Photo 2 — I built my PG Distortion into a pre-painted and pre-drilled enclosure and decorated it with stickers. Because stickers!
Build a killer distortion pedal customized for your style. It’s easier than you think!
Building stompboxes from scratch is easier than you might expect. So is customizing the circuits to suit your style and taste. This project walks you through the process step by step. When you're done, you'll have a killer distortion pedal—and enough knowledge about using and choosing stompbox components to build countless other pedals.
Anyone of average intelligence with functional hands and eyes can complete this project. But there are many steps—more than we can cover in a conventional magazine article. So we've created an illustrated build guide in PDF form, which you must download to complete the project.
Photo 1: The Electra MPC, a late-'70s/early-'80s guitar with built-in effects, has been largely forgotten. But many boutique builders have borrowed its simple yet great-sounding distortion circuit.
What you'll build. This project is a modernized and tweaked version of a distortion circuit that originally appeared in Electra's MPC (Modular Powered Circuits) guitar, a Japanese axe with built-in effects that was imported into the U.S. by Saint Louis Music in the late '70s and early '80s (Photo 1). The guitar was never very popular, but at some point savvy boutique stompbox builders realized that despite (or maybe because of) the circuit's simplicity, it offers terrific overdrive tones. It's a fine alternative to the Tube Screamer-influenced designs found in perhaps 90 percent of today's overdrive pedals.
We're calling our Electra variation the PG Distortion (Photo 2). Compared to a Screamer, the PG Distortion is less compressed, less midrange-heavy, and more responsive to variations in your playing dynamics. It preserves note attack and has an edgy grind that cuts through onstage and in a mix. It's been used in several highly regarded boutique pedals (just Google the phrase "based on Electra distortion").
What you'll learn. The circuit's simplicity makes this a perfect starter project. But the goal isn't just to build a cool pedal from a few modestly priced parts. From the very first steps, you'll make design choices to suit your style and taste. You'll learn how common stompbox components work, and how to choose the right ones for your needs. Making stuff you like is a prime motive for DIY.
Now, if your goal is simply to build a cool pedal as quickly and cheaply as possible, you might consider a prefab DIY kit rather than this project. (I'm especially fond of kits from Build Your Own Clone because of their clever designs and excellent documentation.) But usually, kits like that only tell you the next step—not why you're doing the step, or how you can apply the procedure to future builds. Also, kits usually come with a printed circuit board (PCB) for mounting components, while we will make connections manually using a blank piece of perforated circuit board—a more laborious process, but a more informative one. So think of this as a stompbox-building class, with the PG Distortion as our case study.
Watch the Video Demo of the PG Distortion:
Project overview. The project is organized into five parts:
1. Preparations. Here you assemble all the needed tools and round up your parts.
2. Breadboarding the circuit. You'll assemble the circuit on electronics "breadboard"—an inexpensive prototyping tool that lets you create circuits without soldering. This method makes it easy to understand which components accomplish what (Photo 5).
Photo 5 — An electronics breadboard lets you test and customize circuits without soldering.
3. Customizing the circuit. Breadboarding is also a great way to explore design options, which you'll do right from the beginning.
Photo 6 — After refining your circuit on the breadboard, you'll mount the components on a piece of perforated circuit board, soldering everything together on the board's reverse side.
4. Assembling the circuit on perf board. Once you finalize your design, you'll solder it onto "perf board," a type of circuit board (Photo 6). It's a more complex process than just plugging parts into holes on a prefab PCB, but it permits customization.
Photo 7 — You'll test your completed board on the breadboard before boxing it up.
Once you learn the technique, you'll be able to transpose most stompbox circuits directly from schematic to perf board—and almost every stompbox schematic is available online. (Yes, reading schematics is one of our topics.) After assembling the circuit board, you'll test it using the breadboard (Photo 7).
Photo 8 (left): Your stompbox will have pro hardware, including true-bypass switching, a DC adapter, and a power-indicator LED. Photo 9 (right): In the final assembly, your circuit board rests atop the gain and volume pots.
5. Boxing the circuit. Finally, you'll box everything up. You'll install the jacks, footswitch, LED, and DC adapter into the enclosure (Photo 8) and then add the circuitry (Photo 9).
Tools.
The tools you need—plus a few that are nice to have.
You'll need these tools to complete the project. Ones marked "optional" are nice to have too.
1. Soldering iron. (Preferably 30 watts or more, but not a large gun-type iron. A "soldering station" with a temperature control is a big plus. Use a fine, narrow soldering iron tip—the best choice for small-format electronic work.)
2. Lead-free solder. (Less toxic than the leaded kind, but still nasty.)
3. A damp sponge to clean the soldering iron's tip.
4. A small electronics breadboard. (They make large-format ones, but most stompbox circuits are simple enough for a small board.)
5. An assortment of jumper cables. (You can make your own, but the prefab ones have metal tips that don't fray from repeated use.)
