Brand: EarthQuaker Devices
From EarthQuaker Devices:
The Park Amplification company, originally started by Jim Marshall himself, has almost as much history as the actual Marshall name. As the story goes, Jim Marshall entered a distribution deal for his amp line in 1965, but the terms of the deal were vague enough such that Marshall could build amps on the side, just not under his own name. Thus, Park was born, and the amps produced under that name were slight variations on Marshall circuits until the company dissolved in 1982.
Among the line of amps, a few pedals were also produced. Most of them were wahs or variations thereof, but one pedal stuck out: The Park Fuzz Sound.
The original pedal (we had one) featured unlabeled TO-1 package transistors, so one would think that the circuit left us with Jim Marshall. However, the good folks at Earthquaker Devices, in collaboration with the newly-resurrected Park Amplification, have faithfully recreated the Park Fuzz Sound so that a new generation may enjoy it.
While the original deployed the aforementioned mystery cans, the new Park Fuzz Sound uses a different set of NOS germanium transistors, hand-selected for a tonal match. Indeed, when A/B’d with the original unit, the sounds were strikingly similar. In fact, the staff at PGS was split right down the middle as to which was which. What’s more, when doing the test, we had to set the new Park Fuzz Sound’s Fuzz control at about half, whereas the original was dimed. The reissue has way more range in the Fuzz dial than the original.
Another bugaboo of original fuzz pedals is the powering situation; in the case of the original Park, it’s powered by a battery only but changing it out required using a lever to pry open the lid. While that’s a hassle, using batteries is kind of a hassle in and of itself. However, this and many older fuzz pedals are positive-ground; the common workaround is reversing the lugs on the power jack internally, but this configuration means that the pedal cannot be daisy-chained. The new Park Fuzz Sound doesn’t phone it in, offering a chip inside that corrects the voltage problem for complete rig integration.
The new Park Fuzz Sound is hand-made, one at a time in exotic Akron, Ohio. The pedal is wire for true bypass and accepts a standard 9v center-negative Boss-style power adapter. The current draw is low, so it’s ready for your isolated power supplies.?Controls
Volume: This is the level control, louder to the right, quieter to the left.
Treble/Bass: This is the tone control, thicker tones to the right, brighter to the left.
Fuzz: This is the gain control, more fuzz to the right, less to the left.
We have gone to great lengths to bring the color and character of a real vintage console to your feet or desktop. We started with two gain stages in series that produce beautiful clean tones but that can also destroy any signal into a beautiful fuzzy mess, full of rich harmonics and body with over 39db of gain on tap. The local feedback of each gain stage makes for a very unique type of distortion. We used the same topology and discrete gain stage found in the Neve* 1073, but we have two gain stages in series instead of one. We use a high quality Lundahl transformer that adds weight, heft, and a 3D quality just like preamps that you will find costing much more. The transformer fattens the lows, adds harmonic complexity and richness to the midrange (kinda like stirring flour into your drippings to give you gravy) as well as smoothing and rounding of the high frequencies. It also blocks all DC voltages, adds electrical isolation, and blocks RF frequencies ensuring super quiet operation and noise floor.
The Controls and Jacks?
Think of the controls as three separate sections:
1. Gain (RED)
The gain structure is made up of three parts:
–The Pre Volume (labeled "Pre-Vol") can be used the same as you would a Drive knob on an overdrive pedal. In this circuit, the Pre Volume is between the two gain stages, and the setting of the Pre Volume determines how much signal continues to the second stage.
–The Master Gain (labeled "Master") is what would typically be considered as a Volume control. Other terms are "master volume" or the "output trim."
–The Step Gain (labeled "Step") changes the gain of each preamp stage in five stages. Rotating the "Step" knob from left-to-right will increase the gain by the following:
1 is X 18 db
2 is X 23 db
3 is X 28 db
4 is X 33 db
5 is X 39 db
2. Equalizer / Tone Control (BLUE)
The tone control section is a highly modified Baxandall type that is tuned for less control interaction and more boost/cut capability. The center frequencies are Treble 10kHz, Middle 1kHz, and Bass 120Hz, with +/- 17dB of control.
3. Highpass Filter (YELLOW)
The Highpass spans from 60Hz to 800Hz with a 6dB per octave slope. This control allows you to only let high frequencies pass. In return you will find a vast palet of tones that sit perfect and inspire textures that you have never heard from your rig. The toggle switch will turn the Highpass on or off.
