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say what you will about america, but at least 1 dollar can still get you a hell of a lot of mice
Value meal.

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Cleaning products on Flickr.
I must be really bad at everyday cleaning, so someone please explain: wooden mallets? Good price, though.
ILF Secret Santa builds, just needs artwork before sending.
Hereās a simple guide to modding the Distortion + / OD250 / YJM308 / Ross Distortionā¦
This is generally a great circuit but has its drawbacks (especially in reissues). It can be muddy at low gain settings yet fizzy at high gain settings. It also tends to cut a lot of low end with low tuned/baritone/bass guitars.
All of this is from my own trial and error experimentation and not any sort of formal electronics knowledge/trainingā¦
Letās start at the beginning:
C1 (absent from the DOD 250) filters out some highs and is partly responsible for low gain muddieness. I like to take it right out. This increases clarity and helps balance things once more low end is added in the rest of the circuit. Removing just this capacitor and leaving everything else alone gives better low gain tones. If itās too bright at this point itās easy to remove some treble at the end of the circuit.
C2 is the input cap and definitely filters out too much low end for my liking. My current favorite value here is .47uf but 1uf could work for some. The risk in going too high here is mud even at higher gain settings. If youāre a chronic bridge pickup user a larger cap could work but neck pickups could definitely get somewhat muddy.
C4 is a pre clipping output/coupling cap. A larger cap allows more low end clipping. The Ross distortion uses a 10uf cap here and that sounds best to me. Big thick low end crunch instead of just fizzy treble clipping. You could go even higher which could be a good thing if you plan to use it with a bass.
If youāre using a polarized cap make sure the negative side faces away from the op amp towards the diodes.
D1/D2 clipping diodes The vintage MXR and Ross distortions both use germanium diodes which tend to sound warm and sort of fuzzy but are fairly quiet. DOD uses silicon diodes which are louder, crunchier, and brighter. I really like one germanium and one silicon. This preserves some of the fuzziness of the original d+ but opens it up a bit and gives a pretty good volume bump. The Kowloon Walled Bunny uses 1 germanium and 1 led which also sounds great but isnāt really my thing. I really really want to try mosfet clipping in here. Socket the diodes and swap them until youāre happy.
C5 filters out some highs post clipping. This is the best place to get rid of any fizziness. I increase this to .0022 or .0033uf. Another great option (especially if youāre building your own) is to remove this cap and add a tone control. My favorite is mark hammers āstupidly wonderful tone controlā which is basically a modified rat style filter. http://www.muzique.com/lab/swtc.htm Iāve also tried a big muff tone circuit here which sounds great but you lose quite a bit of volume unless youāre using 2 LEDs for clipping.
Some versions of this circuit use a small cap in parallel with R4. REMOVE IT unless your circuit oscillates without it. If youāve done any/all of this and still arenāt happy thereās one last place to tinker. I only recommend this if you use your pedal mainly for higher gain tones. Low gain/boost tones will most likely get muddy.
R2/C3 form a filter that works with the gain pot. Youāll notice as you turn the gain up you get less and less bass response. Increasing C3 while decreasing R2 proportionately will simply increase gain. Increasing C3 alone will give you more bass at high gain but risk muddy low gain. Reducing just R2 will increase gain and give you more bass roll off. I recommend .1 to .47uf for C3 and a slight decrease in R2. These are definitely worth socketing because they are highly interactive with eachother and the gain pot.
Lastly if you have a version that uses a 4558 op amp but want the classic 741⦠The 1458 op amp is a drop in replacement with the same pinout and is essentially a dual 741. Be careful not to damage the 4558 when removing it so you can sell it to a tube screamer snob for way more than itās worth. ($0)
Happy Modding
Required reading: http://benadrianaudio.wordpress.com/2009/11/27/the-kowloon-walled-bunny/
http://www.premierguitar.com/articles/mxr-distortion-plus-mods-1
http://beavisaudio.com/bboard/projects/bbp_MXRDistortionPlus_Rev_1_1.pdf
Another helpful mod guide from Baritones.Ā Follow him for more like this.
WHAT AN UNUSUALLY ACCURATE GREETING CARD
Why I don't spend the holidays with anyone who isn't family by my own choice.

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I like big knobs (TWSS)
Radioshack has proven indispensable for one big thing. Well, four big things.Ā
Does anyone have a cheaper alternate source for their giant communications knobs?Ā $3 for two isn't horrible, but I'm fricking cheap.
Little vero DIY?
I've got some leftover scaps of veroboard from scoring and snapping for other projects.Ā Gotta be something to do with them.
