The different types of Fuzz

Fuzz is one of the most emblematic guitar effects. Satisfaction (The Rolling Stones), Purple Haze (Jimi Hendrix), Think For Yourself (The Beatles)... The number of great songs incorporating this effect are countless, and have progressively transformed the Fuzz effect into a reference in the electric guitar world!

Today, we can find a lot of different fuzz, with multiple variations around the same circuit... In order not to be lost in this mess, I wrote a small overview summarizing the different types of fuzz that you can find. Of course, it is not an exhaustive listing, I tried to recapitulate the main fuzz, and modern and "boutique" variations that can be found today... Make your choice!

1. Gibson Maestro FZ-1 (1962)

This is the first fuzz ever invented! Originally, it was intended to imitate brass! To give you an idea of how it sound, it the fuzz used on "Satisfaction" of the Rolling Stones.

It has a nasty, sax-like sound, quite aggressive in the treble range. It is a harsh, dirty sound that can feel almost like a ring modulator in last strings! It is a very peculiar sound, very "vintage-sounding" (well, of course, it is from 62!). To be honest, I do not really like it, but I think it can be used a bit in some styles like garage rock or psychedelic rock.

Of course, the original pedal is extremely rare and expensive... (I had one to repair recently!) The Boss FZ5 emulate with a numeric algorithm the Maestro fuzz, and clones are pretty rare (you can find clones in small boutique companies), because of the weird sound that makes it a bit special... Gibson did a reissue at some point, but it was also quite expensive, and had the downsides of the original pedal (size, no power supply input...etc).

2. Sola Sound Tonebender Mk1, Mk1.5 and Mk2 (1965 et 66)

Created in England in 1966 to compete the Gibson Maestro (which was too expensive to import...), this fuzz quickly became a reference. The MK2 version was used by many english rock musicians in the 60s, like Jeff Beck or Jimmy Page for instance. It has been also been copied by many brands: Marshall Supafuzz, Vox Tonebender are examples of fuzz "heavily inspired" by the Tonebender.
 

It has a more classic fuzz sound, loud and powerful, with quite a lot of saturation. The saturation can be modified with the volume knob of the guitar, like with Fuzz Faces. The sound is warmer, softer than the aggressive Maestro sound, with quite a lot of mids. Basically, it sounds a bit like a Fuzz Face, but with more saturation and a bit more aggressive, close sometimes to a distortion.

It has been clone, modified and reproduced by many builders: D*A*M (who makes incredible replicas), Earthquaker Devices Tone Reaper, Fulltone Soul Bender, Basic Audio Scarab Deluxe, JHS Bun Runner, Ramble FX Twin Bender...etc.

3. Fuzz Face (1966)

This THE Fuzz, the most emblematic fuzz effects with its famous round and red face (well, gray at the beginning). Used by Jimi Hendrix, it became rapidly famous! Conceived in 1966 by Dallas Arbiter in England, it used germanium transistors at first, which were later replaced with silicon transistors, more stable. Read my article about the fuzz face circuit here.

The sound of this fuzz is characteristic: very soft, warm and round, it has a very "creamy overdrive" feeling that evokes almost always (especially if you have a Stratocaster-type guitar) the sound of Hendrix. It also responds very well to the guitar volume knob: by turning down this knob, you can go back to an almost clean sound! Versions with germanium transistors are ideal for this, but are less stable (sensitive to temperature, demanding about the transistors characteristics). It is less saturated than a Tonebender. This is really a classic fuzz, easy to use and very good sounding

The Fuzz Face is still produced by Dunlop (with a lot of versions: mini versions, germanium and silicon versions...etc.), but many builders took the opportunity to build their own Fuzz Face version and make original versions: Analogman Sunface (a great replica of the vintage Fuzz Faces), that I cloned here and here, Fulltone 69, JHS Pollinator, Boss FZ3, Chase Tone Red Stardust... are all modified Fuzz Faces.

4. Roger Mayer Octavia (1967)

With its strange spaceship shape, the Roger Mayer's Octavia will not leave you indifferent. Roger Mayer was Jimi Hendrix's guitar tech (...yep!), and has created and modify pedals for the master... The Octavia is one of them.

One of the things that make this pedal unique (beyond its weird look), is the fact that it produces an upper octave sound above what you play! This octave effect is more pronounced around the 12th fret, so it is more hear-able during solos. It has quite an aggressive sound, which can be slightly dissonant (because the octave is never perfet in terms of pitch). Here again, some Hendrix's song are representative of the sound of this pedal, as the solo Purple Haze or Fire.

