
Here's a look inside the clean and elegantly handwired interior of a Collector Effector Tone Bender homage.
How today's vintage-authentic pedal builders meticulously recreate the dirty sounds of the past.
Stompboxes are made so, so many different ways—especially when it comes to the construction of the circuitry inside. Most builders today use modern surface-mount technology, others adopt the older method of using through-hole components, and some employ a mixture of both to create their circuits.
But there is a growing league of builders out there who specialize in making classic renditions of fuzz and dirt pedals the old-fashioned way: point-to-point style, completely by hand. What this means is that instead of the parts being soldered to a circuit board, they are connected directly to each other—the same way many vintage amplifiers were built, and a method still used by many high-end boutique amp makers.
The enclosures for these pedals are often fashioned to pay homage to the look of the stompboxes of yesteryear, complete with that relic'd patina and sweet name badge. Often, the aesthetic and art of this style of building pedals produces quite elegant results, both sonically and visually.
The circuits inside typically include just a handful of parts. The heart and soul of the process involves hunting down period-specific components (ideally, parts from the same time period as the parts used in building the original pedal) that must measure within a certain range and be meticulously tuned to each other. After all, it takes just the right combination to produce those ripping, classic fuzz tones we all know and love. Many point-to-point builders salvage parts out of broken electronics from the 1950s and 1960s, while simultaneously searching the web for new-old-stock, or NOS, components. Most of these components are long out of production, so there's quite a bit of treasure hunting involved in the production of these units. But troves of transistors and other components from the '60s and earlier can still be found … with luck and good intel.
"I feel like it's better to create boxes that will outlive me and be serviceable forever." —Patrick Brown of Collector Effectors
I recently spoke to two of these dedicated pedal revivalists to get some insight on their motivation and methods. Patrick Brown of Collector Effectors, based in Greensboro, North Carolina, builds his fuzzes—Buzzarounds, Tone Benders, Fuzz Faces—point-to-point, just loaded with gorgeous old parts, all neatly and perfectly arrayed. I asked Patrick what inspires him to build old-school while putting his own twist on things aesthetically.
"I think it's cool when people kind of take a classic and refine it," he says. "There's something great about getting that primitive gnarly-ness. I also like the idea that a unit can be repaired a few times with the old through-hole parts. I don't like the idea of a disposable circuit. I feel like it's better to create boxes that will outlive me and be serviceable forever, rather than go to a landfill, which is where unused tech ends up."
Across the Atlantic Ocean, in Granada, Spain, César de Vicente from Lo-Fi Mind Effects is also dedicated to making pedals of the past—with a psychedelic vibe—part of the present day, with takes on the Rangemaster, Fuzz Face, Tone Bender, and more. His enclosures have an appealing and often weathered industrial look. I asked him what he finds appealing about old-school point-to-point builds.This may look like a wall of junk electronics, in the Lo-Fi Mind Effects workshop, but as a resource for vintage transistors and other parts, it's solid gold.
"I like all kinds of constructions—designing PCBs and tagboards. But point-to-point has something special. The first time I saw the insides of a Hiwatt DR103 amp, I was mesmerized. Since then, I always try to build something that could match that beauty."
César has a wall of ancient, gutted radios in his workshop. The piles span from floor to ceiling, and they're part of his formula for finding vintage components. He rescues the rare-as-hen's-teeth transistors and other parts from these broken radios and uses them in his pedals. And he says he might even use the radio enclosures to build little amps someday.
If you want to get a better appreciation for point-to-point work, take a close look inside a vintage or new-build old-school pedal the next time you've got its bottom cover off. You just might be inspired.- Majik Box Paul Gilbert Fuzz Universe Pedal Review ›
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- Face the Fuzz: A Beginner's and Skeptic's Guide to Fuzz Pedals ... ›
Building upon the foundation of the beloved Core Collection H-535, this versatile instrument is designed to serve as a masterpiece in tone.
The new model features striking aesthetic updates and refined tonal enhancements. Crafted at the iconic 225 Parsons Street factory, home to other world-famous models like the H-150, H-157, and H-575 - the H-555 continues to exemplify the very best of American craftsmanship.
The Core Collection H-555 features a set of Custom Shop 225 Hot Classic Humbuckers, meticulously wound in-house with carefully selected components, and voiced to deliver added punch and richness while preserving exceptional dynamics and touch sensitivity. Seamlessly complementing the H-555’s semi-hollow construction, they blend warmth and woodiness with refined, articulate clarity.