6. Wire stripper.
7. Wire cutter. (Most strippers have cutters, but you'll probably want a separate flush-edged tool for tight, close cuts)
It's never too early to modify projects to better meet your musical needs and personal style. Even in this simple circuit, small modifications can dramatically alter the effect's sound and response
8. Needle-nosed pliers.
9. Phillips-head screwdriver.
10. An adjustable wrench or a wrench set. (Long-handled luthiers wrenches are nice if you can afford them—plus you can use them for guitar repairs.)
11. A digital multimeter. "Auto-ranging" meters are the easiest to work with. These have many functions, and the high-end ones can be quite complicated. But even budget models should have the functions needed for this project: a voltmeter, an ohmmeter, and a continuity function (a beeper that sounds when you touch the test terminals to any two points that are linked electronically).
12. A small saw and vise for cutting perf board to size.
13. Double-sided foam tape
14. Optional: a "helping hand" vise to hold components steady while soldering.
15. Optional: a syringe-style de-soldering pump.
… plus an electric guitar, an amp, and two audio cables.
Parts.
You can get some parts from any electronics supplier. Others you must order from a stompbox parts specialist.
Here's your "bill of materials" (BOM)—the engineer's term for a parts list. Part of the project involves auditioning multiple components to choose your favorites, so not everything in the list will appear in the final pedal. The extra parts are quite inexpensive, so I recommend getting them all—you'll learn a lot. (In the U.S., a complete set of parts should cost around $50.)
1. Five ¼-watt metal film resistors. Values: 470R, 4.7K, 10K, 68K, 2.2M.
2. Four non-polarized capacitors (caps):
· 473 (also called .047µF or 47n)
· 683 (also called .068µF or 68n)
· two units of 104 (.1µF or 100n)
These can be polyester film, "box style," or ceramic—they all sound the same in this circuit. Get small-format caps rated between 50 and 100 volts, not the large-format caps used in amps and other AC-powered devices. (You'll only use two of these in the final pedal.)
3. One 16V 22µF electrolytic capacitor. (This cap type is polarized.)
4. Three transistors: 2N5088, 2N5089, and 2N3904. (You'll only use one in the final pedal.)
5. Eight diodes, two each of the following. (Not all will appear in the final pedal.)
- 1N4001
- 1N914
- 1N34A
- red 3 mm LED
6. Two 16 mm potentiometers ("pots"): A100K and C10K. (Substitute a B10K if you can't find a C10K.)
Schematics can look intimidating, but it doesn't take long to learn the basic symbols.7. A piece of perf board (perforated circuit board) at least 15 holes in width and seven in height. Chances are you'll saw a standard-sized 45 mm x 45 mm piece (shown) in half.
8. A 3PDT footswitch.
9. Three 1/4" mono jacks. (One is for the pedal, and two are for your breadboard testing rig.)
10. One 1/4" stereo jack.
11. One DC jack. (I used the standard type with an internal nut for the photos in this guide, though you may find it easier to work with an external-nut model.)
12. One 5 mm LED (any color).
13. One 5 mm LED bezel.
14. Two battery snaps. (One for the pedal, and one for the breadboard rig.)
15. One 9-volt battery.
16. Two knobs of your choice.
17. One 2" length of 1/8" heat-shrink tubing. (You can substitute standard electrical tape.)
18. Hookup wire, preferably 24-gauge, stranded and pre-bonded. (For visual clarity, it may help to use several contrasting colors, such as black, red, and white.)
19. One 1590B-size enclosure drilled for two knobs, footswitch, input, output, LED, and DC jack. You can order a pre-drilled box, or use a drill press to make your own holes. Use a larger enclosure if you like, though everything should fit into a compact 1590B. (If you have a drill press, you can save a couple of bucks by drilling your own holes. For an appropriate drill template, Google "1590B drilling template.")
Sourcing parts.
Stompbox parts tend to fall into two categories: those you can get from large electronics supply houses, and those sold chiefly by stompbox specialists. Large suppliers such as Mouser, Digi-Key, and Allied often have the lowest prices, but they don't stock some of the essentials. Meanwhile, the specialized stompbox vendors often carry both specialized and non-specialized parts, and the convenience of one-stop shopping may compensate for slightly higher prices on generic parts.
This isn't a complete list of stompbox parts specialists—just three reliable U.S.-based vendors with fine reputations, listed in alphabetical order. I've had great service from all three businesses.
Meanwhile, I hear good things about Germany's Banzai Music from my friends in the E.U.
Mammoth Electronics has created a preassembled kit with all the parts needed for this project. (Premier Guitar has no financial stake in the product—it's merely offered as a convenience.) The parts are good and the prices are competitive, but it's just one way to go. The kit includes all needed parts, but you must provide the tools. More details here.
Despite (or maybe because of) the circuit's simplicity, it offers terrific overdrive tones. It's a fine alternative to the Tube Screamer-influenced designs found in perhaps 90 percent of today's overdrive pedals.
Your workspace. Work somewhere with decent lighting and ventilation. Expect everything to take longer than planned, so don't start working at your kitchen table if you plan to eat there this week. Remember, a clean, well-organized workspace is a sign of a clean, well-organized mind. My bench is a filthy junk pile.
