## fuzz face components list

It might look funny but It has a reason: the output signal is not much larger than the input signal to keep the huge amount of signal available from over-driving the input of the pedal or amplifier following it. The Vox Tone Bender (not to be confused with the Colour Sound Tone Bender) was a copy with only minimal changes to the the component values, and adapted to NPN silicon transistors. This analysis covers the first Arbitrer Fuzz Face model equipped with PNP germanium transistors from the first releases which are considered the best sounding. Simply awesome DIY guitar effects pedal kits Please note: the kits require full assembly. Arbiter Electronics Ltd. first issued the Fuzz Face in 1966. The right side of the board have all the pads to attach the cables to the battery clip, jacks, potentiometers and the DPDT foot-switch. "Get Back" by the Beatles; Apple, London, 1969, "Beatles Gear" by Andy Babiuk and Tony Bacon; Backbeat, 2002, Silicon Fuzz Face into crunch Vox amp (playing with the volume knob), Silicon Fuzz Face into distortion (volume dynamics), Silicon Fuzz Face into distortion, neck pickup (single coil), Music Radar - Namm 2013: Dunlop launches Fuzz Face Mini and MXR Talk Box, R.G. The circuit is a simple 2 stage amplifier with a feedback network path. In other pedals with similar input stages like the one in the Big Muff Pi a series resistor is placed at the input in order to higher the impedance (at the cost of creating a voltage divider that reduces the available input signal). This is the reason why they do not respond well when they are placed after other pedals. Also, the battery is part of the circuit. Emitter degeneration capacitor C2:Any impedance between C2 emitter and ground (RFUZZ) will reduce the gain of the output stage, it is a form of local negative feedback. BUT the output of the pedal is not directly taken from Q2 collector, there is a voltage divider created by R2 and R3 (the power supply is effectively at AC ground). When Jimi Hendrix released his first album, 1967’s Are You Experienced, he launched a new level of guitar heroics as well as a sartorial fad for ruffled shirts and band jackets.He also fed a fashion for fuzz. If we are looking for high gain it is a common practice to have part or all of the emitter resistor grounded with a bypass capacitor. Capacitors (1)0.01uf K40Y-9 Paper in Oil, (1)22uf NOS Roederstein axial, (1)2.2uf Metalized Polyester film. component list. 6 = 3dB) all frequencies below 14Hz will suffer an attenuation 6dB/oct. The clipping begins softly for smaller signals (and gains) and then with the fuzz potentiometer action the clipping goes harder with harder playing. The effect became very popular because Jimi Hendrix played it and there were not many distortion pedals around at that time. Ivor Arbiter took the round shaped enclosure idea from a microphone stand and it was the first pedal including a DPDT stomp-switch. FF Sound Signature I: Asymmetrical Clipping:  For maximum dynamic range Common Emitter amplifiers are usually biased to have a collector voltage (VC) equal to VCC/2, in this case, it should be -4.5V. Using a smaller resistor, the filter will cut more lows out (fc=160Hz) which will result in a brighter sound. Dropped some NOS high gain NKT275's in it and it is seriously the best fuzz I have ever heard and I have been through a tone of them. Electrical Engineering Thesis by William E. Overton focused on the Fuzz Face. 6 = 3dB) all frequencies below 14Hz will suffer an attenuation 6dB/oct. [10] Hendrix also switched to the silicon transistors, but they created additional difficulties on stage, since they are much more susceptible to receiving AM radio signals, which were then audible through the guitar amplifier. The cut frequency of this HPFilter is: $fc=\frac{1}{2\pi R C}=\frac{1}{2\pi \cdot R_{vol}\cdot C_{3}}=\frac{1}{2\pi \cdot 500K \cdot 0.01uF}= 31Hz$. During its lifetime the pedal went through some minor cosmetic but major sonic changes. This is due to the RC filter created by C, The output stage is again a PNP Common Emitter Amplifier, this time with a variable emitter degeneration resistor (R, The value of the output impedance can be calculated using the formula, The fuzz face output impedance is affected by the feedback network and has a real value of 15K, The minimum cut frequency is 31Hz, it goes higher when R, With this emitter resistance added, the Common Emitter PNP major parameters (ignoring by the moment the feedback network) can be determined by the, If we take into consideration the feedback network, once again the second stage will not reach values as 18dB. ).However, there are some other options, for a more compressed sound you can use β=90-120 for Q1 and β=150-190 Q2.There are some circuits that help to measure the transistor gain. [clarification needed] For the same reason, Fuzz Face pedals react differently when placed directly after the guitar than when after other pedals or after a buffer amplifier. [1] The design was originally intended to be used as a microphone base for guitarists who sang. Is equal to the input impedance of a common emitter stage. Fuzz Face Frequency Response.7. You need JavaScript enabled to view it. These days Dunlop manufactures a number of different finishes and sizes using various transistor flavors: The transistors are the most sensitive part of the design with a whole mythology that has grown up around them. Later on, BC183L, BC183KA, BC130C, BC108C, BC209C and BC239C silicon transistors were