... MIX YOUR OWN DISTORTION ...Two different, seperate distortion
circuits, a clean boost, and mix and control
circuitry to combine these in parallel,
all in one box. These sections can each be used
seperately, but the real magic is in their
interactions. Use conventional blending for
additional control and sonic complexity. Or use
antiphase blending for exaggerated distortion
effects ... a technique l have dubbed splonkulation.
The possibilities form a continuous range
from smooth sustain and clean blends to
anti-clean and anti-sustain. This is a very
powerful and serious sonic experimentation tool!
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This splonkulator creates
a wide array of sounds on its own, but just as
importantly is made to combine with other distortions. To
be useful for this kind of distortion modification,
it produces strong effects at low gain and is highly
tweakable. Only one of its distortions have medium-high
gain and this can interact with the lower gain distortion
and/or clean. Through a distorted amp, this device can
"work with" the amp, or work against it with
dramatic distortion which cuts through the effect of the
amp. For example, distortions can be generated down in
the clean part of the amp's input signal range or
otherwise tweaked specifically to antagonize the
response. Or, driven by another distortion, splonkulation
adds a controllable edge and can even approach a
synthesizer sound.
The first distortion is a
bipolar transistor stage of my design with controlled
characteristics. This has similarity to fuzz circuits but
mostly makes a good crunch. The second distortion is a
CMOS (complementary MOS FET) type distortion popularized
as Craig Anderton's "Tube Sound Fuzz" and
several commercial products (although I developed my own
version from the raw concept before seeing any of the
other designs). This stage has a smooth sound and more
gain. Both distortions have drive levels controls and a
versatile filter function to shape the driving signal. In
addition, there is a "clean" control in
parallel to the distortions for mixing in clean sound at
low level or as a substantial boost. The lower row of
knobs control this mix, and also includes post-distortion
filter that can be applied to either distortion. One or
both distortions can be placed in reverse polarity,
producing a cancellation effect useful for harsh
"turbolated" sounds with hints of "ring
modulator" and "up octave distortion"
tonalities, "gated" sounds with reduced
sustain, and more. Since even these more tortured sounds
are produced by cancellation between otherwise
natural-acting distortions, natural decay without sudden
cutoff (etc.) results, and many variants can be dialed in
easily. In a clean system, the Splonkulator clean path
(if used) is heard primarily as a seperated sound from
the distortions, injecting normalcy into the mix. But,
with external distortion, the clean path essentially
becomes a third distortion control, with pronounced
interaction, and the clean can be subtracted from one of
the distortion paths for a low-gain version of
splonkulation.
Note that you can produce
some similar effects by combining normal distortion
pedals with your own splitter, mixing device, and loop
switcher. However, this would be more complicated and the
strong filtering in most distortions limits the
interaction effect. It also would allow additional
possibilities -- and mess. The Splonkulator is a
convenient, powerful, and focused device for nonlinear
waveform manipulation. But a little bizarre. The
circuitry used to control, mix, and switch the
distortions is more complex than the distortions
themselves. Since it handles the parallel paths
internally, combining it with other effects is done
through the normal series connections.
Housed in an impressive
extruded aluminum enclosure with end plates and clearcoat
finish to provide room for 8 knobs and footswitch access,
the Splonkulator is a little smaller than a Big Muff.
SOUND SAMPLES
(Newest:) splonku-cleanish1.mp3 (124 KB) -- clean amp, brighter
pickup sound, clean + distortion, 1st a smooth one, then
turn up one mix for the rattier sound where chords get
banged.
splonku-dryand2sounds.mp3 (101 KB)
-- Demos the light crunch from the dry amp, and then two
strong interaction sounds.
splonku-drycleanbicmosx.mp3 (170 KB) -- amp crunch, and then
with clean boost only, bipolar distortion only, CMOS
distortion only, and finally a combination sound.
splonku-wDODammetal1.mp3 (445 KB) -- Uses the DOD Super
American Metal as a predistortion, except about 6 seconds
in the Splonkulator and then the DOD are turned off, then
the Splonkulator on and then the DOD back on. Also
recuced guitar tone control later.
splonku-wDODammetal2.mp3 (223 KB) -- Another with the DOD
Super American Metal as a predistortion, this time with
the DOD's presence turned up a bit for a more radical
sound.
=> 64 Kbps Mono MP3s (use "Save Target As"
to download instead of just play it)
=> These samples
were all made at the same (comfortable) volume level,
using an Ibanez RG-550 w/bridge humbucker and unfresh
strings, through my old prototype 15W tube amp (preamp
distortion) ... perhaps an odd choice but it is a
rather neutral, basic amp. 3 12ax7 stages with about 20
dB interstage attenuation and some EQ in preamp, 6V6s.
Through Cele V30s (2x12), EV N/DYM 257A, Porta2 as preamp
(flat as reasonable), soundcard. More to come (also
better pictures), including samples with other amps ...