Both pieces are the same layout, 5 strips high, 9 holes across for the bottom two strips, 11 across for the top three.Ā There's a handy dandy mounting hole in the bottom right corner.Ā Naturally, these can be rotated if need be.Ā
I've been scanning the Tagboard effects blog and spotted some boosters that people like but I haven't really gone down that road so far.Ā Anything that you really like in simple boosters?Ā
Or should I just do the Electra Distortion and Bazz Fuss?
Shape of a thing to come.Ā I'm building this one for my Secret Santa at ilovefuzz.Ā You might notice the oddly arrayed pots.Ā There's a method at play here that I hope works out.
How to Tour in a Band or Whatever by Thor Harris
1-Donāt Complain. Bitching, moaning, whining is tour cancer. If something is wrong fix it or shut the fuck up you fucking dick. goddamn.
2-If you fart, claim it.
3-Donāt Lose shit. Everybody loses shit. Donāt fucking do it. Asshole.
4-Donāt fuck anyone in the band. There are tons of people to fuck who are not in this band. Dumbass.
5-If you feel like shit all the time, drink less beer at the gig. You will play better & feel better. What are you⦠a child? Some have the endurance for self abuse. Most donāt.
6-Remember the soundmanās name. He will do a better job.
7- Eat oranges. Cures constipation & prevents colds.
8-Masturbate. Duh⦠Where & when? Be creative. Youāre an artist right?
9-If YOU canāt carry your suitcase 3 blocks, itās too goddamn big.
10-Respect public space in the van. Donāt clutter, you Fuck.
11-If you borrow something, return it. Not Fucked Up.
12-Do not let the promoter dick you or talk you out of the guarantee. If there were not enuf people there, itās their fault.
13- Driver picks the music.
14-One navigator only (usually sitting shotgun). Everyone else shut the fuck up.
15-Soundcheck is for checking sounds. Shut the fuck up while everyone else is checking.
16-Donāt wander off. Let someone know where you are.
17-Clean up after yourself. What are you⦠a goddamn toddler?
18-Touring makes everyone bi-polar. Ride the waves as best you can and remember, moods pass. So donāt make any snap decisions or declarations when you are drunk or insane.
19-Fast food is Poison.
20-The guestlist is for friends, family & people you might want to fuck. Everyone else can pay. They have day jobs.
21- Donāt evaluate your whole life while youāre sitting in a janitor closet waiting to go on. You think youāre above having shitty days at work? Shut up & do your goddamn job.
This list was written under the influence of lots of esspresso & anti-depressants while on tour w/ such greats as Shearwater, Swans, Smog, Lisa Germano, Angels of Light, Bill Callahan & many more. I hope this list will help you get along w/ your co-workers whatever your job is. Contributions to the list by Jordan Geiger, Kimberly Burke, Brian Orloff, Brian Phillips Celebrity Gang Bang, Kevin Schneider, Jonathan Meiburg, Michael Gira and some other folks.
Thanks for not being an asshole, Thor Harris
I dug into my Vox distortion booster again determined to make something good out of it. In theory it should be a good sounding pedal because the circuit is actually a brilliant bastardization of classic pedals.
Basically itās a tube screamer clipping stage fed into a distortion plus. The drive pot is a dual pot and controls the gain of both stages at the same time. Then itās fed into another dual op amp driving and recovering a big muff style tone stack.
The problem with this pedal is all the capacitors are way too small and filter out every trace of bass and low mids. The values chosen for the tone stack are ridiculously small making it barely usable. This thing in stock form is a fizzy trebly mess.
Iāve been trying to learn about actual circuit design so I didnāt want to just add a bunch of toggle switches or extra pots.
What Iāve done is enlarge most of the caps to let more bass in/through the circuit which also increases saturation. The tube screamer circuit got a common bass boost mod so it doesnāt sound so utterly congested. I changed the values in the distortion plus part of the circuit to stock d+ values with a bit more low pass filtering. Then I fixed the tone stack with correct values for a big muff tone stack.
Now it can get nasal mid range ts style crunch on one end of the tone knob with the gain dialed back and big wooly saturation on the other end with the gain cranked.
It is a bastard indeed.

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ShhhhhĀ ! Donāt tell anyone, but you can now purchase my 3rd solo LP, Nearest Suns (click the pic). Itās got incredible, mysterious cover art and a deluxe poster designed by Robert Beatty and is pressed on fancy red and yellow haze vinyl. Just please keep this under your hat, alrightĀ ?
Sorry my blog has turned into a pedal blog but this one relates directly to actual baritone guitars and their love/hate relationship with big muffs.
So I spent the last few days tweaking my russian muff. Iāve been determined to love big muffs but thereās always something about them that doesnāt work for me. I play baritone guitar (obviously) in a two piece and use my neck pickup almost exclusively. My guitars and amps all have massive low end but when Iād turn on a big muff Iād lose anything even close to clarity. Bar chords would always work and sound massive but any chord even a little bit more complex would turn to mush. To top it off this thing was always ridiculously loud and would drive my amps into insanity. Not in a good way either.