Safety first (and second and third). This project requires tools and techniques that can hurt you if you're not careful. Fortunately, it's pretty much impossible to electrocute yourself with 9-volt circuits like this one, but it's all too easy to cut or burn yourself.
When in doubt, step away from the bench and seek help. Don't touch things that are hot or sharp. Wear eye protection. Don't work when you're angry or stressed. Don't leave anything dangerous where kids or pets can find it. You know the drill—including the fact that you proceed at your own risk, and that neither I nor Premier Guitar can assume any responsibility for injury, property damage, or other unfortunate events that may occur while attempting this project. Be smart and careful, okay?
Common-sense soldering. If you've never soldered, it can be intimidating. And yes, it's possible to burn things, including yourself. But it's actually an easy procedure that quickly becomes second nature. If you've never soldered before, watch a few YouTube soldering tutorials. Start with this one, in which a clever 11-year-old covers most of what you need to know in three fast minutes.
Some basics.
- Don't touch the hot part.
- Don't leave a hot iron unattended.
- Work in a ventilated area. Even if you're using lead-free solder, it can't be healthy to inhale those fumes for hours!
- Wear eye protection.
- "Tin" the iron's tip by touching a bit of solder to it before starting.
- Keep a damp sponge or rag handy and swab the iron's tip frequently to keep it clean.
- Instead of touching solder to the iron's tip, try to heat the target component and melt the solder against the component. (But yeah, sometimes we cheat and quickly touch the solder to the iron for a fraction of a second to get it flowing.)
- A good solder joint is shiny, smooth, and shaped like a Hershey's Kiss. If it's dark, or sits on the surface like a water droplet, reapply the iron.
- If you make mistakes, it may help to have a syringe-type de-soldering tool. (You simply re-melt the solder, and then suck it up with the tool.)
- Consider using a "helping hands" vise to hold your components, leaving both your hands free for work.
It's possible to complete this project with a bare-bones pencil-type soldering iron, but it's far easier if you use a "soldering station" with adjustable temperature from a company such as Weller or Hakko. Simple hobbyist models start at around $40, and fancier models go for about double that. But don't use big, high-wattage soldering guns—they're too powerful for work like this. Use a fine, narrow soldering iron tip suitable for delicate electronics work.
Photo 10 — You can make sense of many stompbox schematics if you learn half a dozen symbols.
Working with schematics. A schematic is simply a graphic representation of a circuit. Schematics can look intimidating, but it doesn't take long to learn the basic symbols. Photo 10 shows the schematic for this project. The build guide PDF discusses it in detail, but here's a quick intro:
- Schematics are usually arranged with the power connection at the top, ground connections at the bottom, input to the left, and output to the right.
- The zigzag lines depict resistors.
- The potentiometer symbol is like the resistor symbol, but with an added arrow to indicate the middle lug.
- Parallel lines symbolize non-polarized capacitors.
- The electrolytic cap symbol adds a curved line and a plus sign to indicate polarity.
- The diode symbol includes a triangle and a line. The side with the line is the negative terminal. The LED symbol adds arrows representing emitted light.
- Like most circuits, this one includes many connections to ground. We could connect them all with lines in the schematic, but the schematic is easier on the eye is we indicate ground connections with a simple symbol: the downward-facing triangle.
Don't sweat it if you're still confused—it's covered extensively in the build guide.
Stompbox parts tend to fall into two categories: those you can get from large electronics supply houses, and those sold chiefly by stompbox specialists.
Mods of the gods.
Sure, you might be a beginning builder, but chances are you have strong tastes when it comes to guitar sound. It's never too early to modify projects to better meet your musical needs and personal style. In fact, you'll be doing just that within the first few minutes. Even in this simple circuit, small modifications can dramatically alter the effect's sound and response.
Your modding experiments will focus on three areas:
- You'll try different values for the input capacitor (labeled C1 in Photo 10). This part acts as a high-pass filter, removing lows. But the result isn't quite like, say, turning down the bass knob on your amp, or using EQ to remove lows from a recording. Here at the front of the circuit, slight component variations alter the effect's fundamental character.
- You'll audition three different transistors (the part labeled Q1 in Photo 10). This component defines the circuit's gain. You can make this an understated overdrive or an angry chunk machine.
- You'll experiment with different combinations of clipping diodes (parts D1 and D2 in Photo 10). The result can range from soft, warm distortion to razor-edged sizzle.
DIY not? Remember, this project isn't just about building a cool distortion pedal. The goal is learning the "whys" as well as the "hows" so you can a) apply these techniques to any project, and b) alter circuits to taste. I hope you find the process fun and informative, and that when the smoke clears—hee hee—you have an inspiring musical tool. For best results, maintain your patience and sense of humor, and don't freak out when you hit the inevitable hurdles.
There's much more info in the PDF build guide, including additional resources and troubleshooting tips. Download it if you dare!
Click to download the entire build guide in an easy-to-use PDF.
[Updated 8/10/21]
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Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!