#bjfe

[momotyler]

(via Mad Professor: To the (Little Green) Wonder)

[ardl]

finished up the bjfe blueberry bass od, sounds fuckin fat as hell, kinda dubby real real warm. not a ton of gain on this fella which is surprising, the opamp i used is supposed to have hella peak to peak voltage but that doesnt necessarily translate to volume in this type of circuit. i might swap the drive pot out for a 500k, stock its 370k but lol im not buying custom pots so its got a 250k in there atm

[fuzzkaizer]

BJFE - Fuzz 109 custom black and gold

cred: reverb.com/Vintage Stompboxes

[hellosailoreffects]

#Repost @the_visual_guy (with @report.for.insta) ... Put the Benson up on reverb. Taking the @hellosailoreffects Range Master for a spin with the strat.⚓️ @pedalboard_of_the_day @pedalboardarchive @pedalboardfrenzy @pedalboardmadness #pedalboard #guitarpedalboard #pedalboardarchive #pedalboardmadness #pedalboardoftheday #pedalboards #pedalboardfrenzy #pedalboardsetup #pedalboardporn #knowyourtone #walrusaudio #onecontrol #eqcable #analogman #bjfe #hellowsailoreffects #guitargear @walrusaudioeffects @analogmike_piera @onecontrolusa @tcelectronic @eqcable https://www.instagram.com/p/B_3N8c-HaZj/?igshid=1tgo01y45pa7w

[andymcgain]

I veckans Podcast möter vi gitarristen Sebastian Nylund som också driver butiken These Go To 11. Han har ett gediget CV med bland andra Carlos Santana, Celine Dion, Ricky Martin och Enrique Iglesias samt otaliga TV jobb. Sebastian spelar även sedan länge med Tomas Ledin. Vi pratar karriär, om varför fuzz är bättre än overdrive, hur man får tiden att räcka till samt att vi nördar rejält om förstäkare och pedaler. Mycket nöje! Guitar Geeks Podcast följer ni här: • Android: Podbean  iPhone: Itunes Vi vill alltid veta hur vi kan bli bättre, ge er Feedback till oss i kommentarerna nedan! TACK för att ni Delar och Recenserar! @tgt11 @andymcgain @guitargeeks.se @tomasledin @carlos @ricky_martin @enriqueiglesias @madprofessoramp  #guitargeekspodcast #guitargeeks #guitargeekstuff #guitargeekssweden #podcast #podcasts #podcasters #podcastshow #podcastshow #podcasting #guitar #guitargrar #pedals #fuzz #guitaramps #sebastiannylynd #ledin #tomasledin #bjfe #madprofessor #madprofessoramplification #tgt11sthlm #tgt11 (på/i Central Harlem)

[effectsdatabase]

Last week's top 20 videos (2022, week 33)

Top 11 videos last week (August 14-20)

Modulation Monday - Mattoverse Inflection Point (by Mattoverse Electronics)

? GD-013 Ver.3.0 ?????? vol.2?Proto#1 ????1???? 2022/8/14 (by Ovaltone)

EHX Nano Small Stone #shorts (by Crappy Pedal Demos)

Will it Shoegaze // Frost Giant Effects - Massif (by collector//emitter)

The Shed: Using the Tone Hammer Preamp/DI as a second channel with Dale Titus (by Aguilar Amplification)

Roland JUNO 106 Chorus v/s Meistersinger Chorus (by Jacques)

Strymon Lex V2 - Stereo Demo (by Tri Pedal Reviews)

One Control Rebel Red Distortion 4K (RRD4k) Pedal Demo - BJFe Design (by Visual Guy)

Peavey DSC-4 Dual Clock Stereo Chorus (by Pretty Good Effects)

??????? ?????BOSS DD-8 Digital Delay ???????? (by Chuya Online)

Donner Wave Delay (by Delay Dude)

Overviews of the previous weeks: https://www.effectsdatabase.com/video/weekly

from Effects Database https://bit.ly/3pGFCpS

[effectpedal]

BJFE Honey Bee diy from Aion electronics PCB.

[ninevoltshop]

BJFEのファズを自分で作ろう！ヴィンテージトーンベンダーサウンドのMoody Sounds BJFE Bone Bender I Kit！

[pedalfuzz]

The Sea And Cake

The Sea And Cake have been making elegant, assured, and singularly unique music for over two decades. The band is made up of a who’s who of Chicago experimental/indie/jazz/post-everything musicians that include Sam Prekop, Archer Prewitt, and John Mcentire.