Roger Mayer is still producing the pedal, but it also has been cloned and modified: Fulltone Octafuzz, Catalinbread Octapussy (I love this name), Electro Harmonix Octavix...etc. Which seems to please Roger Mayer a lot, as he put on his website this beautiful quote: "Those who can invent do, those who can't invent copy" (Angry Roger is angry, but well, it is understandable)

5. Univox Super Fuzz (1968)

Well, this is a personal favourite, for me this fuzz is the evillest fuzz of all, a monster in a pedal enclosure, a true Pandora box! This fuzz, invented in 1968 by the Japanese company Shin Ei (which became Univox later), has not only a killer look (well, from the second version in 1970), but is also the most violent an loudest fuzz ever! It has been used by Pete Townshend during the Who's live performances, and has been re-discovered in the 90s by many stoner rock bands, some of which used it almost on every song like Fu Manchu!

Like I said, this Fuzz has an over saturated heavy sound. There is a lower octave that is added to your tone and make it heavier, and an upper octave, quieter than on the Octavia, that is hear-able around the 12th fret. To give you an idea of the apocalyptical sound of this pedal, listen to any song of Fu Manchu. (check Cyclone Launch for instance)

Unfortunately, the production of this wonderful pedal was stopped. Boss produced a clone in 1993, the Boss Hyper Fuzz FZ2, which had some success in the stoner rock / doom circle, but is not produced any more. Today, Behringer produces a cheap clone, and some boutique builders make clones (Wattson Super Fuzz (replica of the 68 version), Solid Gold FX Formula 76). Producing a fuzz respecting the spirit of the original Super Fuzz (sound and look) is one of my current projects. If you're interested, please email me for details.

6. Electro Harmonix Big Muff Pi (1969)

This is an absolute classic created in 1969 by Electro Harmonix: the Big Muff Pi. This pedal is still produced, an had many different versions (Deluxe, Russian, Triangle, Ram's Head...). It has been used by a lot of different artists because of the sound it has, and especially the almost infinite sustain it gives to your tone. David Gilmour (Pink Floyd) is a well known afficionado of the Big Muff.

Comfortably Numb's solo is a good example of what kind of sound can be expected from a Big Muff. It is a heavy, saturated sound, but still compressed and smooth, that gives a nearly infinite sustain and crazy harmonics. The tone potentiometer allows to go from a trebly aggressive fuzz to something warmer and bassy. One of the characteristics (and weaknesses) of this fuzz is the lack of mediums that the EQ create. You can disappear in a mix because of that. To avoid this, David Gilmour was using it with an overdrive that was bringing more mids, and today, there are versions of the Big Muff with a different tonestack that have been created to avoid this. If you are interested, I wrote an article about the Big Muff circuit.

This pedal is the clone's queen, probably the most cloned pedal ever! There are hundreds of versions of the Big Muff, as it is a very well documented circuit, and very tolerant to modifications. Pete Cornish G2, P1 and P2, Skreddy Mayo, Way Huge Swollen Pickle, Mojo Hand FX Colossus and Iron Bell, Blackout Effectors Musket, Black Arts Tonework Pharaoh...Etc Each "boutique" builder has its own version of the Big Muff, and I already made a few Ram's Head Big Muff myself!

7. Shin Ei companion Fuzz (1970)

Lets finish this list with an original rarity, the Companion Fuzz, created in 1970 by Shin Ei (again). If I put this pedal in this overview, it is that despite its rarity, it really has a very special, unique sound!

It produces a "chainsaw", buzzy, nasty sound! It has a very harsh and raspy sound that is really recognizable. This pedal has been used by some psychedelic rock bands, and more recently by Dan Auerbach from the Black Keys for the dirty sound that it makes... It is really an unique sound, either you like it or you hate it!

Due to this weird sound, demand is quite low for this kind of effect, and re-editions or clones are quite rare. The original is of course not produced any more (and reaches crazy prices on ebay), but Earthquaker Devices recently issued a clone: the Terminal Fuzz. Some small boutique builder still make clones of it. 

8. 1970-2010: what happened?