used. Underneath are matched BC108 silicon transistors that give it a dirtier, more aggressive fuzz sound. The last block (the Feedback Network) will affect the rest of the analysis because it will influence the most important parameters: voltage gain, input impedance, output impedance and frequency response. var path = 'hr' + 'ef' + '='; The American made versions used BC109C transistors. However, it can be considered as a bad output impedance, it is too high and can carry problems when it is placed in the pedal chain. Making this cap bigger will let more low frequencies out. Sound example of a Fuzz Face clone played into a tube distortion (humbucker - volume at 4, then increased to the maximum then decreased again). In a Common Emitter transistor the voltage gain can be calculated following the equation: note: The gm value of a transistor is defined as: In the real life, the input stage will not reach 49dB of gain, the feedback network will reduce this levels to 18.6 dB approx. var path = 'hr' + 'ef' + '='; This is due to the C, The graph also shows a general roll off of the bass harmonics under 14Hz, this is due to the high pass filter created by C, Broadly speaking the frequency response of the Fuzz Face is not very innovative, it just removes some bass and keeps all the highs which contribute to have powerful distortion. The Fuzz Face Caps: The original FF uses standard aluminum electrolytic capacitors for the 2.2uF and 20uF values and a film for the 10nF cap. Images of completed circuits are for illustration only. In the Fuzz Face the Q1 collector voltage sits around -1.6V,  so the voltage swing on the positive semi-cycle is much bigger than in the negative semi-cycle. While some claim Wah-wah pedals are known to be troublesome with Fuzz Faces,[21] artists such as Hendrix were known to use them together to spectacular effect. This last quote from D. Cornell explains why the production switched to the modern, temperature independent, cheaper and stable silicon transistors like the BC183L, BC183KA, BC130C, BC108C, BC109C, BC209C, and BC239C. - Crazy Germanium Fuzz. var addy_text85c02ce34960cb0b2cd15c25b72f2dbc = 'info' + '@' + 'electrosmash' + '.' + 'com';document.getElementById('cloak85c02ce34960cb0b2cd15c25b72f2dbc').innerHTML += ''+addy_text85c02ce34960cb0b2cd15c25b72f2dbc+'<\/a>'; $\\r_{\pi } = \frac{(\beta +1)\cdot Vt}{I_{EQ}}=\frac{(\beta +1)}{gm}= \frac{(70+1)}{0.0088}= 8K$, $A_{V}=-g_{m}\cdot R_{C}= -g_{m}\cdot R_{1}= 0.0088 \cdot 33K = 290\: (49dB)$, $g_{m}=\frac{I_{e}}{V_{T}}= \frac{0.22mA}{25mV}= 0.0088$, $A_{V}=\frac{R_{C}}{R_{E}}= \frac{R_{2}+R_{3}}{R_{pot1}}$, $A_{V}min=\frac{470+8K2}{1K}= 8.2\: (18dB)$, $f_{c}=\frac{1}{2\pi R C}=\frac{1}{2\pi \cdot R_{pot1}\cdot C_{2}}=\frac{1}{2\pi \cdot 1K \cdot 20uF}= 7.9Hz$, The Fuzz Face is a distortion guitar pedal designed in London by Arbitrer Electronics Ltd in the autumn of 1966. The gist of the Fuzz Face remains in the simple circuit that uses eleven components (2 transistors, 4 resistors, 3 caps and 2 pots) and the astonishing tones created with them; delivering a soft asymmetrical clipping that changes to hard clipping in both semi-cycles under the fuzz pot action. This gain variation is crucial in the design, the best match uses a low gain in the first stage (β=70-80 approx.) The main difference is that the Fuzz Face is biased slightly colder, making it more usable in warm environments. The company bought Crest Audio in the 1980s and although it was operating under that name when it reissued the Fuzz Face in 1986, the units still bore the Dallas-Arbiter name. We consistently create the best selling picks and analog electronics, and carry a large line of accessories that set industry standards in their respective fields. I've played a lot of great boutique Fuzz Faces (Analogman, Monsterpiece, Original Dunlop EJ, Bonamassa, Hendrix, and Standard models) and I have this one, if that says anything. [1][10] Arbiter reissues used AC128s. If we are looking for high gain it is a common practice to have part or all of the emitter resistor grounded with a bypass capacitor. If they see a buffer at the input, they tend to sound awful. Filth Fack! Arbitrer Electronics manufactured the pedal from 1966 to 1975, Dallas Music Industries did a final batch in 1975-77, after that the production stopped. [3][4] In 1993 Dunlop Manufacturing took over production, making a variety of Fuzz Face units until this day. and a high gain in the second stage (β=110-130 approx. A guitar riff played on the brige humbucker (full volume) with a Fuzz Face clone into tube distortion. Jimi Hendrix used the fuzz sound to pioneer his “psychedelic” sound in the late '60s, and his weapon of choice was the Dallas-Arbiter Fuzz Face pedal. The earliest ones were Arbiter-England, then they became Dallas-Arbiter England sometime in 1968 since then there have been a variety of words in the smile. All PCB layouts on this site are property of Pedal Parts Ltd and are protected by copyright law. [11], The Fuzz Face's continuing popularity and status as a classic may be explained by its many famous users, which include Jimi Hendrix,[12] David Gilmour,[13] Duane Allman,[14] Stevie Ray Vaughan[15] Pete Townshend,[16] Eric Johnson[17] and George Harrison.[18][19]. Today, both the, The earliest models were covered in red, light or dark gray Hammerite paint with the Fuzz Face logo in white or black, t, The transistors are the most sensitive part of the design with a whole mythology.

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