Extreme BOSS DS-1 Makeover: Sewage Edition

Mauz, my boss and friend, is probably most well known for playing in Dystopia. He’s also played in Mindrot, Nigel Peppercock, Medication Time, and now heads up the oi punk outfit Kicker. One day at our print shop a year or so back, I noticed he had a horribly beat up BOSS DS-1. It looked like shit and something was wrong with it. He handed it over to the Doktor.

BOSS DS-1

Just to be clear, that’s not what his pedal looked like. That’s a clean, normal DS-1, a classic in the distortion world. It’s a lot of people’s first stomp box. It’s a simple IC distortion circuit using silicon diode clippers and a very basic low-high tone control. That’s also why it’s a fun pedal to work on, because there’s a lot you can do. Mauz’s DS-1 pedal was spray painted black by some old punk rocker and was missing all the knobs. It needed to be cleaned up, but the technical refurbishing came first.

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Class or ass: Ampeg Pro SVTRC rack case

My Ampeg SVT-2 Pro is a champ. It can roar like the SVT buried inside of it and sing with all the bells and whistles of a graphic EQ, direct out, and even more I haven’t figured out yet. It’s got two major problems, though. One is the weight. It’s a beast, weighing in at 68 pounds unmounted. When Impaled toured the first time with Incantation, Kyle unlovingly dubbed it “the brick.”

Ampeg SVT-2 Pro

The second problem is the look. The SVT-2 and 2 Pro are victims of their time… the nineties. Everyone was looking to put things in rack mounts. Rack mounts look like shit. They belong in the back of a Google server warehouse, not at a rock show. Ampeg partially addressed this situation when they made the Ampeg SVTRC series. These are nice looking rack mount boxes for their stupid looking series of heads. I wanted one. My 2 Pro is a good amp on the inside and I wanted it housed like one.

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BOSS HM-2: Like an Ever Flowing Gleam

The BOSS HM-2 Heavy Metal guitar distortion pedal holds a special place in death metal history. It is the sound of Sweden. This cheap, compact design pedal was used heavily at Sunlight Studios to make the “buzzsaw” guitar tone famous on so many original Swedish death metal records from Entombed, Dismember, Nihilist, At the Gates, and Edge of Sanity; later, on scores and scores of not so memorable imitation records.

BOSS HM-2 Heavy Metal pedal

In fact, that’s pretty much all this pedal can do. Dynamics? Forget it. Put all levels on 10, detune, and jam. Of course, there’s some amp EQ details in there somewhere, but forget it. This pedal gets so much worship for such a one-trick pony. My old band mate, Leon del Muerte, is one of those worshippers. He liked the light plate I added to my old Phase 90 and wanted his HM-2 to get the same treatment. Sure, the HM-2 already has a power indicator light, but he wanted it to SHINE like the god he saw it as. I took it from his apartment as he hugged it goodbye and I went to work (2 months later).

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Peavey Triple Wreck Facelift

The Peavey XXX is Peavey’s cheap knock off of the very succesful and expensive Mesa Boogie Triple Rectifier. It’s got super saturated gain, multiple lead channels, and switchable distortion styles. It also has stupidly named EQ knobs and the ugliest face plate of an amp ever.

I guess they were trying to emulate the diamond plate of the Triple Rec while appealing to sexist truckers? I don’t know, but the XXX turned out to be Sean’s affordable upgrade to a good Triple Rec style sound. But, Peavey, you sad excuse for a company, the faceplate had to go.

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Death After Live: Low End Theory 2

I started my quest for the ulimate live bass sound by adding a Sansamp Bass Driver DI and a Sennheiser MD421-U microphone to my usual accoutrements. The Sansamp allows me control of the EQ on my direct line and the microphone has a wider frequency range than most to catch all the low end. It also keeps my signal going to the mix board should something unfortunate happen to my head, like blowing a fuse.