Where did all the innovations of the fuzz pedal go during this period? The 70s marked the beginning of overdrives, that gradually replaced fuzz, both in music and guitarist's gear. Fuzz was replaced with amp and overdrive saturations. Indeed, since the beginning of the 70s, amplifiers (finally!) have a master volume, and fuzz are no longer necessary to have a distorted sound. New musical genres that emerged at this time, like hard rock, are more into heavy saturation from the amplifier than the "weird" saturation of fuzz.

However, in some genres played irreducible musicians, fuzz still holds out against overdrive and distortion invaders. Stoner rock guitarists rehabilitate fuzz effect to produce heavy saturated sounds (Kyuss, Queens of the Stone Age, Fu Manchu...). Some indie bands make fuzz become their sound trademark (Smashing Pumpkins, shoegaze players...). During the 2000s, with the arrival of bands inspired by the 60s (like the White Stripes and others garage rock bands), fuzz resurrects and becomes a classic effect again. Other artists use it in a new way to create new musical landscapes, and make it popular again (like Matthew Bellamy and his Fuzz Factory)

Traditional and boutique manufacturers modify and enhance vintage fuzz by making them easier to use (9V power supply input, smaller size), less noisy and more stable.
Some builders innovate and create entirely new circuits, most of the times completely crazy: Death by Audio (with the Fuzz War for instance), Devi Ever (Hyperion, Soda Meiser) or Zvex with the Fuzz Factory. Others invent new designs with more classical sounds: Wampler Velvet Fuzz or D*A*M Meathead for instance!

Personally, I am a huge fan of fuzz. The Super Fuzz, the Big Muff and the Fuzz Face are must-try pedals for me. Moreover, fuzz are simple pedals that are easy and fun to make, and that can easily be modified and customized! I really advise you to try to make one... The Big Muff is the perfect pedal to begin with (with a PCB if possible), even for a beginner, and can be modded really simply (the circuit is very tolerant to modifications).

Here it is ! I hope that this article gave you a good overview of the different fuzz that exists, so you can choose the one you like the most! Do not forget that this is not an exhaustive list, and that many other fuzz exist... The quest for the ultimate fuzz is nearly infinite (gotta catch them all!)

Do you have any question? Post a comment!
You like this article? Thank me by liking the Coda Effects Facebook Page.


To go further:
"Fuzz timeline" from the Big Muff page
Another Fuzz timeline by Hewitt's garage
Fuzz Face history : a nice video about Fuzz Face history.
Maestro Fuzztone history: great article from vintageguitar.com
History of Tonebenders by D*A*M

Troubleshooting guide for guitar effects: the audio probe

The audio probe is a simple, yet very useful system that allows you to check where the problem is when a circuit is not working. You tried the simple debugging technique, and nothing stands out? The audio probe will solve it!

Here is the schematic:

(most simple schematic in the world, just before the Strymon favorite switch)

It is a simple 1/4" jack input, a 0.1 uF capacitor (here I used a Panasonic SMF), and a wire that you have to connect to the ground. You can then use a jack cable plugged in the jack input, connected to your amp. Usually, I use a looper to always have something on the input of the circuit.
Beware: set your amp on a very low volume setting. When using the audio probe, you can encounter really large signals when going through the signal path. It can be source of surprises... (or deafness...)

How to use an audio probe?

The 0,1uF capacitor will not allow direct current to go through it. Thus, you will only hear alternate current signal that is your guitar signal. You did not know that your guitar signal was an alternate current? Read my post about guitar signal.

You need an input signal to go in the circuit. Generally, I use a looper (Jamman, Ditto) to have a guitar signal going in. You can also use a signal generator, or anything else : keyboard, CD player, or someone else who will strum the guitar while you use the audio probe.

Then, just follow the signal in your circuit: put the tip of the 0.1 uF capacitor on the input of the circuit; you should hear the guitar signal at the same volume than at the input. Then move component by component, following the path of the guitar signal.

If we take the Fuzz Face as an example:

 

You will put the tip of the audio probe first at the input of the 2.2uF capacitor (positive lead), then on the output of the 2.2uF capacitor. The sound can be slightly modified (this is also a great tool to see what is the role of each component!), but should still be here. Then, you will go at the base of the first transistor (Q1), and check at the emitter of Q1 (signal should be louder)...etc. Just follow the path of the signal!

If you hear the sound before a component, and nothing after, you know that it is this component that is faulty! There are several options: it can be a cold solder joint, a false contact, or a damaged component.