The Core Collection H-555’s aesthetic has been elevated with multi-ply binding on the body, headstock, and pickguard. Its neck, sculpted in a classic ’50s profile, delivers effortless comfort and is adorned with elegant block inlays, seamlessly blending style with playability. Gold hardware complements the aesthetic, exuding elegance while presenting the H-555 as a truly premium and versatile instrument for the discerning player.
Available in Ebony and Trans Cherry, each Core Collection H-555 is beautifully finished with a nitrocellulose vintage gloss that features a subtle shine and gracefully ages over time. An Artisan Aged option is also available for those seeking an authentically well-loved look and feel, achieved through a meticulous, entirely hand-finished aging process. The new Core Collection continues Heritage’s tradition of world-class craftsmanship, offering a true masterpiece in tone and design for discerning players. Each guitar is shipped in a premium Heritage Custom Shop hard case.
Key Features
- Finest Tonewoods: Laminated highly figured Curly Maple (Top & Back) with solid Curly Maple sides
- Heritage Custom Shop 225 Hot Classic Humbuckers: Designed and wound in-house
- Headstock: Multi-ply bound headstock, featuring a Kite inlay, 3×3 tuners laser-etched with Heritage graphics
- Neck Profile: Comfortable ’50s C-shape for a vintage feel
- Bridge: Tune-O-Matic with aluminum stopbar tailpiece for enhanced sustain
- Made in the USA: Crafted at 225 Parsons Street
For more information, please visit heritageguitars.com.
Ariel Posen and the Heritage Custom Shop Core Collection H-555 - YouTube
Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.Watch the official video documenting the sold-out event at House of Blues in Anaheim. Join Paul Reed Smith and special guests as they toast to quality and excellence in guitar craftsmanship.
PRS Guitars today released the official video documenting the full night of performances at their 40th Anniversary celebration, held January 24th in conjunction with the 2025 NAMM (The National Association of Music Merchants) Show. The sold-out, private event took place at House of Blues in Anaheim, California and featured performances by PRS artists Randy Bowland, Curt Chambers, David Grissom, Jon Jourdan, Howard Leese, Mark Lettieri Group, Herman Li, John Mayer, Orianthi, Tim Pierce, Noah Robertson, Shantaia, Philip Sayce, and Dany Villarreal, along with Paul Reed Smith and his Eightlock band.
“What a night! Big thanks to everyone who came out to support us: retailers, distributors, vendors, content creators, industry friends, and especially the artists. I loved every second. We are so pleased to share the whole night now on this video,” said Paul Reed Smith, Founder & Managing General Partner of PRS Guitars. “I couldn’t be more proud to still be here 40 years later.”
With nearly 1,400 of the who’s who in the musical instrument industry in attendance, the night ended with a thoughtful toast from PRS Signature Artist John Mayer, who reflected on 40 years of PRS Guitars and the quality that sets the brand apart. “The guitars are great. You can’t last 40 years if the guitars aren’t great,” said Mayer. “Many of you started hearing about PRS the same way I did, which is you would talk about PRS and someone would say ‘They’re too nice.’ What’s too nice for a guitar? What, you want that special vibe that only tuning every song can give you on stage? You want that grit just like your heroes … bad intonation? The product is incredible.”
Be sure to locate your sample library where it can be quickly referenced on your DAW.
Improve your recordings using your own samples. Bryan Clark, house producer at Nashville’s Blackbird Studio, tells you how to take the final steps in building your own sample library.
Mastering the sample import process in your chosen DAW can significantly enhance your creativity and streamline your workflow. With a clear understanding of the tools and techniques available, you will be better equipped to bring your musical ideas to life and make your productions stand out.
This month, we finish up a three-part series on creating your own sample libraries. In this final installment, I’m going to give you the basic ways to import your samples into various popular DAWs. Each one has its unique workflow and user interface, but the fundamental process remains very similar. This Dojo guide will cover how to import samples into Ableton Live, LUNA, Logic Pro, Pro Tools, and Studio One.
Ableton Live
Steps to Import Samples
Drag and Drop: Simply locate the sample file in your computer’s file explorer, then drag and drop it directly into an audio track in the session or arrangement view.
Browser Window: Use Ableton’s built-in browser (on the left-hand side). Navigate to the sample’s location on your hard drive, then drag it into the workspace.