Because I can’t leave well enough alone, I had to come up with something special for the microphone and present a unified, refrigerator-box-size of brown noting bass farts. I wanted to fashion a multi-use way to mount the mic on the cab where it would sit awaiting some sound person with a cable who would surely say, “oh my, he’s so prepared and easy to work with, I will actually work tonight and not do blow in the bathroom during their set.”

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Killing Kids in America 5: Killbot

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Hear your leader, cult minions! The salvaged homunculus dubbed “Killbot” by it’s brilliant, handsome, and departed inventor the Ghoul Hunter, is in need of an upgrade to continue it’s mission… kill Ghoul!

Yes, the mechanized cyborg was rebuilt from the remains found at the ruins of the Ghoul Hunter’s castle following it’s first battle with Ghoul. Our cult scientists added chain guns, pneumatic claw, titanium-steel armor, and the brain of the most power-hungry bastard and anti-Semitic jerk in history… Walt Disney! With this power, Killbot defeated Ghoul and their pig-faced pathetic piece of shit lackey. But Ghoul escaped back to their accursed catacombs.

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Death After Live: Low End Theory 1

DI boxes. I didn’t like them. I didn’t understand them. I’ve invested in this refrigerator size cab and monster amp spewing forth fuzz and ass-end frequencies. Then, some sound guy comes along and puts a DI box before the amp and cab, negating the EQ on my amp, and cranks fuzz sans bass. Now it still sounds like ass, but not in the good way. Why can’t they just mic it?

Or maybe even Mikey it?
Or maybe even Mikey it?

I’ve had this argument against DI boxes and pro mic’ing bass for awhile now, until someone more knowledgeable than I finally asked, “Do you bring your own mic that can actually capture full bass frequencies?” Oh. Hadn’t thought of that. I don’t know shit about mics. I don’t know shit about bass frequencies. I don’t know shit about shit, apparently.

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Another VH – One Four Woe

Someone commented that they’d been looking for one of these amps after I posted about the last alteration of mine, but couldn’t find any without “issues.” That seems to ring true here.

Today’s problem; the “high” input jack on my VH-140C that Dan Randall uses with us in The Sean Band. It cut out when the cord was jiggled. After almost 20 years of dedicated 1/4″ plug holding, the PCB mounted jack was failing to hold the 1/4″ plug tightly. It needed replacing.

First off, the high input and low input are confusing. Different manufactuers, including Ampeg, use different terms for dual inputs like this. With this amp, “high” is for more gain / sustain and guitars with passive pick ups. “Low” lessens the input and is for more cleans and guitars with active pick ups. I always thought it would be opposite. In this case, the high input ain’t working, so less is more. Less-on over. Les Nessman.

I don’t like these PCB mounted jacks because the metal contacts always wear out in the same way and cannot be bent back into shape. In the age of machines manufacturing machines, however, they are ubiquitous, like Hunter-Killers and Terminators. Unfortunately, their styles are not.

Upon opening the amp, I found this jack. It looks like a standard Cliff brand PCB jack, but it has L shaped legs for the PCB mount. A kind with straight legs will not fit correctly through the faceplate of this amp. That’s fine, but I can’t find anyone that sells these! They do exist on the website of the manufacturer, CHK Electronics, but they don’t sell from their site. They have yet to respond to my email about where to acquire ’em. Fuck. (update: They totally responded a few days later and even offered to sell me a “small” amount… still waiting on the purchase, but go CHK for an actual customer service response! That’s better than Ampeg can say.)

Luckily, the effects loop on the front of this amp uses the same jacks, and Dan doesn’t use the effects loop. He doesn’t use effects, because he has two left feet. Literally… it’s quite freakish.

Some desoldering, a quick swap, and the amp inputs are working fine. If I ever decided to sell this amp, it’s very unlikely they’ll test the effects loop. Shhhhh…

UPDATE 2-8-2012: The amp continued to have problems, cutting treble in and out… eventually, after I tried bypassing the effects loop with a cord, I found the moved problem jacks were still causing problems. I eventually ordered the S4-1308 replacement jacks from Cliff USA and so far, so good. So what.