It is really a great tool to decipher which component is the problem in your circuit, or if there is a false contact somewhere (very common with stripboard!)

Moreover, it can allow you to understand very intuitively what is the role of each component of your circuit. Using the audio probe, you also have to look at the schematic of the circuit, which is a good thing compared to copying the guitar fx layout scheme. It is a very good way to learn!

Hope that it helps!

If you liked this article, thank me by liking the Coda Effects Facebook page!

Any questions? Suggestions? Post a comment! 

To go further: 

Circuit debugging page of diystompboxes

Top 5 guitar pedal facts that should light a « warning » sign, from a DIYer

Recently, the "boutique" pedal world was shook  with many scandals and  scams, combined with more than questionable business strategies. Taking advantage of the over trust of people towards small local companies, some manufacturers allow themselves the worst scammers. What could we do to detect rogues builders among the honest small companies manufacturers? Here are some tips!

1. Do not buy guitar pedals with goop (and yes, that includes the mighty klon). Goop is a kind of black resin that is put on the components of a circuit. Builders often say that “it protects the components” or “avoid oxidation”… This is not true. Most of the time, it is used to hide that the circuit was stolen from somewhere, or to prevent people from copying it (but it does not work as people manage to remove it). The biggest problem is that you cannot replace a component because it is melt in this black disgusting soup. So goop = big trust issue and possible irreversible failure for your devices

 Who spilled oil on my Klon?

2. Do not buy analog overdrive / fuzz that are above 250 euros (except for collectibles ones). Electronics are cheap. Most of the time, and especially for distortion / fuzz / overdrive pedals, the most expensive part is the enclosure! When above this price, ask yourself questions before buying… Of course there are exceptions, but do not whine when you will discover that your 350 euros Jan Ray costs approximately 50 to make! A very expensive pedal will not always sound better than a cheap one (cf point 5). Dont get me wrong, it is normal that a builder makes some money out of his business (you have to live!), but sometimes it is just too much I think. This does not apply for numeric pedals, where more development time is needed, and use microcontroller that are quite expensive.

This is completely insane. A fuzz face

 (so 10 components) for 400 dollars?

3. Do not spend a lot of money for “top quality components”. Today, the price difference between a correct component and a high quality one is really low. Basically, between a standard electrolytic capacitor and a high end one, there will be near 0.30 euros difference maximum! HiFi capacitors are quite useless in guitar effects are there are used to be ultra transparent, but are not really appropriate for guitar pedal use: you do not want a total and extremely precise reproduction of the original signal, do you? A standard wima MKP2 is transparent enough! Even rare and vintage transistors often have alternatives that are cheaper and totally usable. So do not waste your money on components if you are looking for a particular sound. It is only valid if you are looking for a replica for instance.
 
4. Check the inside before buying it. Everyone should be able to know exactly what he is buying. Do you buy a computer without checking its specs and components? Do you buy stuff without knowing what they’re made of? No, of course! So it is the same with guitar effects! Ask to look inside or search for pictures on the web to know the global complexity of the circuit, what it is inspired of...etc Also, SMD components indicates you that there is very little chances that the circuit was hand assembled.

 Left: Joyo Ultimate Drive (cheap OCD clone)
Right: Freekish Blues Alpha Drive: a rebranded Joyo! 
(with goop, remember the first fact?) 

5. Do not trust the hype, trust your ears, not you eyes. Most of the time, people recommend an effect upon another one because it “sounds better”. But when blind tested, most people are not able to tell anymore what sounds the best or even which is which. Your brain is modifying a lot what you are hearing depending on what you see! A psychosomatic effect makes your brain actually believe that the most expensive pedal sounds better. An A/B box can be a great investment to blind test pedals to hear for real whether they really sound that much better or not. Try to test some pedal with a random switching between the 2... Most of the time it is impossible to tell the difference, or to tell which one sounds the best! They can sound different of course, but generally speaking, such a blind test is full of surprises!

 

Could. Not. Resist.

Resistors: which one to choose?

When I started building guitars effects, I had a very hard time deciphering which components to use. I was quite scared of using the wrong component. Lost and impatient, I chose the resistors a bit randomly.

Too bad, they were more than one inche long! And of course they did not fit.

I was so disappointed.

Now, I have decided that this should not happen to other beginners. Here is my guide to choose the correct resistors for building guitar effects.