Their latest album on Thrill Jockey Records is Any Day. Sam Prekop (singer, guitarist) sat down to talk with Pedal Fuzz about writing and recording the record, just after a soundcheck in Durham, NC, ahead of their performance at The Pinhook.

 Pedal Fuzz: Your Last album Runner came out in 2012. When did you start working on the songs that would make up Any Day?

Sam Prekop: So it was probably February 2017. Got a bit of a slow start I guess. I started actively playing guitar for that mainly on my acoustic, roaming around my house cooking dinner for the kids. Strumming the guitar, getting it together kind of. And then Archer Prewitt (guitar) and I spent a fair amount of time together before John McEntire (drums) showed up. And then the three of us rehearsed at the practice space for probably about a week with the new material. And then we went into the studio to record the basic tracks.

PF: Is that generally how it's worked in the past, you starting just with the guitar then bringing everyone else in?

SP: So Archer and I spend a lot of time without drums to work out the intricacies of the arrangements. Of course John contributes as well, but to get the ball rolling usually I start, get the basic gist of it, and then I have Archer come in. There's a few songs on the new record that Archer and I came up with just sort of messing around improvising and stuff. So it happens that way as well. "Any Day," the title track comes out of that, and also the last song "These Falling Arms."

PF: Did you record in John’s studio, Soma Studios?

SP: His studio in flux now because he moved to California. So it was different in that regard, so we used a different studio in Chicago. He had already moved right around the time I started working on the guitar stuff.

PF: So did you track in two locations, or just go out there to L.A. and track?

SP: We never made it to L.A. actually. The original plan was to go and mix it and finish it in L.A. And John moved to L.A. but then he bought a house more northern, east of San Francisco. So that kind of threw our plans for a loop a little bit. So John would mix, and then he would send us the files and we would give input on it.

PF: As far as the songwriting. how collaborative does it get once everybody else joins in? By that point do you already have the structure set, or is there room for change?

SP: So when we have the basic tracks, it can still change because I haven't done any singing yet. So I get the basic tracks into my home studio - and I have been doing it this way for a while where I record the vocals at home and mix them later with John. So I spent quite a bit of time writing and singing and recording the vocals on my own basically. I spent more time doing that this time around than other records I would say. I'm not sure why, I think I just found myself with more time.

There were a few setbacks. One was how we thought the studio would be ready in time, so we were kind of waiting for it. Things were hinging on different factors as we were working, so I wound up like, “OK, I have another month to do other stuff,” and so I ended up redoing a lot of things this time around which was good. I think because I got a little bit of time away from what I had done, I got a slight amount of perspective. I could discover that it could be better if I tried to rewrite certain lines or words.

PF: Was it mostly lyrics and vocals you were changing, or other elements?

SP: Sometimes it was just the delivery of it, like I can sort of get more out of the performance. Other times it might be some slight adjustments to the words, or rhythm things, but usually it was that I felt like I could inhabit these vocals more...not intense exactly, but just be more familiar with them. Just to be able to really perform the song.

PF: That's something striking about the record too, it kicks right off with the vocals.

SP: I know - this is the most vocal-centric record of all, and when rehearsing for this tour and playing some older stuff I'm like, "Oh my god I hardly sing at all in long spots." And I have to say the shows have been quite the vocal workout. It's an hour and a half show and I'm singing the whole time. I'm quite burnt by the end.

PF: Are you having to come up with like a honey/lemon regimen?

SP: I should maybe! It's getting better, you know. So this will be maybe our seventh show tonight, and each night it's getting a little easier. It depends on if the monitoring is good and if the sound is good on stage. If I have to over-sing, that's a problem, and sometimes that's the case if I don't hear it properly.

PF: It seems that on this album, compared to some older songs like "The Argument" or even "Harps" from the last record, there's less electronic elements. It has much more of a band feel. How did you decide that was going to be the vibe this time?

SP: Well, usually with these things the project tells you what it wants as you're working on it. I feel like my job is to pay attention as much as possible to what the material is leading you towards. So I didn't start out like, "Oh this should be a super vocal-heavy record and it should be all about that." So as it was leaning in that direction, it seemed like there was just less room for electronic stuff. And I think I think there would have been more of that if we had been in the studio together during the overdub process - which we had planned, but didn't quite happen because of logistics. So that's also part of the reason I think.

PF: Let's talk about gear a little bit. What guitar and amp are you using on the record?

