Guitar FX Layouts

Runoffgroove Matchbox

2013-05-19T16:18:00.002+01:00

Here's one more from the ROG archives. Apparently amazing sounding OD/dist. Should be doable in 1590B, if you feel brave enough with the rotary :)

From ROG: Back in the mid-90s, the Matchless DC/30 became one of the first boutique amps to hit the market. It excelled at clean tones, as well as thick Vox-like overdriven lead sounds.
There is good reason for the similarity in sound to a Vox amp. The lead channel of the DC/30 appears to be a modified Vox AC30/4. The AC30/4 amp featured the EF86 pentode preamp tube, just as the Matchless design.
runoffgroove.com set out to capture the lead sound of the Matchless DC/30 amp, using the technique developed by Doug Hammond for his excellent Meteor circuit.
We opted for a MOSFET to replace the EF86 tube. The MOSFET has better gain and fidelity attributes than the JFETs we normally use. We used J201 JFETs for the remaining two stages.
We've named this circuit the Matchbox.
An item of interest in this circuit is the odd-looking Tone control. This is in some ways similar to the FAC control on old Orange amplifiers. The sound is "thinnest" on setting A, and gets thicker as you progress through the settings. The Cut control acts as a simple Low Pass Filter. As you turn it counter clockwise, it will roll off some of the treble frequencies. We departed from the schematic a bit here. We used a 10n cap where the amp used only a 2n2. The reason for our deviation is to achieve a more dramatic effect.
NOTES:
-Try using a different MOSFET for the first stage. A 2N7000 sounded a bit "tighter" than a BS170. BS170 had a nice "loose" sound.
-Any N-channel MOSFET can be used, but as always, pay close attention to the pinout.
-Try to use all metal film caps in this circuit. It really seems to add to the smoothness of the sound. Ceramic caps or "greenies" will work fine, but you will probably notice a bit more "grainy" sound.
-A 12v Zener diode can be used in place of the LED used for static protection of the MOSFET.
-Philip Miller Tate (a.k.a. Ge_Whiz) found the Cut control to be quite subtle when using the stock values. He reports that substituting a 47nF capacitor and 50k-B pot provided a much more effective control.
-You can use other JFETs, but be warned! The middle stage may not bias correctly or have enough gain to distort. Try other transistors at your own risk. PLEASE do not post on Aron's Stompbox Forum with a complaint about the circuit does not working or sounding good when you do not use the specified components. You can always purchase J201 FETs from our friend, Steve Daniels at www.smallbearelec.com, who will ship to anywhere in the world.

JHS Morning Glory

2013-05-14T19:40:00.001+01:00

Modded Blues Breaker.. Personally i have pretty high hopes for the circuit...

There’s a lot of hype out there these days with overdrive pedals and the last thing we want to do is to add to the noise.
As you may already know, almost every boutique overdrive on the market is a modified Tubescreamer of some sort; we have decided to take a different approach.
The Morning Glory is a very transparent tone-shaping tool that is the result of several years of building, gigging, tweaking and improving on the original Marshal Bluesbreaker design. We improved vastly on the BB while maintaining what made it a great pedal in the first place. It now has around 4X more headroom, 2X the available gain, and a more useful tone control. The “Bright Cut” toggle allows the perfect level of EQ for your rig.
You will notice immediately how touch sensitive and dynamic the feel of this pedal is. The frequencies are perfectly balanced and the tone knob reacts as a high frequency roll off. The drive allows you a huge range of tones from “little wing-ish” chime to classic rock era bite. If you’re a Strat player, this pedal will bring you sounds that you may have thought impossible. If you like the Les Paul, get ready to discover a new pallet of sounds that you won’t be able to live without.
With enough clean headroom to be used as a boost as well as a hefty amount of drive, this may be your go-to pedal for good.

EarthQuaker Devices Crimson Drive

2013-05-11T01:43:00.001+01:00

A couple of the electro caps look to be the wrong way round to me but this is definitely as per the scheme and it was by Dirk and so a trusted source.