Every component has a nearly infinite number of variations, and so does resistor, which is the most simple of them! You can find resistors of all shapes and colors on the market today...

It is easy to be lost with all this possibilities! No worries, it is quite easy to find what we need by considering all the different characteristics of a resistor:

• Its value (in ohms)
• How much power they can handle (W)
• Its composition
• SMD or classic component?

We can already avoid the SMD resistors, not very suited for our use. They can be very, very small and hard to solder. They can be useful to fit big circuits in small enclosures though. For advanced builders only!

Acceptable power can allow us to eliminate a high number of candidates. Indeed, in our stompboxes, the power delivered by the power supply is really low.

Resistor resisting to 0.25W (the famous 1/4W resistor) will be enough. 1/8W can be used too in some cases. However, the classic resistor used in guitar pedal is 1/4W so I would recommand to stick with it, unless you need to save space. So we are already with our classical cylindrical resistor with two legs!

 Next, we have to choose resistor type:

• Carbon comp resistor: dark brown resistor, they are also quite big. They were used in old vintage circuits from the 60s. They are useful if you want to replicate a vintage circuit with all its details. In other cases, they are not particulary good: they are big, quite noisy and expensive (because of "mojo").
 
• Carbon film resistor: light brown coloured, they usually have a 5% tolerance value. That means that their real value can be 5% different from the theoritical value. (it is not a lot) They also are quite cheap.

• Metal film resistor: the blue ones! They usually have a 1% tolerance. They also are cheap, and are the standard resistor that you are going to find almost everywhere. Moreover, they are less temperature sensitive, and noiseless!

It is then quite obvious that, unless if you want to reproduce perfectly a vintage circuit or to diminish costs (anyway, metal film resistors are super cheap too!), the 1/4W metal film resistors are the best choice to begin! Here is a good deal to have 1280 resistors of different value for a ridiculously small amount of money!

All you ever wanted to know about guitar cables (but were afraid to ask)

Recently, guitar entered the mysterious and magical world of audiophiles. The kind of world where you can buy carbon turntables for 30 000 pounds (yes), anti seismic isolation racks, or cables for 14 000 pounds! Of course, all these expensive devices highly improve the purity and detail of the sound, and finally allow you to listen to mp3 like you should! (Irony inside) Do you recognize the phenomenon? Yes, this is the same thing with guitar, the quest for "THE sound", with expensive guitar pedal effects and cables! Fulltone, George L's, Evidence Audio, Monster Cables... A lot of new "luxury" cable brands! Is there really a difference? What are the characteristics of a "good" cable? How much should it cost?

First, lets demolish some myths about guitar cables together.

Guitar cables myths and legends

1. Gold-plated jack
This first legend around cables comes from the fact that gold is often use in high quality conductors (computers, HiFi...etc), because the conductivity of gold is better than a lot of other metals, and because gold does not corrode. So we would expect an optimal transfer between the jack and the jack input of your amp, guitar pedal...etc. However, 99.999% of effect, amps or guitars have nickel-plated jack inputs! Therefore, the conduction value will be the one of the lowest conductor, that is to say nickel. Moreover, the conduction value of gold compared to nickel is not that much different.
What is more is that gold is a soft metal, the plating quickly wears off the jack when you plug / unplug it a lot. So the gold plating will not corrode (neither will nickel plating anyway, unless you wait for many many many years...), but will goes off the jack! Unless you have a massive gold jack plug (sell your house if you want a pedalboard with those ^^)

Here, we can clearly see that only the tip of the jack is gold-plated

Moreover, in most cases the plating is not pure gold
(and surely not for this 0,7 Euros Chinese jack plug)

  

2. The cable itself is special
Almost every cable that you can buy comes from big suppliers that are always the same: Sommer, Mogami, Belden... Recreating a cable would be too expensive for a manufacturer. Almost every cables manufacturers use Sommer, Cordial...etc, and most of the cables you will find in the shops are rebranded cables. That does not mean that they are bad cables, it just mean that you should not have to pay more for a cable because the shielding is supposed to be unique and specific to one brand. However, there are exceptions. For instance, George L's has a specific cable production.
 
