effects pedals and music production @ fuzz-effect-sounds-and-more.com

Dunlop/ MXR csp104 Distortion +

This particular model was a 2011 limited edition hand-built Custom Shop reproduction of the very first iteration Distortion+ effects pedal, which originally made its debut in 1973. During the ’70s-era, the original MXR company was incredibly popular. That said, famous guitarists such as Jerry Garcia, Alex Lifeson, and Randy Rhodes were all “D+” users. Regarding TONE, the original “D+” circuit was designed around a UA741CP operational amplifier (op-amp/ integrated circuit/ IC) and a 1N270 germanium diode; thus, attributing to its hard-clipped distortion character (as oppose, to soft-clipped—i.e., Ibanez Tube Screamer effects pedal). Subsequently, other manufacturers were then following the “op-amp” trend as well; such as DOD, with their ever-popular Overdrive/ Preamp 250 effects pedal. Interestingly, the Dunlop/ MXR (model CSP-104) Distortion+ is scarcely available in the used market, which ultimately translates into a highly collectible item !

Audio engineering techniques for the following video :

1.) All musical instruments were sound-recorded independently in stereo : drum loop, guitar, bass, keyboard. The portable recording unit employed, was the vintage D888 (Digital Recording Studio), by Korg. Audio resolution : 16-bit, 44.1 kHz (CD-quality). Note : the drum track was recorded, first.

“Punch” recording technique :

“Punch” recording is a means to re-start recording @ the point, just prior to having made a mistake. In other words, I simply played my guitar to the drum track, and then stepped on a standard latching pedal connected to the Korg D888 “Punch” input feature; “seamlessly” having created a punch-in point, wherever I needed to begin a new recorded take/ performance—thus, creating the illusion of never having made a mistake. Ultimately . . such had turned out as a success, even though the entire laborious effort involved much patience. Nonetheless, each time I now listen to this particular sound recording, I am beside-myself of having created such an illusion !

2.) Recorded audio tracks (stereo .wav files) were then, transferred (exported) via USB connection to computer for sound processing—such as, volume (dB) levels, panorama/ pan adjustments (stereo image), EQ/ equalization, and digital smoothing. The vintage software application employed was Vegas Video, by Sonic Foundry. Subsequently, all tracks were then mixed-together and converted as a single stereo .wav file (16-bit, 44 kHz) to be further sound processed . .

3.) The next logical step, was to master-engineer the stereo mix. I accomplished this by importing the aforementioned, single .wav file into the IK Multimedia T-Racks software application. Moreover, I had thus maintained CD-quality audio resolution (16-bit, 44.1 kHz), so as to help preserve the initial sonic integrity of both the recording and mix-engineering stages of production. The virtual audio process’ incl. modeled vintage tube gear in the following sequential order : multi-band compression & equalization—ultimately, having created a sonic illusion being perceived as louder, smoother, and with greater dimensional depth.

4.) Even though, audio master-engineering is intended to be the final stage of sound processing, I subsequently experimented to apply analog processing as well. The reason for this, was to ultimately create an illusion of never having engineered in the digital domain—via wide dynamic range 2-channel tube microphone pre-amplifier (Art Pro MPA II) + solid-state mixing console (Mackie 8 Buss). Ultimately, such had provided even greater volume increase, smoothness, dimensional depth, and sonic warmth.

Stereophonic signal flow :

* Computer audio interface analog output >
* Console channel input >
* Console main output >
* Pre-amplifier input >
* Pre-amplifier output >
* Signal re-recorded to a 2nd computer via its audio interface analog input (a total of 2x computers were employed simultaneously, in the following sequential order : playback + recording) >
* Vintage software application—Sound Forge, by Sonic Foundry—captured the audio (16-bit, 44.1 kHz).
* Note : master stereo buss volume (dB) level was controlled via said console, so as to provide just under +0 dB (i.e., -2 dB); thus, avoiding a digitally-clipped (unpleasant/ non-harmonically distorted) signal from occurring. In other words . . the only distortion you hear, is via my guitar TONE (harmonic distortion = effects pedal + modeled amplifier).

