Don't bypass this easy build.
Hello and welcome to our last chapter on all things true bypass. Now that you know a lot about true bypass, what it is and how it works, it''s time to think about going true bypass with your setup (or not). As you now know, true bypass is not always the best solution for a good tone -- large, unbuffered true bypass setups can sound thin and dull. But if planned the right way, an all true bypass setup will give you the best and strongest tone you've ever heard.
There are several ways to get a true bypass setup:
Enclosure
I highly recommend using a standard Hammond box, they are easy to work with and they are well shielded.
3PDT switch
These are available from a lot of companies, but personally I prefer the ones from Banzai – they''re not a cheap, but are definitely worth the price!
Jacks
For a single loop box you will need four jacks: three mono and one stereo as the master input with the power switching option. Neutrik and Switchcraft jacks are the best you can buy. If you want to build a box with more than one loop, you will need four jacks for the first loop (same as above), and two mono jacks for each additional loop.
DC jack
This is the power input jack that will make your LEDs light up. The true bypass circuit itself is pure passive and doesn''t need any power. Use a standard 2.1mm isolated plastic jack, it''s the same standard as in all the Boss and Ibanez-style stompboxes.
LED and bezel
Choose any type, color and size you want. 5mm LEDs are the standard.
Hookup Wire
You will need some good quality, non-shielded wire to hook up everything. For maximum tone and transparency, I recommend to use Teflon insulated silver wire.
A good US source to get all these parts in good quality is Small Bear Electronics, based in Brooklyn, NY. They stock everything you will ever need to build such a box and their prices are more than fair ! For all you european guys, check out Banzai.
Before we really start to build, I would like to give you a link that may be very helpful. It''s my DIY True Bypass Strip webpage and contains much more information about this subject than we can discuss here. You will also find drawings there covering how to build multi-loop boxes, how to add tuner-out, master-bypass etc.
Assuming you''ve procured all of the necessary components, we''re ready to build. First of all, you have to drill all the holes in the enclosure and to assemble all the parts in place. After that, it´s time to wire everything up. Follow the diagram below.
A short word of warning: most of the true-bypass wiring schemes out there on the internet are switching inputs, not outputs. In engineering that''s regarded as a bad thing. When the loop is engaged, all schematics are essentially the same: the Input jack is connected to the Send and the Output jack is connected to the Return. But when the loop is bypassed things are different. In the common schematics, the input to the pedal is left unconnected. If you had a high-gain pedal in the loop you could then get all sorts of squealing, or if there was a delay pedal you''d be filling the delay line with noise. In our diagram here, when the loop is bypassed, the input to the pedal is grounded. No noise, no hum, no squealing.
To transfer this schematic to our true bypass box, please wire everything up like this:
To cascade the loops in order to make a multi-loop box or true bypass strip, you would wire it all together like this:
Remember, after you've finished your box and everything is connected, you need a quality, transparent buffer (aka "line driver") in front of your true bypass strip to keep your tone alive. If you use a guitar with active electronics, you don''t have to worry about this, but the rest of us need to pay attention.
The enhancement in tone when using a buffer in front of a true bypass strip is amazing, and you can use longer cables without a dramatical high-end loss. You can simply connect a buffered stompbox, like any Boss or Ibanez pedal, in front of the strip if you like the tone, or you use a standalone buffer. It should be at unity gain, free of any tone coloration and have an extremely low impedence.
I encourage everyone to try to build such a buffer -- you can find all the info you need on my webpage. If you are an experienced builder, you can also build the IC Buffer on a piece of cardboard or veroboard by following the layout below. Keep in mind that most fuzz pedals don´t like to see another pedal in front of them and a line-driver is no exeption from this rule ! If you use one in front of the true bypass box or another one after the true bypass box is a matter of taste. I only use one in front of my true bypass strip and have never had a problem, but try it out on your own.
Hopefully you''ll give this build a go, as the improvement in tone is simply stunning. Again, don''t forget to read my DIY True Bypass Strip webpage, as all of the things we''ve discussed here in short are explained in detail.
1. You already have some real true bypass boxes.
Congratulations! If they really have true bypass you don't have to worry about them anymore. If you are unsure as to whether or not they are really true bypass, please read the previous two installments of this column; they'll guide you through a true bypass test of your own boxes.
2. You have stompboxes that can be easily converted into true bypass.
There are a lot of stompboxes -- most wah pedals, MXR, ProCo, Marshall and older EH pedals -- that already use a 2PDT or 3PDT switch internally but as you know, this does not always mean that they are true bypass. In most cases, it''s possible to rewire them for true bypass, but this depends on the individual pedal and sometimes it''s even a question of the production year (e.g. MXR pedals). It''s not possible to name each end every pedal here, so try a search on the internet for the specific stompbox you want to convert to true bypass; chances are good that someone has done it before.
It´s also possible to internally convert the standard Boss/Ibanez style stompboxes, but it involves a lot of work. First you must drill a large 12mm hole into the box to install the 3PDT switch and afterwards you have to rewire the complete switching circuit, messing with a lot of small cables and not much interior space. I doubt this is the premium solution for such boxes; read on for an easier solution.