3. This cable has more low end / mids / respects the whole guitar spectrum
The only things that can be degraded in your cables are the trebles. Indeed, as we will see later, cables behave like a capacitor, with a small capacitance in picofarads.
Or, this capacitor acts in the RLC circuit formed by your pickups, resistors (internal resistance of the pickup, volume and tone pots), and will eliminate trebles.
The formula to calculate the total capacitance of the cable is:

Total capacitance = capacitance /meter * total cable length

So, the higher the capacitance of your cable is (so the longer it is), the more you will loose trebles! However, this only acts on treble (it behaves a bit like a low pass filter), so there will be absolutely no influence on the low end / mids!

Screen capture of Fulltone website. They openly say that cables modify low end and mediums (and that their cables are the best of course) This is clearly all about marketing, and also a lie.

What is a good cable then?

Here is the anatomy of a guitar cable: (picture is Sommer Tricone XXL that I used for my post: how to make guitar cables step by step tutorial)
 

You can see that the shielding and the central conductor are separated by 2 insulation layers. One layer prevents the accumulation of electrostatic charges that can happen when the shield rubs the insulation layer. The insulation layer isolates the ground shielding from the copper conductor. These two layers form a capacitor between the ground and signal:

 

The capacitance value of this capacitor depends on the nature of the cable and its length: materials used for the insulation, diameter and thickness of these materials, diameter of the conductor...etc. The problem is that there are many trade off between these parameters: a very good insulating material can be very stiff and thus makes the cable not very flexible, the conductor can have a big diameter but then the cable will be more fragile...

This capacitor will act on the RLC circuit constituted by the guitar pickup, its internal resistance (plus the resistance of the volume and tone pot). That will change the frequency response of your guitar, mostly by eliminating trebles. The more the capacitance value is high, the more you will loose the highest part of your guitar spectrum. Some people actually like to use high capacitance value to eliminate high frequencies and boost a bit the high mids (typically people using Stratocaster guitars). This is a strategy I would not recommend because the trebles are definitely lost, whereas it is possible to modulate the frequencies with an EQ, boost, or your tone pot that here for a reason right?

Differences between a high capacitance (600pF-pointed by the arrow) and low capacitance cable. The high capacitance cable boosts a bit the high mids, but your loose a lot of trebles (from Effectrode)

The formula to calculate total capacitance of a cable (quoted above) shows that total capacitance also depends on the length of the cable. A cable twice as long as another one has a doubled capacitance.

The characteristics of a good cable are thus simple:

• A low capacitance per meter. Generally speaking, 80 pF/meter (24.4 pF/foot) is considered to be a very good value. Below that, it is of course even better!
• Shortest length possible! It depends of course of your mobility on stage. The shorter the better.
• Rugged against shocks, twisting, stepping, everything that can happen to a cable during a gig... However this is not really necessary for your patch cables on your pedalboard. A very flexible cable will be much more fitted for this use.

Finally, you do not need so much to have a good cable! What about good jack plugs? Their role will be mainly to be rugged. Take resistant ones. For instance, Amphenol or Neutrik jack plugs are a good standard and will perfectly do the job. Remember: you do not need gold!

A lot of brands do not say what is the capacitance per meter value of their cables, even if it is the most important value (the only one?) to look at when you want a good cable! If it is not written somewhere on their website, they are probably not a serious cable brand... Buying a cable without knowing this value would be like buying a sport car without knowing its engine, performances or handling!

What is the best signal chain?

In theory, the best configuration would be:

• active pickups, then as many cable as you want!

Indeed, active pickups have a low impedance output, so the effect of the cable capacitance will be negligible. It is like having a buffer built in your guitar!
However, the guitarist is very conservative and does not like to use batteries in his guitar (myself included). Moreover, some guitar effects do not react well to a low impedance signal (fuzz faces for instance) You will have to use passive pickups with high impedance output, whose signal might be degraded by the cables. You will have to minimize the treble loss between the lead cable and your fuzz, then from the fuzz to the first buffered pedal. The ideal configuration would then be:

• Passive pickups, shortest cable possible with a low capacitance, fuzz, short cable with a low capacitance, then buffered pedal, and as much cable as you want

The best is to have a cable called the "lead cable", with a low capacitance, and short as much as possible, that links your guitar to your first high impedance effect. 

So the best is to find a resistant low capacitance cable that will be used between your guitar and high impedance effects. To know if an effect needs high impedance to sound great, you have different options. You can look on the datasheet of the effect (usually, manufacturers give it). If it is under 500k lets say, it is a high impedance effect. You can also try to put a buffered pedal before it and try to hear if it makes any differences. If there is no audible difference, you can consider it a low impedance effect.