Info about the original:

The EarthQuaker Devices Crimson Drive is an all-analog, dynamic overdrive that uses a germanium transistor and vintage germanium diodes to create an abundant, open sounding tone that simply isn’t available through FET or Opamp driven effects. The Crimson Drive works beautifully with both humbucker and single coil pickups to get the most out of your amplifier by pushing your preamp tubes into natural overdrive with a choice bit of distorted input boost. The Gain knob gives you control over a broad sweep of harmonically rich effects from a well-textured treble boost to an abundance of viscerally satisfying plexi grit. The low pass Tone control dials back the high end while the Level control keeps the damage to a reasonable level. The Crimson Drive responds to your playing and cleans up with your guitar’s volume control. It is Made in the USA, wired for true bypass, and operates on a standard 9vDC power supply or a battery.

EHX Double Muff

2013-05-07T20:26:00.002+01:00

Classic dual overdrive. The original 1969 plug-in Muff Fuzz had just a touch of overdrive and sounded like a vintage amp with a slightly torn speaker. We paired two of these together in one box to create the Double Muff. Use just one Muff for a hint of milky distortion, or cascade the second Muff for over-the-top overdrive that turns the milk into cream. Two distortions in one!

Skreddy Top Fuel

2013-05-04T01:46:00.000+01:00

Another great fuzz pedal from Marc, and I felt a nice one to add to our collection. I thought with 8 transistors this would be a bitch to get into a 1590B as a vero layout, but it turned out pretty comfortable in the end.

Info about the original:

Skreddy Pedals™ Top Fuel:
strikes a balance between high gain, sustaining distortion and articulation.

First, I trim out the woofy, mushy, congested bass. Then amplify (a lot) and distort using mosfet soft clipping (twice), for a fine-toothed, modern, tube-like distortion character. Then trim out the harsh and fizzy high end and use a mid-hump tone stack that's centered around 700Hz.

The string attack is always preserved throughout the entire range of the fretboard, regardless of the sustain level. Tonal emphasis is placed on the midrange in order to showcase the player's technique.

Devi Ever Legends of Fuzz

2013-05-02T22:12:00.002+01:00

Another one from our friend Geiri, thanks for this again mate :o)
Info about the original:

The Bit : Legend of Fuzz has been compared to the Shin-ei Companion FY-2 fuzz, but with a stronger gate on circuit settings. Some say, it’s a sound that haunts you at night… the desperate 8 bit beep that reminds you your heart is empty and you are close to death. Nostalgia is a lie. It tells you some how something that was is better than what is or what could be. Here it is though. A fuzz that elicits the sound of old video games… I guess. I mean, a lot of my gated fuzzes can do that for you. This one likes to particularly twist your guitar signal in a way that’s relatively like a saw tooth… a pretty fucked up saw tooth. Maybe we’ll define a new kind of saw tooth wave shape now… shark tooth, because that’s what this fuzz sounds like… a shark’s mouth full of teeth ready to clench down, and it doesn’t matter if a few are lost while eating cold rusted steel from a 1950′s buick rotting on the bottom of the ocean, because there is more where that came from. Unmerciful bastard of a fuzz really… just like that beep beep beep counting down the moments till your inevitable death

Opamp 3 channel splitter/mixer

2013-05-02T11:16:00.000+01:00

I have a TC Electronic G-Force and Eventide Eclipse in the parallel effects loop of my amp and use a rack mixer to keep them in parallel with each other, and so allow me to use them both 100% wet and so avoid having to digitize my dry signal. I do have OCD about keeping my core dry signal out of the digital domain completely.

But I also have an Eventide Pitchfactor and would like to put this in too, and although the rack mixer can accomodate 4 in and 4 out, adding the Pitchfactor to an already limited rack space would be a pain, so I wanted to make a little 3 channel utility splitter/mixer to use instead of the rack mixer to save 1U and allow me to put two pedal trays in my 6U rack.