3. Build yourself a good sounding true bypass box or strip to convert your stompboxes into true bypass devices.
The basic idea of a true bypass box is to leave the original stompbox untouched and to add true bypass as a kind of "add on" function; your stompbox is still not true bypass, but you connect it to the true bypass box and this box contains the true bypass function for the stompbox. In bypass mode, the signal passes through this true bypass box without coming in contact with the connected effect.
External true bypass boxes have always the same basic construction: you have a Master Input and Master Output, and Send and a Return jacks to connect the effect you want to true bypass. In a nutshell, connect your guitar to the Master Input of the true bypass box, run a cable from the Send jack to the Input jack of the effect, from the effect's Out to the Return of the true bypass box and connect a cable from the Master Out of the true bypass box to your amp – that's it !
Naturally you can connect more than one effect to a single loop, but for a lot of stompboxes it''s better to have more than one loop; that is what we call a true bypass strip or multi-loop true bypass box.
Building a true bypass box is very easy and a perfect beginner''s DIY project. The result is a very versatile and good-sounding box, usable in many different configurations. Now we''ll look at how to build a true bypass box with a status LED and how to cascade the loops if you need more than one true bypass channel.
First of all you''ll need some parts:
- Enclosure
- I highly recommend using a standard Hammond box, they are easy to work with and they are well shielded.
- 3PDT switch
- These are available from a lot of companies, but personally I prefer the ones from Banzai – they''re not a cheap, but are definitely worth the price!
- Jacks
- For a single loop box you will need four jacks: three mono and one stereo as the master input with the power switching option. Neutrik and Switchcraft jacks are the best you can buy. If you want to build a box with more than one loop, you will need four jacks for the first loop (same as above), and two mono jacks for each additional loop.
- DC jack
- This is the power input jack that will make your LEDs light up. The true bypass circuit itself is pure passive and doesn''t need any power. Use a standard 2.1mm isolated plastic jack, it''s the same standard as in all the Boss and Ibanez-style stompboxes.
- LED and bezel
- Choose any type, color and size you want. 5mm LEDs are the standard.
- Hookup Wire
- You will need some good quality, non-shielded wire to hook up everything. For maximum tone and transparency, I recommend to use Teflon insulated silver wire.
A good US source to get all these parts in good quality is Small Bear Electronics, based in Brooklyn, NY. They stock everything you will ever need to build such a box and their prices are more than fair ! For all you european guys, check out Banzai.
Before we really start to build, I would like to give you a link that may be very helpful. It''s my DIY True Bypass Strip webpage and contains much more information about this subject than we can discuss here. You will also find drawings there covering how to build multi-loop boxes, how to add tuner-out, master-bypass etc.
Assuming you''ve procured all of the necessary components, we''re ready to build. First of all, you have to drill all the holes in the enclosure and to assemble all the parts in place. After that, it´s time to wire everything up. Follow the diagram below.
A short word of warning: most of the true-bypass wiring schemes out there on the internet are switching inputs, not outputs. In engineering that''s regarded as a bad thing. When the loop is engaged, all schematics are essentially the same: the Input jack is connected to the Send and the Output jack is connected to the Return. But when the loop is bypassed things are different. In the common schematics, the input to the pedal is left unconnected. If you had a high-gain pedal in the loop you could then get all sorts of squealing, or if there was a delay pedal you''d be filling the delay line with noise. In our diagram here, when the loop is bypassed, the input to the pedal is grounded. No noise, no hum, no squealing.
To transfer this schematic to our true bypass box, please wire everything up like this:
To cascade the loops in order to make a multi-loop box or true bypass strip, you would wire it all together like this:
Remember, after you've finished your box and everything is connected, you need a quality, transparent buffer (aka "line driver") in front of your true bypass strip to keep your tone alive. If you use a guitar with active electronics, you don''t have to worry about this, but the rest of us need to pay attention.
The enhancement in tone when using a buffer in front of a true bypass strip is amazing, and you can use longer cables without a dramatical high-end loss. You can simply connect a buffered stompbox, like any Boss or Ibanez pedal, in front of the strip if you like the tone, or you use a standalone buffer. It should be at unity gain, free of any tone coloration and have an extremely low impedance.
I encourage everyone to try to build such a buffer -- you can find all the info you need on my webpage. If you are an experienced builder, you can also build the IC Buffer on a piece of cardboard or veroboard by following the layout below. Keep in mind that most fuzz pedals don't like to see another pedal in front of them and a line-driver is no exception from this rule ! If you use one in front of the true bypass box or another one after the true bypass box is a matter of taste. I only use one in front of my true bypass strip and have never had a problem, but try it out on your own.
Hopefully you''ll give this build a go, as the improvement in tone is simply stunning. Again, don''t forget to read my DIY True Bypass Strip webpage, as all of the things we''ve discussed here in short are explained in detail.