But then, what is the best guitar cable?

Here is a table with the capacitance per meter (or per foot) of many guitar cables that you will find on the market.

Cable name Capacitance Sommer Spirit LLX 52 pF/m / 15.9 pF/ft Van Damme Silver Series Lo-Cap 55 pF/m / 16.8 pF/ft George L's .155 / .225 67 pF/m / 20.4 pF/ft Klotz AC110 70 pF/m / 21.3 pF/ft Mogami 3368 70 pF/m / 21.3 pF/ft Sommer Classique 78 pF/m / 23.8 pF/ft Sommer Spirit 78 pF/m / 23.8 pF/ft Cordial CGK 122 82 pF/m / 25 pF/ft Sommer Tricone MKII / XXL 85 pF/m / 25.9 pF/ft Cordial CGK175 88 pF/m / 26.8 pF/ft Van Damme Silver Series Flat-Cap 90 pF/m / 27.4 pF/ft Adam Hall KIK122 95 pF/m / 29 pF/ft Klotz AC106 95 pF/m / 29 pF/ft Klotz AC104 115 pF/m / 35.8 pF/ft Sommer Colonel Incredible 130 pF/m / 39.6 pF/ft Mogami 2524 130 pF/m / 39.6 pF/ft Belden 9778 148 pF/m / 45.1 pF/ft Free The Tone CU-416 160 pF/m / 48.8 pF/ft Belden 8412 190 pF/m / 57.9 pF/ft

You can already notice that there is no link between the prices and the capacitance of the cables... (cf Free the Tone...)

(courtesy of Shootout Guitar Cables UK Capacitance Chart)

For the lead cable & cables before the first buffered pedal

With the chart above, we can see that the cable with the best characteristics is the Sommer Spirit LLX. Sommer conceived this cable especially for guitar. It has an incredibly low capacitance per meter, combined with a good resistance, and a good flexibility. However, it is still quite thick, so it might not be the best cable for a pedalboard. It is a bit more expensive than other cables, but it is reasonably priced (around 2,5 euros / meter).
George L's .155 cable is really thin and flexible, and has a good capacitance per meter value, ideal for pedalboard use. However, it is quite expensive (around 6 euros per meter). As patch cables are short anyway, the difference with another cable like Sommer Tricone MKII might not be perceptible. The Tricone MKII is also incredibly flexible.

For pedalboard patches, after a buffer or a buffered pedal.
Now that capacitance does not matter anymore, you can pick whatever cable you want. For me, I chose the Sommer Tricone MKII that is really flexible, thin and quite cheap (less than 1 euro / meter). In this case, only the flexibility of the cable will be important, in order to be able to make short and aesthetic patch cables.

For the effect loop - using a double cable
When you use the effect loop of your amp, your setup can start to be a bit messy, as it requires already 4 cables to handle: lead cable towards your pedalboard, output of the pedalboard to the amp, and the 2 cables of the effect loop! To avoid such a mess, I use a double cable, the Sommer Onyx 2025. For the effect loop, you do not need low capacitances because the impedance is already low. Thus, you will have one cable instead of two, which is much cleaner looking.

My final advice would be: do not trust brand marketing, check the numbers (measure them if you want to! Science, bitch!), ask for the capacitance per meter/foot, and make the cables yourself!
No cable should cost more than 20 euros if you make it yourself!
Good news is: I made a step by step tutorial about how to make guitar cables.

There it is! I hope this post was useful. If you liked this article, thank me by liking the Coda Effects Facebook page!

Any questions? Suggestions? Disagreement? Post a comment!

To go further

Shootout Cables UK : great website with a lot of informations about cables.
Very good guide (pdf) with a lot of answered questions about cables from ProCo sounds.
Ovnilab.com : great article about frequency response of guitar cables.

Ditto Looper repair (how to fix a broken switch)

The Ditto looper from TC Electronics is a good looper - in theory-. Easy to use, no audio quality loss due to the high sample rate of the recorded signal, true bypass... Everything to make it the best looper for guitarists!

However, practically speaking, it has downsides: no stop button, which makes loops hard to synchronize, and it is really fragile! Mine did stop working after 6 months of intensive use (I bought it used so I guess it makes more than 6 months total). LED is still working, but I have to press many many many times on the switch before anything happens. Impossible to record loops! It was thus really useless as is.