SP: So I started writing on my acoustic. It's a pretty old beat up Martin 000-17. It's a Mahogany, small body kind of deal. And so I write a lot on that. I've never played it live and I don't plan on it - too many problems involved with drums and stuff.

And my main guitar is not actually a Fender Telecaster, though it looks like one. I got it maybe 15 years ago. It was built by Greenwich Village Custom Guitars (GVCG). It's sort of a legendary builder (Jonathan Wilson) which I didn't know at the time. But as soon as I tried it I'm like, "This is my guitar." So that's been my main guitar for a while.

And I use a Fender Bassman amp - but it's not actually a Fender. It's made by Victoria Amp Company out of Chicago (Victoria 45410 Tweed, modeled after a 1959 Bassman). And I've been using that for a long time as well, at least 10 or so years.

PF: What do you like about the Victoria?

SP: It sounds very acoustic. Not like an acoustic guitar, but the sound of the wooden box is very forward in a way. It feels very lively and unveiled in a way that feels very direct. It's very responsive to the way you play, very quick and responsive. There's no reverb or anything, it's a very direct, classic amp design. I imagine it's probably pretty simple. It's designed originally for bass players but it works really well as a guitar amp.

PF: And are you putting anything between the guitar and the amp?

SP: Yeah, I have a few BJFEE pedals, from Norway. Björn Juhl made them, he went on to design Mad Professor pedals. I have one that’s a very subtle overdrive I use all the time called the Honey Bee. And a BJFE EQ pedal (Sea Blue EQ) that’s amazing. I also have a Mad Professor Deep Blue delay pedal I use for a little color – I’m not big on changing my sound per song very much.

PF: You have a very crisp, but full, clean sound.

SP: On the song “Color The Mountain,” I play some pretty distorted guitar. On that I use this Swedish Himmelstrutz Fetto Nord 70 distortion pedal I’ve had a long time. But I don’t use it much.

PF: You’re in a band with people that are in so many other bands, and so many different collaborations. Does that become difficult for everyone to juggle what they have going on?

SP: There’s no real difficulty. That’s why there’s sometimes longer breaks in-between records. So Tortoise had a record in-between, so that was about two years of the lag time. I also make solo records and usually tour on those. No problems really, it’s just a matter of making the plan and it works out.

EDDIE GARCIA PLAYS GUITAR AND ALL THE PEDALS AS 1970S FILM STOCK. YOU CAN ALSO HEAR HIM REPORTING ON NPR AFFILIATE 88.5 WFDD IN WINSTON-SALEM, NC. IN THE WEE HOURS HE RUNS PEDAL FUZZ, WHICH IS A PROUD RECIPIENT OF A GRANT FROM THE ARTS ENTERPRISE LAB / KENAN INSTITUTE FOR THE ARTS. 

[tomokazkawamura]

‪定期的にBJFeペダルが入るようになってきて嬉しいです。すごい組み合わせ。これで完結できます。‬

[momotyler]

#bjfe #honeybee #honeybeeod #bjfepedals #honeybeeoverdrive 

[fuzzkaizer]

Moody Sounds - BJF Universal Reverb Driver

DIY kit

“Bjorn Juhl (BJFe) design w/quality components The BJF Universal Reverb driver DIY kit is designed for letting you connect any external standard spring reverb unit to the pedal’s send-return loop. It has two Send channels, one 1k and one 8ohm, to make it match with the most common reverb unit impedances. The pedal has a Mix knob and two Dwell knobs to let you take out what you want from the reverb unit. Includes pre-drilled 1590bb box. RCA jacks for connecting the external tank (external reverb unit is not included in the kit).BJF Universal Reverb drives an external reverb tank. Because reverb tanks can have different input impedance, and our idea with this circuit is that it can be used with any tank, we have provided the box with two outputs. An output via a transformer, suitable for tanks with low inimp, in the order of 10 ohms. An output via capacitor for tanks with inimp 100-1000 ohms.The pedal also has three control knobs for controlling 1. Dwell 1 (gain before the signal is sent to the tank) 2. Dwell 2 (amplification after the signal comes from the tank) and 3. mix between clean sound and effects sound. With the trimmers on the PCB you can set the signal volume compared to the bypass.The reverb tank is connected via RCA jacks on one of the long side of the pedal. Guitar and amplifier in the usual way on the right and left short sides respectively. True bypass. 9V tap only (no battery).“

cred: reverb.com/PrimoFX LLC

[super-freq]

Boss Enclosures

I got the bug to put some circuits into Boss enclosures. Boss makes a really solid pedal. The pedal itself is bomb proof with a nice form factor and circuits are pretty good. The switch has a nice feel to it. You can’t just buy the enclosure to my knowledge, so it seems the only choice is to get some donor pedals for as cheap as possible.

