In pedal building, we almost exclusively see the Hammond-style diecast aluminum enclosures. You know their names- the ubiquitous 1590B (aka 1290NS) and its plus-size cousin the 125B. Then there’s the larger 1590BB, and the tiny and temperamental 1590A. What these all have in common is the simple generic rectangular shape.
But what if you’re a fan of the spring-loaded foot-pedal enclosures made famous by the BOSS and Ibanez pedals?
Typically, the only way for DIY pedal builders to achieve that look was to buy an old pedal and gut it- but then you’re stuck with the original pedal’s drilling layout.
Now there’s a new option- I just came across these new enclosures from Rixen Pedals.
As I mentioned previously, my pedal board’s power supply died, so I’ve been temporarily using an old Korg 9V power supply.
I’ve been getting some hum from Ryan’s Fulltone Fat-Boost, and finally decided to do some sleuthing to figure out why.
Fortunately, before I even cracked open the Fat-Boost, I hooked up a multimeter to measure the voltage output of the Korg supply, and it turns out that this little guy is really putting out 13V, not 9V. Well, that’s annoying. Is it mislabeled, or just over-compensating for something?
So, I decided to pick up the relatively inexpensive and well-reviewed Visual Sound 1 Spot. Quoting from the FAQ: “The voltage output is fully regulated. It’s at least as quiet as the PedalPower, maybe even quieter.”
Measuring the 1 Spot with the multimeter, I see this one is putting out 9.5V. I’m guessing 5.7% over is within normal tolerance for a 9V supply.
Better yet, no more hum on that Fat-Boost.
Note to future self, don’t trust power supply labels!
Update: Several people asked how the power supplies behaved under load, so…
After a bit of trial and error, it was clear that my ancient SKB PS-25 pedalboard power supply had finally keeled over. I never use batteries, but fortunately a couple of the pedals had old 9V batteries still in them, so it was enough to scrape by for the rehearsal.
The following morning, just a few hours before the gig, I went through my box of old guitar gear to try to find a replacement 9V DC negative-tip power supply.
Hey, here’s the power supply for my Digitech Jamman Delay which I’m not currently using in my live rig. It says 9V, 1.3A. Strange, it doesn’t show a polarity, but it’s a power supply for a guitar pedal, and the plug barrel fits, so it must be good, right? What could possibly go wrong?
I use clear waterslide decal paper, and print on my inkjet Canon Pro9000mkII. After printing, and waiting a while to ensure the ink is dry, I spray on a few coats of Krylon Acrylic Crystal Clear acrylic to protect the ink during the soak. Then, after the clearcoat dries for 30 minutes or so, I trim the paper to final dimensions and soak the paper in warm water. When the decal starts to move freely from its backing, I wet the surface of the enclosure and slide the decal directly onto it. I iron out the bubbles with wet fingers, and adjust the decal into its final position, being careful not to stretch the decal.
The next step in finishing up the pedal that we’ve modeled, drilled and painted previously, is to prepare the artwork and labels.
In this tutorial, I will demonstrate how to compose your pedal artwork in GIMP, the free GNU Image Manipulation Program. I’m using GIMP 2.8.2 on Windows, but it also runs on Mac and Linux.
I start with an overview of my Under Pressure compressor and Speed Racer Overdrive artwork, and then show how to compose your own pedal artwork from scratch.
I cover the basics of project setup, layout, working with the rulers and guidelines, the graphics and text editing and selection tools, sourcing artwork and fonts, retouching and removing blemishes, extracting components from a larger image, layer compositing with masks, and more.
Here are some of the resources shown in this video:
In previous posts, we modeled the enclosure in Sketchup, drilled it, and now we’re ready for paint and artwork. In this video, I talk about options for finishing the enclosure, and choices for art and labels. Then I demonstrate surface prep, priming and painting, in preparation for the waterslide decals.
To give you an idea of how long this took for me to complete, I started filming the intro and the Sketchup tutorial videos in June of 2011. Over the last year, in the time-spaces between the rest of life, I’ve been gradually editing, revising, extending, and composing music for the project.
In this tutorial, I start out with the absolute basics, and gradually pick up the pace, progressing to more and more advanced topics. I divided the video up into 5 sections, but kept them all together in one 55-minute video. In my previous multi-part videos, I had to split them into multiple YouTube clips, due to the YouTube length restrictions, but now that they’ve relaxed those for my account- I hope it’ll be better having it all in one video.
This is the first post in a series on building guitar effects pedals. It’s going to be a bit out of order- I’ll be starting with what is usually considered the finishing touches- putting the pedal in an enclosure, modeling and laying out an enclosure in Google/Trimble Sketchup, drilling the enclosure, painting and finishing it.
Then hopefully later, I’ll go back and do a project showing how to build a simple boost pedal from scratch.
Here’s the table of contents for the whole DIY pedal building series:
This first video is the motivational intro: here are some of the things I’ve done, and yes, you can too! If you have some interest in electronics and guitars, what better way to improve your knowledge? You can get started with little or no electronics experience, and you’ll learn a bunch along the way.
I’ve been planning to build a new larger PedalTrain-inspired pedalboard, and make some new correct-length cables.
Meanwhile, some of this pedal order is dependent on the short cables I had on hand. I would prefer to wire the tuner before the volume pedal, and the compressor before the wah, but that will have to wait for the redo.
I received the VOX Ice 9 just before the gig, so I haven’t fully explored its voicing yet, but it sounds really nice. It has an overall darker sound that my Speed Racer, so I’m initially using it as a very mellow overdrive/boost, and using my Speed Racer for more bright aggressive drive. I wasn’t doing any live looping with the JamMan Delay- I was just using the delays, and loving that tap tempo switch.