Well, it's already the November issue and next month it's X-Mas ! I bet many of you will take some time to visit the family or simply enjoy a holiday. To prepare you for this, next month we'll build a petite but good sounding "$5 Practice Amp," so you can take it with you on your holiday trips and practice your lead lines.
Until then, stay tuned and take care!
[Updated 2/2/22]
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Mooer's Ocean Machine II is designed to bring superior delay and reverb algorithms, nine distinct delay types, nine hi-fidelity reverb types, tap tempo functionality, a new and improved looper, customizable effect chains, MIDI connectivity, expression pedal support, and durable construction.
Similarly to the original, the Ocean Machine II offers two independent delay modules, each with nine different delay types of up to two seconds, including household names such as digital, tape, and echo delays, as well as more abstract options, such as galaxy, crystal, and rainbow. A high-fidelity reverb module complements these delays with nine reverb types, as well as a shimmer effect. Each delay and reverb effect can also be ‘frozen,’ creating static ambient drones, an effect that sounds particularly impressive considering the pedal’s DSP upgrades.
While the original Ocean Machine’s looping capabilities provided just 44 seconds of loop storage, the new addition features an impressive 120 seconds. To experiment with this feature, along with OceanMachine II’s other sonic capabilities, users can use an intuitive LCD screen along with 12 knobs (four for each delay and reverb module) to easily adjust parameters within the device’s ‘Play Mode.’ Three footswitches are also provided to facilitate independent effect toggling, tap tempo control, looper interfacing, and a preset selector.
Once the guitarist has crafted an interesting effect chain, they can save their work as a preset and enter ‘Patch Mode,’ in which they can toggle between saved settings with each of the three footswitches. In total, the Ocean Machine II provides eight preset storage banks, each of which supports up to threepresets, resulting in a total of 24 save slots.
The pedal’s versatility is further enhanced by its programmable parallel and serial effect chain hybrid, a signature element of Devin Townsend’s tone creation. This feature allows users to customize the order of effects, providing endless creative possibilities. Further programming options can be accessed through the LED screen, which impressively includes synchronizable MIDI connectivity, a feature that was absent in the original Ocean Machine.
In addition to MIDI, the pedal supports various external control systems, including expression pedal input through a TRS cable. Furthermore, the pedal is compatible with MOOER's F4 wireless footswitch, allowing for extended capabilities for mapping presets and other features. A USB-C port is also available for firmware updates, ensuring that the pedal remains up-to-date with the latest features and improvements.
Considering the experimental nature of Devin Townsend’s performances, MOOER has also gone above and beyond to facilitate the seamless integration of Ocean Machine II into any audio setup. The device features full stereo inputs and outputs, as well as adjustable global EQ settings, letting users tailor their sound to suit different environments. Guitarists can also customize their effect chains to be used with true bypass or DSP (buffered) bypass, depending on their preferences and specific use cases.
Overall, Ocean Machine II brings higher-quality delay and reverb algorithms, augmented looping support, and various updated connections to Devin Townsend’s original device. As per MOOER’s typical standard, the pedal is engineered to withstand the rigors of touring and frequent use, allowing guitars to bring their special creations and atmospheric drones to the stage.
Key Features
- Improved DSP algorithms for superior delay and reverb quality
- Nine distinct delay types that support up to 2 seconds of delay time: digital, analog, tape, echo,liquid, rainbow, crystal, low-bit, and fuzzy delays
- Nine hi-fidelity reverb types: room, hall, plate, distorted reverb, flanger reverb, filter reverb,reverse, spring, and modulated reverb
- Freeze feedback feature, supported for both delay and reverb effects
- Tap tempo footswitch functionality
- New and improved looper supporting up to 120 seconds of recording time, along withoverdubbing capabilities, half-speed, and reverse effects.
- Customizable order of effects in parallel or series chains
- Flexible bypass options supporting both true bypass and DSP bypass
- Large LCD screen, controllable through twelve easy-to-use physical knobs for real-time parameter adjustments.
- Adjustable Global EQ Settings
- Full stereo inputs and outputs
- Synchronizable and mappable MIDI In and Thru support
- USB-C port for firmware updates
- External expression pedal support via TRS cable
- Support for the MOOER F4 wireless footswitch (sold separately)
- Designed for durability and reliability in both studio and live environments.
The Ocean Machine will be available from official MOOER dealers and distributors worldwide on September 10, 2024.
For more information, please visit mooeraudio.com.
MOOER Ocean Machine II Official Demo Video - YouTube
Some of us love drum machines and synths and others don’t, but we all love Billy.
Billy Gibbons is an undisputable guitar force whose feel, tone, and all-around vibe make him the highest level of hero. But that’s not to say he hasn’t made some odd choices in his career, like when ZZ Top re-recorded parts of their classic albums for CD release. And fans will argue which era of the band’s career is best. Some of us love drum machines and synths and others don’t, but we all love Billy.
This episode is sponsored by Magnatone
An '80s-era cult favorite is back.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Victory Figured Top Iguana BurstThe SDE-3 fuses the vintage digital character of the legendary Roland SDE-3000 rackmount delay into a pedalboard-friendly stompbox with a host of modern features.
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.