I used the splitter scheme you can see at Paul in the Lab, and a generic mixer circuit I found so that everything can be done with one quad opamp. I may even make this with 3.5mm jacks for the send and returns, make up my own high quality cables and then this will all fit comfortably in a 1590B. It would pretty much be a set and forget utility for me so I suppose I could even use trimmers instead of pots, set the levels and tuck it away somewhere. So I thought I'd add it here and it may be useful for others to adapt for their own uses.

1-Knob Fuzz Bonanza

2013-04-30T23:07:00.000+01:00

Request. This is just to add the requested Black Arts Toneworks Ritual Fuzz to the library, but i just couldn't resist rewriting Dr. Tony Balls' "Universal One-Knob Silicon Fuzz Layout" and adding the Black Arts' version of this classic to it. So here are 5 currently known adaptations of the almighty 1-Knobber. Adventurous minds could swap the values and get theit own flavour in there.. Simple and small. I sense small box fuzzes coming... :P

Edit. Oops. I made a tiny error on the original layout. Lower electrolytic, the Q2 bypass cap, needs to be minus to ground.. Layout fixed. Should work fine, but the cap will probably die a lot sooner if it is in reverse. Now fixed...

Tycobrahe Octavia

2013-04-30T16:03:00.001+01:00

Requested by Javi .... haha
I don't think I'm going to find any marketing guff so here is what Wikipedia says about it:

The effect was used by Jimi Hendrix, and can be heard in guitar solos on the song "Purple Haze". Hendrix preferred to call the device the “Octavio”, and it is often referred to as such.

After Hendrix's death in 1970 one of the original Octavias became the basis for the redesigned "Octavia (TM)", manufactured by Tycobrahe Sound Company in Hermosa Beach, California, during the mid-1970s. A limited number of the devices were produced, and today a used one in good condition sells for over $1,000 on eBay. Stevie Ray Vaughan owned nine of these devices.

I can't find a vid either so this is close enough :o)

EarthQuaker Devices Hummingbird

2013-04-29T20:52:00.000+01:00

It's a modded Vox Repeat Percussion so more use for those 2N2646's you stocked up on.

Info about the original:

The Hummingbird is, at heart, a hard and choppy tremolo. What comes out is more akin to vintage synth style oscillations. It's core is based on the old Vox Repeat Percussion with several updates to reduce noise, enhance the "chop" and add more control. It can create ring mod-like octaves, slow pulses, ping pong delay-like stutters, light blipping through machine gun stutter tremolo and many more wacky sounds!

Controls:
Depth- Controls amount of modulation from barely there to full signal chop.
Rate- Controls the speed of the LFO
Level- controls the input/output level
Mode- fast/slow switch for LFO rate

Fuzzhugger Phantom Octave

2013-04-28T13:54:00.000+01:00

I do find these small boards less stressful to draw :) This one is small enough to fit in 1590A without any problems, but if you're feeling adventurous you can shave off one row from the right hand side. I left there a bit space so 100µ caps have more room to sit in nicely... Schematic has the onboard LED as 5mm red, but you could try out different colours to see how those affect the octaves.. I must add that this puppy is sounding pretty cool and it is priced reasonably, so you should consider getting yourself an original...

From Fuzzhugger(fx):
Equal parts mysterious and ghastly, the Phantom Octave is a shape-shifting octave fuzz monster!

No controls? They're not necessary--they're at your fingertips! The Phantom Octave is extremely interactive with your pickup selection, picking intensity, and your guitar's Tone control. Like its namesake, the octave will disappear with picking intensity and by rolling back your guitar's Tone control. Octave effect is strongest with low-output single coil pickups.

With the flip of your pickup selector and your picking technique, you'll find huge octave downs, glitchy ring mod-ish tones, and even be able to bang out some simple chords! Set the intensity of the effect by using your guitar's Tone control as a Blend. Roll your guitar's Tone control all the way back, and you've got a chord-friendly fuzz!

