down) of the wah sweep. Used in conjunction with the Range control the user can fine tune the lower and upper points of the wah sweep. Modifications – This copy of the Boss TR-2 tremolo, which has TRM-557 Rev A 2009,06,17 printed on the PCB, has appeared under various brands such as Rogue and Crossfire apparently has a persistent assembly fault. Users complain that the Depth control doesn’t seem to do much at the low end of its rotation and the effect of the Wave control is also restricted so that all the action is in the first part of the rotation. The apparent cause is that one of the two controls is linear and the other log and they have been fitted in the wrong positions. You would expect that the Rate and Wave controls would be linear pots and the Depth would be log. That is how the pots in the Belcat are configured so they shouldn’t need changing.The Chord CPT-01 Chromatic Guitar Tuner has two outputs, one labelled Output, is muted when the tuner is engaged, the other labelled Bypass, is not. Both outputs go to true mechanical bypass when the tuner is not engaged.

When combined with reverb, a delay allows simulation of a wide range of natural spaces from a claustrophobic small room to a huge cathedral. Using the delay you can set the first reflection time while the reverb provides the following diffuse reflections. Delay and reverberation give the electric guitar sound a sense of ambient acoustic space. Another foot pedal effect from the late 60’s, the Wah Wah swings in and out of fashion, but is an instantly recognisable tone. The bypass foot switch is a ‘true’, fully mechanical bypass and cuts the echo effect off dead, rather than allowing echo trails. I modified the Puffer by removing the split collector load resistors of 4K7 and 22K (not the values commonly used in a Fuzz Face) and replacing them with a 330 ohm and a 10K trimmer in series with an 8K2. Boost – a side push switch for up to +12dB clean boost after the wah (this boost is active only when the wah is active), the amount of boost is set by the forward control on the left side of the pedal. When boost is activated the Yellow LED at the heel end of the pedals lights.

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Behringer provide few technical details so all specifications shown here are from the Dunlop DB-01 Dimebag Cry Baby From Hell, although mostly confirmed against the Behringer circuit diagram – Usual settings for a Fuzz Face are Fuzz at maximum (and in the case of this pedal, Tone at maximum) and set Level to balance with the bypassed volume. Fortunately the Behringer HB01 Wah is active buffered bypass and the Zoom is downstream of the wah, so there should be no loading problems from the 100K pot in the Zoom. Q – the Q (Q is a radio term and stands for Quality of a tuned circuit) control, the middle of the three on the left side of the pedal, sets how pronounced or narrow the filter peak is.