In and Out Jacks
You will notice that in addition to the normal 1/4" instrument input/output found on a guitar pedal, we added an XLR input and output so that The Colour Box can be used as a vocal, bass, acoustic, or keyboard preamp live or in the studio. The 1/4" mono output and the XLR output are independent and allow you to run parallel outputs to two destinations. For example, run the 1/4" mono out into your guitar amplifier and at the same time run the XLR output to your front-of-house mixing board. Another example of using parallel outputs would be to track amp tones and the "direct in" sound of your performance onto two separate tracks. We achieved the parallel output by way of a discrete shunt-feedback circuit.
Input Selector Switch
The input selector switch located above the input jack lets you choose line or microphone input. In the down position it is in mic mode. In the up position it is in line mode.
The Colour Box runs on 18v DC negative center power. We supply an adapter but you can also use any standard 18v DC pedal power supply or voltage doubling cable.
Keeley Compressor Pro. The stomp-box sized compressor/limiter is made in Oklahoma, USA and engineered to be an indispensable tool for your musical endeavors. It is in no way limited to be used with only guitar. It has been designed to work as a studio compressor accepting any range of inputs and a frequency response and noise level matching the finest compressors made.
We are proud to bring you the Emperor true analog chorus and pitch vibrato with tap tempo, waveform selection, rotary speaker simulation, true stereo output and more. Starting with the coveted vintage Arion SCH-1 chorus topology, the Emperor's design and engineering expands further into new heights of what real bucket brigade tones (via a 3207 chipset) can offer. The end result allows you to have a host of vintage modulation tones at your disposal with the amenities and modern flair that only we can offer. From vintage Boss VB-2, CE-2, CE-1, as well as the legendary and rare SCH-1, the Emperor lets you explore true analog modulation at it’s best.
Knobs & Controls
There are four knob controls on the Emperor: Volume, Tone, Speed, Depth. The Volume control allows you to adjust the input by cutting or boosting the signal. This gives you the flexibility to have your tones sit back in the mix or stand out as needed. The Tone control is a variation of the original SCH-1 tone stack with several adjustments that give it a better sweep, focus and range. The Speed control allows you to adjust the time/speed of the modulation. The Tap Tempo footswitch works in conjunction with the Speed control to allow you adjust your Speed on-the-fly and in real-time. The Depth control allows you to adjust how deep or wet the modulation is perceived.
There are two toggle switches found in the center of the unit. The Chorus/Vibrato toggle lets you switch between Chorus mode or Vibrato mode. The Waveform selection toggle gives you three waveform options: Sine, Square, Triangle. The three waveforms provide three unique options of Chorus and also three options of Vibrato, making a total of six different modulation settings...all which can be dialed in with tap-tempo. As a starting point, both switches down is true VB-2 style pitch vibrato, both switches up is true SCH-1 chorus.
There are three 1/4” jacks on the Emperor. The Input jack receives your instrument's signal. The Output jack sends the signal out of the pedal to an amplifier or your pedal chain. You can use an optional TRS splitter cable from the Output jack and send output signal to two amps for true stereo modulation. The Tap/Expression jack allows you to connect a TRS Expression pedal or a external Tap Tempo to control the unit. Choose which option you want to use by using an internal switch labeled "Tap/Exp." In Expression mode, connect any TRS Expression pedal to control the pedal's speed and you will have a very natural rotary simulation effect when in Chorus mode. The Speed parameters are perfectly preset for a very realistic rotary speaker sound with real time control at your feet. When in Tap mode you can set the Speed of the Emperor using an external tap tempo pedal.
True Bypass & Buffered Bypass Options
The Emperor can utilize true-bypass on/off switching OR buffered bypass switching. The footswitch on the bottom left of the pedal turns the effect on/off. Internally you will find a small dip-switch that lets you select true bypass or buffered bypass. If you want you use the Emperor with a TRS Splitter for stereo use, you will have to use the Buffered bypass setting. Stereo output will not function when the pedal is in true-bypass mode. The Emperor will ship set to buffered bypass. The buffer is a high quality buffer designed to keep the integrity and tone of your original signal in place while driving your signal so that no degradation occurs in your rig.
This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 4.7"x3.7"x1.2"