Operation
The top row of controls are the drive controls. The
center position of the drive controls (DRV and FILT) for
each distortion is the minimum setting. Turning the drive
control right of center produces normal positive drive,
while left of center drives the distortion in reverse
polarity; either far rotation produces maximum gain. The
DRV (drive) control is the main gain setting. FILT
(filter) works in tandem and affects the highs only. Turn
the FILT control in the same direction as DRV, but
slightly less, to produce a flat response. Turn the FILT
control more to boost the highs; reduce DRV for even more
highs. Turn FILT less or even slightly in the opposite
direction to reduce the highs. Turn the FILT knob further
in the opposite direction from DRV to produce reduced
midrange with strong highs and lows, and to place the
highs in opposite polarity from the lows. The drive
controls precede their associated distortions in the
signal path, and therefore strongly affect the response
to the guitar or other source. The Clean signal cannot be
altered in polarity, so when combining it with
distortion, set the polarity of the distortion(s)
accordingly.
The lower row of controls is the mix section. Volume
control B is for the Bipolar section, C is the CMOS
section, and CLEAN is the clean level/boost. With
suitable drive settings, many sounds are available just
by adjusting these levels. Also part of the mix section
is the FILTER control. This reduces high frequencies of
the Bipolar distortion output when turned towards B, and
reduces high frequencies of the CMOS distortion output
when turned towards C. When centered (there is a detent),
little influence on either results.
The various filter responses are different, as suited to
the characteristics of the distortion stages.
Experimentation is essential to maximum results, however
not all playing situations will require the full range of
sounds available. Do not hesitate to use the Splonkulator
in such situations, and also to use sounds that
"underuse" the circuits, because otherwise its
flexibility becomes a weakness.
Particularly when experimenting with cancellation sounds,
it is useful to learn to "tune" the levels.
Here is an exercise: start with C and clean volumes at
minimum, and with B set for negative DRV and FILT, and
moderate level. While playing softly, turn up the Clean
volume slowly. You should first hear the volume decrease
due to cancellation, and then begin to increase again.
Playing at different volumes will change the point of
maximum cancellation. The best setting for a purpose is
often not this "critical" cancellation point,
but it still helps to be aware of it. A similar tuning
exercise can be done with the distortions only. When all
three paths are combined with one or more in reverse
polarity, things get more complicated, but are still
rooted in such interactions. A good sound which uses this
interaction is with C in high positive drive and highest
volume, B at (necessarily) lower negative drive, and
Clean at low level. As input signal increases, C hits
full distortion first, then B increases in cancellation
-- notching the waveform --, and then the clean level
becomes substantial and swings the waveform back in the
positive direction.
Example Settings (uses old graphics)
Owner's
Manual
Splonkulator
Technical Information
About 20 dB of
flat-response boost is provided by the Clean volume
control. The output stage is an OP-amp integrated circuit
with "rail-to-rail" output
capabilities, which means that it will deliver to your
amplifier almost everything a 9 volt battery will put out
(of course, the output level of your guitar pickups will
determine the maximum gain beyond which any boost device
will distort). This is a better match to pushing the
first stage of a tube amplifier into significant
distortion than lower output boosters, without the extra
trouble of requiring two batteries or power-supply-only
operation. More gain, lower levels to the amplifier, and
tone changes can be added by mixing in the distortion(s).
If other effects are used, boost is normally placed last
in the chain in order to avoid overdriving the other
effects and deliver full signal to the amplifier.
Unusually high output levels can be avoided by keeping
the mix volumes set below two-thirds, however.
The standard
electronic switching provides a selection
circuit featuring no signal interruption, low signal
degradation, and consistent output characteristics at all
times. "True Bypass" is
available as an option as it is also a good system, and
is favored by many players. The primary advantage of True
Bypass is minimum alteration of the signal path,
including unlimited headroom, when bypassed. However, the
electronic switching circuit has high headroom, a simple
and clean signal path in deselect, and improved
transition characteristics that make it worth
consideration and the extra trouble of including as part
of the design's capabilities. There is no drop-out when
switching; the electronic switching has
a "soft" switching characteristic which results
in a slightly gradualized transition, rapidly
cross-fading between the sounds, which avoids a jarring
effect when switched (Note, soft switching is not
intended for volume switching of high levels in a
completely clean environment as there can be some
transitional distortion, but in the intended application
this is unnoticable -- if this effect was a standard
distortion there would be no case of high levels and no
distortion). Also, the buffered output will consistently
drive long cables (and possibly even reduce noise or
lossiness of following circuits due to its low output
impedance). Both switching options use a
"click" type footswitch as this simplifies
circuitry, provides decisive operation, and retains the
last used setting.
More
Features:
* High 1 M (megaohm) input impedance which does
not load down guitar pickups, which would cause a
loss of highs. Same as most better amps.
* Low noise ("hiss").
* Good battery life. Battery drawer for
convenient access and no irritating battery clip.
* Bright LED indicator with filtered switching.
* Bass response not limited to guitar range --
useful for bass. Bandwidth slightly controlled at
high gain settings.
* Components, construction and design for
excellent audio quality.
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