I got the donor pedal in Reverb for about $45.

Turns out Boss pedals keep a high value. Even used on Reverb it’s hard to find even a broken pedal for under $40! You can get a new SD-1 for $49.99 and a DS-1 for $52.99 at the time I wrote this. So that makes this a pretty expensive project when the enclosure is $40 to $50 ! That’s okay this is an experiment.

I’m going to try and not modify the enclosures if I can avoid it. The box is pretty roomy and can fit a good sized PCB as long as the parts in the center have low profile to avoid the jacks.

the Boss on enclosure is pretty roomy on the inside.

The Boss pedals come in a couple formats two knobs, three knobs, or four knobs. The two knob pedals are actually fairly rare and it’s hard to get one these enclosures, and probably buy not a good idea to throw away the working circuit. Three knob enclosures are pretty plentiful and the cheapest, luckily most of the circuits I’d like to put in a Boss enclosure come in a three knob version. Four knob pedals are pretty plentiful but are usually higher priced. Also, the four knob layout puts the pots in a horizontal row. 16mm pots will not fit! You’ll need to use 9mm or 12mm pots.

Finishing the enclosure brings a lot of problems and hassle. First there’s painting. You’d need to remove the rubber pad, paint then glue it back on, and then silkscreen or decals for the graphics. I’m going to avoid all of this hassle and avoid paint. I may use the label maker and just stick a label on it! Luckily the labels on the DS-1 and SD-1 will work of 90% of the pedals you’d want to put into a three knob enclosure.

The pots have a small PCB with a ribbon cable that connects to the PCB.

Switching is an issue. Boss uses an electronic buffered bypass. It switches using a soft touch SPST. I found pictures of someone putting a standard 3PDT switch under the foot pedal, it gets pressed when the lid is pushed down. This didn’t look like a great option. I decided to go with a relay bypass. I’ve seen a lot of DIY solutions for this.

Boss uses an electronic switching and bypass. It’s activity by the switch, it’s a black box in the lower left..

Which pedals you ask? So far I’m considering for three knob pedals:

Big Muff

1981 Inventions DRV

Tone Bender

Klon

BJFE Honey Bee

For four knob pedals:

Ugly Face

The electronic switching needs a replacement that will work with the momentary SPST switch. I found a PCB for a relay based switching system at Madbean!

Boss Enclosures was originally published on Super-Freq

[rakko-effector]

BJFE/Aqua Marine Wonder Machine

こんにちは、あるいはこんばんは。早速ですが今回のレビューはBJFEのペダルです。

BJFEとは？という人もいると思いますので軽めに説明しますと、Bjorn Juhl（ビヨン・ユール）というスウェーデン出身のビルダーさんによるエフェクターブランドです。このBjorn Juhl氏、略されてBJFなどと呼ばれる事が多いのですが、多分現代のエフェクター界においては伝説級のビルダーでして。氏の設計したペダルが色んなブランド（Mad professorやBearfoot、One Control）から出ていて、誰しも一度くらいは氏の手掛けたペダルを見た事があるのではないでしょうか。特にHoneyBee ODとかその派生になるSweet Honey Overdriveとかが有名ですかね。

そんなBJFEのペダルですが、Bjorn Juhl氏が多忙を極める上、ハンドメイドのエフェクターなので、生産数も多くなく、比較的流通数の多いモデルというのはありますが、基本的には希少です。自分も実機をお目にかかる機会がなかったわけではないですが、希少性などもあり、店頭で値段見てうひゃぁ...みたいな感じの価格なので手を出すことはありませんでした。

ですが、なんと今回ご縁がありまして、かなり良心的な価格でBJFEのペダルを手にすることが出来ました。そうした理由で、このペダルのレビューをしようと思います。

このペダル、Aqua Marine Wonder Machineと言います（文字数が嵩むので以下AMWMと表記します）。Mad ProfessorのSky Blue Overdrive（以下SBOD）の原型の一つ、とも言われるペダルです。

実は前オーナーの方が、同じAMWMの4k（4ノブ）モデルを手に入れて、こちらは放出するとのことで、僕が譲っていただいたのですが、こちらは5k（5ノブ）モデルです。

ちなみにSky Blue Overdriveの原型とは言いましたが、音の説明の上ではあまり関係ない感じもありまして、ものすごく大きい括りで見ると、トランスペアレント系に近しいサウンドのように思います。ヴィンテージ感のあるトランスペアレント系といいますか...。