The Phantom Octave is a very strange pedal compared to most octave fuzzes...in some ways, it's more stable...in many ways, glitchier. It'll sound different with each set (and combination) of pickups. Some pickup selections will produce more exciting results than others. On most guitars, the Tone knob allows you to blend out the intensity of the octave and glitch. Easier to master and jam on (which is not to call this beast stable, but)--for example, you'll be able to get away with some bends and power chords! You'll quickly get used to the sensitivity of the pedal and what different playing techniques and settings will
produce.

Controls:
• Output: Controls the output level of the Phantom Octave!
• Interacts strongly with your pickup selection (and playing technique). A guitar with a three-way selector means three settings!
• Your Guitar's Tone knob will blend out effect intensity. When blended out, you get a nice smooth fuzz tone!

• Must be used with passive magnetic pickups (standard guitar and bass pickups), and be placed first/early in your effects chain.

Here's demo of Geiri's build:

Top Gear Fuzz = Guild Grizzly

2013-04-28T10:02:00.001+01:00

Couple of small circuits to keep you occupied on this sunday.. :)

This one's yet another Fuzz Face, but both boxes using the circuit are quite cool things..

Death By Audio Interstellar Overdriver

2013-04-28T10:01:00.008+01:00

Escobedo Duende JFET = JHS MiniBomb

2013-04-28T10:01:00.005+01:00

The circuit for these two are verbatim. Escobedo just has a trimmer to bias the JFET, where JHS has 5K1 resistor. He probably uses matched j201s...

JHS info:

A good booster is often the most underrated tool a guitarist can own. When placed before your overdrives or distortions, a thicker, stronger and more saturated tone can be achieved. When placed after, you get your exact same tone except louder. This is great for lead passages and for causing a tube amp to naturally overdrive due to its huge amount of headroom. You will notice a slight touch of presence that lets your tone cut through the mix for those passes that you really want to stand out. Chords are heard with clarity and subtle harmonics shine! The Mini-Bomb JFET boost can do all this and only takes up a small 1.5"x3.5” spot on your pedal board!
Oh yea, and did we mention....this pedal works great on both electric guitar and bass guitar!!!

Here's Geiri's demo of his two boards in series in one A-box:

Catalinbread DLS MKIII

2013-04-27T18:12:00.000+01:00

I didn't think it would end up too big, so I thought I'd jump straight in at the deep end and do a modified version with additional 9V/18V switching and the components switching done with individual toggles rather than a single 4PDT switch, which allows you to turn the selections on and off independently.

If you want it exactly like the original, you can omit the charge pump and associated components and take 9V directly to where VSw 3 connects to the board. Then use a 4PDT toggle instead of two SPDT and one DPDT for switches 1 to 3.

Info about Catalinbread's original:

Introducing the new Dirty Little Secret from Catalinbread. The Dirty Little Secret has earned itself a well-deserved reputation for replicating the sound and feel of a classic era Marshall amplifier, supplying one of the most iconic guitar sounds in music. Able to clean up with a flick of your guitar's volume control, or go from mild crunch to full kerrang with your pick attack, the Dirty Little Secret has seen the inside of arenas and bedrooms alike, providing great overdriven sounds to clean backlines, low-wattage amps, and even direct applications. When the JFETs used as the base for the Dirty Little Secret were discontinued, and as our stock of them began to dwindle we knew we had to find ones still being manufactured. However, rather than simply re-voicing around these new JFETs, we decided to push the envelope and provide an amazingly robust feature-set, from ever evolving listening and circuit skills, and pure power of intention. This isn't just 'a' Marshall in a box, it's the most versatile and dynamic Marshall-style overdrive out there!

What's new in the Dirty Little Secret:

• The DLS now offers two distinct voicings, "Super Lead" and "Super Bass" switchable via an internal slider switch.

• Completely redesigned full three-knob treble-middle-bass tone control complement that reconfigures for each mode setting.

• We've also added an internal presence trimmer that allows you to fine-tune the presence of the pedal precisely to your guitar and amp combination.

• The gain range is much wider and even more responsive to pickup types, playing dynamics and instrument volume knob!