5.) Lastly, I then converted the final .wav audio file (“saved as”) into 2 compressed file formats : .mp3 + .wma7 (128 Kbps/ CD quality). That said, .mp3 is used for this website’s audio player section, and .wma7 (incidentally, my favorite sounding file type) is used for my video soundtracks. Both compression types provide a manageable file size for Internet purposes (i.e., converting 30 MB to 3 MB). The software application employed to create the compressed files was that of the aforementioned, Sound Forge. The original master-engineered .wav file is saved for archival purposes.

In order of sequence/ guitar signal chain :

* Epiphone Dot guitar
* Ernie Ball 2223 Super Slinky guitar strings (gauges : 009 – 042)
* Mogami Audio Cables
* Digitech Whammy (v.5)
* MXR CSP-026 Phase 90
* MXR CSP-104 Distortion+
* MXR M-102 Dyna Comp (compressor)
* TC Electronic Sentry Noise Gate
* Modeling Processor : Line 6 POD HD Pro (v.1)
(personal program preset, based on a ’72 Marshall 50w Super Lead amplifier + ’64 Fender Deluxe Reverb speaker cabinet).

In order of sequence/ bass guitar signal chain :

* Rickenbacker 4003 bass guitar
* Mogami Audio Cables
* Electro-Harmonix Knockout Attack Equalizer
* Compression via the Line 6 Bass POD (v.1)
* Modeling Processor : Line 6 Bass POD (v.1)
(personal program preset, based on a ’65 VOX AC-100 amplifier).

In order of sequence/ “drums” signal chain :

* Line 6 JM4 Looper effects pedal (drum loop, only)
* Mogami Audio Cables
* Origin Effects Cali76 Limiters (2x orig. units/ stereo pair)
* BOSS GEB-7 Equalizers (2x units/ stereo pair)

Keyboard :

A vintage (circa 1997) sound module employed to produce the “Moog” synthesizer, was that of the Alesis QSR (Quadra Synth Rack Module). Incidentally . . because I’m not (yet?) a proficient keyboard player, I needed to rely upon a production technique called, virtual recording. In other words, the aforementioned D888 unit provides a feature to record alternative “takes” (performances); thus, having selected my best effort from the lot.

Note : Virtual takes, and “punch” recording are not the same technique—though, similar.

Suggested Audio Playback : High-quality professional headphones (i.e., Sony MDR-7506), and a high-quality pro-audio interface are preferred. This way, the listener will hear the intended results of my music production efforts, inherent within the provided video presented below.

NOTE : There may be a delay for the video to download from my YouTube channel. Please, wait !

Epilogue :

I hope that what I’ve provided as an essential overview of my personal recording techniques, has helped inspire you to craft your own unique sound mixes. To the average home studio enthusiast, what’s been mentioned herein, must seem rather involved. As you realize by reading this post, such is NOT merely twiddling knobs on effects pedals. Rather . . such is to show how effects pedals enhance music recordings, along with pro-audio gear.

This Website :

The intention of fuzz-effect-sounds-and-more.com is to provide a reference resource; virtually sharing my gear collection, so that readers are made greater-aware of particularly good-sounding (and, in some instances), potentially collectible effects pedals. Otherwise, to also help those whom might benefit from my recording/ engineering techniques. Ultimately, as I continue to build and design this site, I will gradually introduce additional collection-based content—such as blog posts, image galleries, audio, video, and official manufacturer web links for your convenience. The information provided herein, is based upon biased opinion. Please, do your own research.

Ebooks :

Later . . I will offer for sale Part 1 of a series of self-authored eBooks, in relation to fuzz effects pedals; subsequently, also offering additional volumes regarding other effects types—boost, overdrive, distortion, etc—all via my private, independent collection. Moreover, these tomes of tone will include audio examples, color images, (in most cases) close-up circuit views, and generalized spec. information. Otherwise, said eBooks regarding fuzz effects pedals will additionally incl. generalized historical information as well. For details, please read this site’s eBook advertisement page.

THANKS for your interest of fuzz-effect-sounds-and-more.com

– Michael.

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