Create a Simpler or Sampler Instrument: Drag the sample into a MIDI track with Simpler or Sampler loaded. This allows you to trigger the sample using MIDI notes.
Tips: Use the warp feature for time-stretching and syncing samples to your project’s tempo.
Organize your samples into collections using the “Add Folder” option in the browser.
LUNA
Steps to Import Samples
Drag and Drop: Drag the sample from your file explorer directly into the timeline. Then hold the CTRL key down, click on the end of the loop, and drag it to the length it needs to be.
Browser/Workspace: Use the media browser to navigate to your sample’s location on your hard drive. Drag it into an audio track in your session.
Audio Track Import: Right-click on an empty area in the timeline or a track and select “Import Audio” to locate and add your sample.
Tips: Use LUNA’s built-in varispeed capabilities to match your sample to the session’s tempo.Logic Pro
Steps to Import Samples
Drag and Drop: Drag the sample from the Finder directly into an audio track in the workspace.
File Browser: Use the file browser (accessible via the media sidebar or “F” key) to locate and drag samples into the timeline.
Quick Sampler: Drag your sample onto a MIDI track with the Quick Sampler plugin loaded. This lets you play the sample chromatically.
Tips: Use Logic’s flex time feature to sync samples to your project’s tempo. Organize samples into Logic’s library for quick access.Pro Tools
Steps to Import Samples
Import Audio Dialog: Go to File > Import > Audio; then locate your sample and click “Convert” or “Add” to bring it into the session.
Drag and Drop: Drag the sample directly from your file explorer into an audio track.
Workspace Browser: Use the workspace (accessible via Window > New Workspace) to locate your sample. Drag it into your session.
Tips: Use the elastic audio feature for tempo matching and pitch adjustments.
Place your samples into playlists for efficient access during editing.
Studio One
Steps to Import Samples
Drag and Drop: Drag your sample directly from your file explorer into the timeline or browser.
Browser: Open Studio One’s browser (on the right-hand side), navigate to the folder containing your sample, and drag it into your project.
Sampler Track: Drag the sample onto a MIDI track, and use the Sample One sampler for additional manipulation.
Tips: Enable the “Stretch Audio Files to Song Tempo” option in the browser for automatic tempo synchronization. Create sample folders within Studio One’s browser for quick access.General Best Practices
Regardless of the DAW you use, it is important to maintain a smooth and efficient workflow. Organize your sample library with clear folder names and categories to make locating files easy (see last month’s installment for detailed strategies). Where possible, learn DAW-specific shortcuts for importing and editing samples to save time. Always check if your DAW offers a feature to sync the sample’s tempo to your project to ensure seamless integration. Finally, regularly back up your sample collection to avoid losing important audio files and preserve your creative assets! Seriously. Do it now.
Next month, we’re off to “console” land and I’ll be investigating console emulations (hype or not?), summing bus processors, and more to give you a more “studio” sound. Until then, blessings and namaste.
Stretching the boundaries of reverb’s realm through dynamic and pitch control.
Nice core reverb sounds. Invites cool compositional and arrangement directions. High quality.
If you lack patience, it will be hard to unlock its coolest secrets.
$329
Gamechanger Audio Auto Reverb
gamechangeraudio.com
When the first Moog synthesizer appeared, it freaked out a lot of musicians—not least for the way it blurred the divisions between instruments and their roles. Was it percussion? A keyboard? A reed instrument? Many effects makers build from this philosophical foundation. The Latvian company Gamechanger often seems to revel in it—an attitude that’s manifest in the company’s Auto Series pedals, which includes the Auto Reverb.
There’s no reason you can’t use the Auto Reverb in a very straightforward fashion. The plate, spring, and hall settings are all very nice digital representations of their analog inspirations—and I’d be perfectly happy playing an instrumental surf set with the spring mode, for instance. But because you can control the parameters like the reverb’s level, decay, tone, and the filter with changes in pitch and dynamics, the Auto Reverb can function in highly orchestral ways, transforming itself from subtle to outlandish as a musical piece shifts in intensity or rises from low to high keys toward a blurred, hyper-spacious climax. While these attributes make the Auto Reverb a great fit for prepared guitar and conceptual pieces—and invites many themes and compositional ideas within those forms—it can just as easily be configured to create an especially dynamic and dramatic pop song arrangement on stage or in the studio that might otherwise be relegated to automations within a DAW. It’s fun to use, if not always intuitive. But knowing its ways can expand your musical options significantly.