The "Super Lead" mode expands the range of the DLS MkII with more gain available and more control over your tone sculpting with the addition of the midrange control without losing any of the touch-sensitive dynamic qualities that made the MkII so great to play - in fact, those qualities have been enhanced. The gain range now goes from classic plexi all the way to modified JCM800 levels and can get even more raw and open than any previous DLS. This mode was voiced specifically to make humbucker-equipped guitars really rock with clean to scream all from the twist of your guitar's volume knob.

The "Super Bass" mode is a new voicing that gives you the tone and gain structure of a Marshall Super Bass (which is very similar to a JTM45 or JTM50/100). This mode was voiced to really hone in on that elusive in-between "not quite clean, not quite dirty" response that old tube amps were so good at getting. And it was specifically voiced to make fuzz pedals sound great (especially two-transistor based fuzzes like the fuzz face). Plug a Strat into a Fuzz Face into the new DLS in SB mode and you'll see what we mean!

Single voltage only version. This was requested but it only saved one row, so I don't think I'd omit it for a bit of extra versatility. But here it is if you just want to power it using a single supply. [smaller version added]

Video of Geiri's build:

Fuzz (Sur)Face

2013-04-27T12:44:00.000+01:00

I've just done this as an experiment but thought I may as well share it here in case anyone else is interested. I bought a few different SMD component kits a while back and wondered how easily they can be used with vero. I think it will be a nightmare for bigger circuits because you're obviously stuck with the consecutive row spans which means you will end up having to use a lot of links, but I don't plan on swapping over from through hole components and layouts any time soon anyway, just wanted to see how easy it is to do in terms of layout and build. A few notes about it.

1) The layout shows 1206 size passives. A resistor and capacitor kit can be purchased from here which should last a while. I left the transistors and electrolytics through hole though because they are obviously much less fiddly than SMD (the transistors would be awkward to use with vero and hard to place on 3 consecutive rows) and of course everyone already has a good selection in stock. This is for an NPN silicon build, but it also means it could be easily adapted for a PNP germanium.

2) Solder the space you intend to put the component in first. Then all you have to do is rest the components on the solder (preferably under a bit of force, maybe with a cocktail stick or tweezers), and melt the solder. Finish off afterwards as necessary.

3) When the components goes over the top of a track cut you'll need to keep the cut as small as possible. It may be better to do them with a Dremel or similar rather than a drill bit. Check for no continuity with a multimeter before you solder over the top.

4) I haven't shown through board track cuts on the top side of the board to avoid any confusion. You can still use the links as guides when placing the through hole components but I thought it better like that. Then if you see a track cut you don't have to think about it and know you're looking at the copper side of the board.

Boss DS1 Simplified

2013-04-27T12:39:00.000+01:00

This one didn't quite turn out as intended but I thought I'd post it anyway as it may make a good experiment. Whether you like the idea of removing buffers or not, I think most people would agree that the Lovepedal Eternity is still a great sounding pedal in its own right, and a much more simple build than the TS808. So I wanted to give the DS1, which is hated by many, the Eternity treatment to see if it was more to people's liking. I did this without thinking too much about it though and it was only when I finished that I noticed the buffer I removed was actually a gain stage! :o)

So I was going to scrap it (I will still do one with the gain stage as intended) but I thought it would be good to see how it sounded with your own choice of boost stage before it, Super Hard On, LPB1 etc, and also see how it sounded without the first stage altogether.

The first opamp channel is just a buffer as well, so that could always be turned into a boost with just a couple of extra resistors even if the results mean this is further removed from a DS1. So all that considered I thought it may be something that the tweakers on here may have some fun with.

Lovepedal Les Lius

2013-04-26T01:03:00.002+01:00

The 159th Lovepedal Electra.
Info about the original:

The Lovepedal Les Lius features a three way toggle switch that allows you to change tones from 5E3 Woody (Tweed Fender Deluxe), High Power Twin (50′s Fender Twin) and Master Volume Tchula (combination of both the 5E3 Woody and the High Power Twin). The amount of VOLUME is controlled by the first knob. The second knob is a second gain stage which emulates what happens when you crank one of these vintage low wattage amplifiers.