First, I contacted TC Electronics customer service, and I have to say that they were not helpful. I bought my Ditto used, so I did not have any invoice. However, when the problem happened, it was less than 1 year and a half that the Ditto was issued, and it was guaranteed for 2 years!TC electronics did not agreed and suggested me an exchange, which more expensive than buying a new Ditto in a shop... Thanks TC!

It was try or die then: I tried to repair it!
Here is the step by step guide if you ever need to repair yours.
The main problem seemed to be the switch, which just needed replacement. I dismounted the pedal. First, you need to remove the knob by pulling it with pliers, and unscrew the potentiometer. Then unscrew the backplate. You have to separate the 2 circuit boards that are in the pedal. Indeed, to gain space, the Ditto is composed of two PCB, linked by connectors, allowing to fit such a complex system in a small enclosure (1590A size!). You have to pull up gently the top part of the circuit, holding the jack connectors. Then, you have two screws to remove to be able to pull the top part of the PCB. You should have something like this :

The "naked" Ditto. We can see the connectors linking the 2 PCB

On the top of the circuit, we can see the LED and the chips which allow recording of the audio signal. Everything is SMD, except some big blue 100uF electrolytic capacitors. If we look at the bottom PCB, we can see that the switch is not a classic switching system, but a spring which activates a microswitch on the PCB.

The culprit: a microswitch (round button on a square),
next to a 100uF electrolytic capacitor

This is the same system than in the Line6 DL4, famous for switch failure! The faulting component is therefore very likely to be this microswitch. Microswitches are fragile compared to a classic footswitch, and cannot resist as many activations. There are 2 solutions:

• Either replace the microswitch by the same component (which can result in other failures later)
• replace the spring + microswitch system by a real 1PST footswitch, more resistant and easier to replace later.

The second solution was the best for me.

First, we have to dessolder the faulting microswitch. However, the capacitor can prevent us from reaching all the bottom lugs of the switch, so we have to remove it first. I have to say that soldering is fun and easy, however dessoldering is really a pain in the a...! Commercial components are soldered with very little solder, which is dry and on both sides of the PCB... You have to eat it quite a bit before it melts, yet do not heat too much because SMD components are very sensitive to heat! So take your time while doing this job, and wait times to times for everything to cool. You can see that there are 2 very fragile SMD IC just near the switch, so be careful, and dessolder only by the bottom of the PCB. A dessoldering pomp is the best for this kind of job. I managed to dessolder the two bottom legs of the microswitch that way. Top legs were impossible to reach from the top because of the jacks, and I did not want to overheat the circuit. So I just broke it by twisting the switch up and down. The 2 legs got stuck in the holes, so impossible to replace the microswitch. This is clearly the most difficult part of the repairing job. Once you did it, the rest is easy.

 

The PCB once you removed the capacitor and the microswitch.

The two lugs near the jack are still visible

We can see 4 pins for the microswitch. In fact, they are connected 2 by 2 vertically. We can the traces connecting the two holes vertically. There are also 4 pads to mount as SMD microswitch. 1PST footswitch has two lugs, so you have to cennect each lug to one hole on the left, and one hole on the right. Do not forget to use a classic "normally opened" footswitch.

The problem is that a classic 1PST soft footswitch is too big to fit in the enclosure. In facts, it is too high to fit between the 2PCB, and too long at the base. There are 2 solutions:

• either doing a rehousing of the pedal in another enclosure. This is difficult because you have to adapt the jacks input/output and power supply, which means more dessoldering, which means more risks of breaking the pedal.
• Using a different type of switch that would fit the enclosure

After a bit of research and help of people from madbean pedals forum, I found that a "arcade" type of switch would perfectly fit in the enclosure!
We can then remove the old switch (unscrew it from the top), and remove the flange in the switch hole. We can then place the switch in:

Each pad of the former switch can then be connected to the switch:

 

Lets put it back together and boom! We are done! Everything works again like a charm, and with this system, I am almost sure that the pedal will stay functional a bit more. Moreover, this type of arcade switch is easier to replace if it broke.

It is also easier to use, as there is no more latency between the moment when you press the switch and the activation of the effect. It is thus easier to have loops with the right tempo, or not to fail by pressing the switch too softly.

And moreover, it has a really cool look!

The new arcade switch on my functional-again Ditto looper!

Every single pedal of TC Electronics have this switching system, so they are expected to break a lot... You can use this guide to repair them.