Hereās what Iāve done to āfixā it.
1. Flatten mids in the tone stack. Previously one of the toggles was a tone bypass and that came close but the treble was always a bit too fizzy. Now the mids are flat and I can still use the tone pot to control the bass and treble. 2. Dark toggle. This adds a larger cap to the low pass filter and letās the tone control filter more highs when an amp needs it. 3. Diode toggle. Swaps symmetrical silicon diodes for asymmetrical germanium. Just a different flavor but very usable especially with the dark switch. 4. Volume pot Swapped 100k linear pot for 50k audio. This tames the excessive volume just enough. Now unity gain is around 1:00 instead of 9:00. 5. Input mods. Input capacitor has been changed to .0047uF to limit the amount of bass getting into the circuit. To put this in perspective most stock big muffs have a .1uf input cap. Some vintage versions used 1uf. The focus control on a musket blends the input cap from 1uf to .01uf so .0047 is pretty tiny. I socketed the input cap with some other values taped inside the enclosure if I feel the need to tweak it on the go. I also increased the input impedance to get even less gain. Yes. Less.
It seems most of this stuff is backwards to what most people are doing to their muffs but it turned out really well and is finally extremely usable and flexible with a baritone into a pair of huge amps. Chords have clarity, pick attack isnāt completely lost, and the low end is just big enough without overpowering everything else.
These are the best links if you feel the need to dive in to a big muffā¦
http://www.kitrae.net/music/big_muff_guts.html http://www.bigmuffpage.com/Big_Muff_Pi_versions_schematics_part3.html
As long as youāre doing switching on the clipping diodes, you might want to try eliminating the clippers on the second gain stage like in the Colorsound Supa Tonebender.Ā The Colorsound is practically a Muff but as you would imagine a bit clearer and bassists seem to like it better, so maybe itās a good track for you.
Biyangās Muff clone (also sold by Akai and GFS) has symmetric, asymmetric,Ā and no clipping on the second stage on a toggle, probably an on-off-on.Ā The clipping lift does sound better for bass for me.
Decisions, decisions.Ā Rarely have more than a handful strung together at once. This leaves out the rack stuff, too.
Weekend project -- stripped jack plate screws
I had let this go for too long and itās an easy fix.Ā The two screws on my Godin Detourās jack plate have been loose for a long time, so the plate will sometimes come out when you pull the cordās plug out.
What to do? Grab a safety match and some wood glue.Ā The matches I had on hand fit snugly, but a little trimming with a utility knife may help for a smaller hole.Ā For a big hole you might need to cram more wood in and might have to be creative with filling if you canāt find an appropriate sized dowel.Ā Anyway, I gave the stick a coating in wood glue (Titebond), put it in the hole [TWSS!], cut off the excess with a utility knife a little further than flush with the body, cleaned the excess glue with a paper towel, and used the leftover part of the match stick for the next hole.
I let the glue cure for 24 hours (well, a little short of that since I'm impatient, but that's what the instructions were), then trimmed the excess with a utility knife.Ā Screws went in well without drilling pilots and the plate is holding securely.Ā Life is good, at least on this front.
Soldering tip #1. Put your hair in a pony tail even though youāll look like a douche.
Soldering tip #2: buy an aloe plant before you plug the iron in.

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Cheap trem issues
I bought a Fernandes LE-X Strat clone with some issues for super low bucks a long while back.Ā One issue was that the trem arm didnāt screw in ā threads on the arm wouldnāt line up with the trem.Ā Today I messed with the trem setup, loosening the ultra-thin cast zinc block from the trem plate and tried to get the arm in before tightening things back together.Ā (Tightening these screws to ensure a solid connection is usually a good thing when setting up any trem that's seen some use.)Ā Threading still wasnātĀ lining up but I was able to forceĀ the trem arm to thread into the block.Ā The one virtue of the crappy block.
So Iāve now got a functional trem on the guitar.Ā Iāve set it up with some float, which I never used to do with the vintage six-screw type trem when Iāve played Strats before.Ā I think it sounds better than it did when the bridge plate was flat against the body, and the trem action is as happy as Iāve ever been with a six-screw trem.Ā I'd rather have something with the action of a Jaguar or Jazzmaster, but not bad at all.
I had been looking for a good replacement option when it was kaput, but I might live with it for a little while.Ā Guitar Fetish has the only option for import-spaced six-screw trems that arenāt crap that Iāve seen.Ā Was still a hair skeptical and thinking about maybe putting a budget Wilkinson 2-point bridge on.Ā Dunno.Ā Thoughts?
Guitar porn: My Bloody Valentineās Kevin Shieldsā amp rig.
That's an even bigger rig than I remember from 2009.