Frantone Cream Puff

2013-04-25T19:04:00.000+01:00

Original unit has relay based switching and 1000µ filter cap. This layout is done with the circuit in tact, but omitting the original switching, LED and filtering is replaced by 470µ cap. Our "standard" polarity protection is in place and i've also added 1M resistor to prevent popping from the standard true bypass switching.. Tone 2 and Volume 3 connect together, there's a dummy connection for those on the board. Sounds nice now doesn't it? The pedal i mean..

Silencer Fuzz

2013-04-25T19:03:00.002+01:00

This is a request for my slight mods on Rick Holt's Assassin of Silence Cascaded LPB Fuzz. It doesn't really do much to to the original. Just omits the "fuzz" control and adds pair of schottky
diodes for clipping. If you're building this, you could easily make it even simpler by just omitting the Sludge switch and the 10µ cap that it controls. Thanks to Alex.

Death By Audio Robot - modded

2013-04-24T15:50:00.002+01:00

This was my take on the DBA Robot but with individual switching for the IC internal functions (Vibrato, Robot and any of the octave options on the fly) rather than the rotary switch used in the original. I thought it would be more versatile to be able to control them all individually rather than be stuck with the choices dictated by the original scheme, and all the sounds will be there with the correct settings of the toggles. The Gain control has also been taken external after a recommendation from albru80.

I think it's probably not really worth including both and up and down momentary switches on reflection as that only chooses the direction that you step through the octave choices. So maybe removing one of those makes more sense. I'd suggest reading through the datasheet and deciding yourself what to include.

Info about the original:

The Death by Audio Robot is the latest in a line of sonic mayhem inducing pedals from our boys in NYC. The Robot brings Death by Audio into the low-fi, bit-crushing business. This insane pedal is a lo-fi pitch transposer that produces sweet, 8-bit ring mod effects to your guitar. The Robot features four operational modes; Normal, Octave Up, Octave Down, and Arpeggiator. The Octave Up and Octave Down modes are pretty self explanatory. The Control knob, when fully clockwise, yields either octave up or down depending on the mode. When turned down, it bends the pitch of the octave down so you can dial in the exact tone you want. In Normal mode the Robot acts as a lo-fi fuzz pedal and the Control knob bends the pitch down from clockwise. The amount of fuzz can be further toyed with using the internal gain control. Now the fun part. The Death by Audio Robot also features an arpeggiator. The pitch will arpeggiate in a sequence and the Control knob will adjust the speed of the arpeggiation. It also makes a slight change in the pitch, allowing the arpeggiator to go higher. With all this fun, who needs anything else? Arpeggiation, whacky robotic nonsense, and 8-bit fuzz fun are all jam packed together in the Death by Audio Robot.

Sadowsky Preamp

2013-04-23T09:03:00.002+01:00

Request, and unusually for the site, this layout has been done by our very own Geiri who asked to post it here so everyone can share it, so thanks Geiri! :o)

Info about the original:

The Sadowsky Outboard Bass Preamp/DI Pedal contains the same famous circuitry built into every Sadowsky bass. Housed in a small footpedal box for use on the floor, it measures just 4.5" x 4.5" x 2.25" and weighs 1.5 pounds. Just plug your bass into the box and then go from the box to your amp, and/or direct to the board.

Controls consist of volume, treble boost and bass boost. The Preamp/DI Pedal is perfect for vintage basses where installation of an onboard preamp would affect the instrument's original condition and resale value. The Preamp/DI pedal is recommended for all passive basses, basses with active pickups, and instruments that have active electronics that can be bypassed. It also works great with all upright bass pickups.