ノブのコントロールはV、D、X、T、Zという5つありまして、VはVolume、DはDrive、TはSBODと同じならTextureでしょうか（もしくはTone、Trebleの可能性もありますが）。 Driveの範囲は絞り切ると音が出なくなり、上げていくと音量と歪み量が増えていきますが、最大まで上げても使いづらいことのないODらしい範囲、Volumeも結構幅が広く取られていて、最大まであげると結構大きくなります。使い方にもよりますが、自分は11時くらいでいいかなと思いました。（音量的にはVolumeとDrive両方10時くらいでオフ時の音量と体感で同じくらいかなという印象）

Tノブは上げ切るとハイがかなり強く出ますが、それでも耳に極端に痛い音にならない、絶妙なチューニングでした。

XとZに関しては何を示しているかは不明なのですが、Zがインプットインピーダンス周りの調整、Xはローミッド辺りの調整に関わっているようです。Zはかなり特徴的なコントロールで、インプットインピーダンスの調整に際してローエンドを中心に音全体を微調整するような動きをします。ただ、本当に微調整という感じでもあるのか、自分はいじってもそこまでよくわからない感じもありました...。（インピーダンス関係の調整のためか、前段にバッファ等が繋がっていると効果が感じにくい場合もあるそう）

Xノブはギターの場合、実質ここがBassコントロールと言っていいような帯域を調整出来ます。ギターで美味しいローミッドを操れる感じです。

ちなみに4ノブモデルもオーナーの方のご厚意で少しだけ弾かせてもらったのですが、こちらの方はV、D、T、Bというノブ構成で、Bがローエンドのコントロールだったので、素直にVolume、Drive、Treble、Bassの構成だったようです。

4ノブ、5ノブで音に関しては大きな違いは感じませんでしたが、全体的に4ノブの方が音作りがしやすい感じでより便利な印象がしましたね。

総評すると、とにかく使いやすい、トランスペアレント系ODという感じなのですが、それでいて他にない雰囲気があったり、デッドポイントがないチューニングなど、評価が高いのも肯けるペダルだと思いました。もし機会があったら試してみて欲しいです。値段が相当にするので、是非買ってくださいとは言いづらいですけども、触れてどういうものか知るだけでも価値はあるかなと思います。

おまけ

後から知ったのですが、どうやらワンオフ品や記念モデルに次いで希少なモデルらしいです。BJFEも含めレアなペダルに詳しい、CULTの細川さんによる記述では、現在ほとんど流通がなく、数年に1台取引があるかどうか...らしいとか。（しかも新品だと10万近い値が付くらしい）

追記：Pedal shop CULTさんにて過去扱われた中古のAMWMの4kは、私が弾かせてもらった個体にあったBノブがなく、代わりにRノブがあったようです。どうも内容的には5kやSBODのZノブと同じような効果のコントロールだったようですね...。（そちらはまだ商品ページ自体残ってるのでそちらを参照ください）

[andymcgain]

I veckans Podcast så träffar vi åter igen pedal och förstärkar-gurun Björn Juhl som är hjärnan bakom BJFE, One Control, Bearfoot, Mad Professor med mera. Vi nördar ner oss och reder ut vanliga missuppfattningar, myter och sanningar.    Mycket nöje! Guitar Geeks Podcast följer ni här: •Android: Podbean  •iPhone: Itunes Vi vill alltid veta hur vi kan bli bättre, ge er Feedback till oss i kommentarerna nedan! TACK för att ni Delar och Recenserar! #björnjuhl #bjfe #legend #guitarsound #guitarsounds #guitargear #guutarledals #podcast#podcasts #podcasters #podcasting #andreas Rydman #danielkordelidis #guitargeekspodcast #guitargeeks #guitarstuff #guitarnerds #guitartone (på/i Guitar Geeks)

[salludass]

#StopEatingMeat #iman #jannah #rasulullah #nasihat #akhirat #muslim #hzmuhammed #peygamber #mubarak #muhammad #islam #namaz #dua #allah #allahuakbar  #islamquotes #meat #meatlover #steak #grilled #nonveg #Sa_news_channel #SANews #SANewsChannel #SaintRampalJi           #KabirisGod                  #Kabir_is_God #SupremeGod     #SpiritualSaintRampalJi (at New Delhi) https://www.instagram.com/p/B_8vT-BJFEs/?igshid=1jpsubsusbhwi