Mojo Hand Iron Bell Fuzz

2013-04-21T14:49:00.000+01:00

Info about the original:

David Gilmour’s lead guitar tone throughout the years has consistently been as varied as it is sought after. Numerous different fuzzes, overdrives, and boosters coupled with various amps and guitars have created some of the most gloriously rich and vibrant tones in the history of rock. While it’s clear that no sole effect can alone duplicate the “Gilmour Sound”, when it comes to fuzz…his go to unit for the majority of his career has been the legendary Big Muff, and with so many different incarnations and variants being employed at different time periods, his tone has remained extremely difficult and elusive to pin down.
The Iron Bell isn’t based on any particular Muff circuit. Instead, we’ve tweaked it to be a platform that is wide, yet focused. Unlike the Colossus Fuzz which is based on the Sovtek/Civil War era Muff, the Iron Bell is voiced to be very open and rich, with an almost 3D like harmonic quality. Alongside the standard Gain and Volume controls, the Tone and Colour knobs allow you to sculpt the overall spectrum of the EQ. That Iron Bell is tweakable enough that combining it with various set ups and effect combinations will allow an ample array of colors and shades.
The Iron Bell’s main focus isn’t meant to be “David Gilmour in a box”, it’s more a tonal tool that can be used in countless ways to get the type of epically soaring, yet manageable quality of sound that has become the signature calling card of one of music’s most legendary players. The Iron Bell can be much more, and can serve as a tool to take your tone as far as your imagination will allow.

Palmer Hurrigain

2013-04-20T08:37:00.002+01:00

Nothing too special, but just a cool, high gain, straight forward modern Fuzz Face adaptation. Demo vid in spanish.

Now verified. If you are experiencing oscillation with your build, try 100R resistor in place of 5.6 Ohm...

Magnus Modulus

2013-04-19T16:33:00.000+01:00

With 8 knobs and 3 switches I really didn't need to keep the size of this one down, but it will fit in a 1590B if anyone is utterly insane :o) You can shave off another column if you solder D1 and D2 in the same hole and move the 1u cap over to the left into the hole vacated by one of the diodes. But there probably isn't much point in saving the space when it's going in a 1590BB (at least) anyway.

Another mod would be to make the bottom left 100u cap switchable to change the speed range available from the LFO, but I'll leave experimenting with that one up to you.

From Nathan Alexander Smith's original project document:

The Magnus Modulus is another PT2399 based DIY echo modulation effect pedal. I wanted to make a digital delay and liked the idea of adding modulation ala Echo Base. I decided to use a stage from the BYOC Ping Pong with the LFO from the Tremulus Lune for maximum modulation control. I didn't reinvent the wheel here, just a bunch of other ideas put together into one awesome effect.

The delay lengths are controlled via a voltage controlled oscillator in the PT2399 at pin 6. The nominal delay length is set by R9 and Delay Time pot. The modulation is coupled on top of this DC value via R10 and C13. There is no need for a variable resistor (transistor, LDR). While I had the LFO and buffers already on board I decided to add a tremolo coupled into the output amplifier stage with a J201 acting as a switch.

This project is intended as a DIY effect and hopefully an evolving one. This is a highly modifiable circuit, hopefully you'll find the setup you like the most. The values in the schematic and layout are my personal favourites, your taste may differ so I'd suggest a few mods. The project fits in a 1590BB if you have skills

MODS: Delay filtering - I have a really hot bridge pickup in my Les Paul and it can make the delay section distort (I use both pickups and designed the pedal using the middle one, it sounds awesome) I increased the values of C11 and C18 to filter more of the highs. Capacitors you can play around with to change the filtering are: C5, C6, C11, C18.

I used 240k resistors in the LFO, the original has 220k, you can add a "Fine" rate control as well.

The tremolo could be inlplemented with an LDR, I used the J201 as it is pretty common. There is a bit of charge injection that is only really noticeable with the space (or smooth, can' t remember) knob is turned down, the tremolo sounds really good and smooth when that control is set properly though.

You can use less knobs, the gain knob could be a trimmer if you don't want a booster. Taking out the limiting diodes will increase the output significantly during self-oscillation and is not recommended