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Caline CP-17 Time Space Digital Delay Guitar Effect Pedal

£12.995£25.99Clearance
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The other way around – fuzz into wah – produces a much more pronounced and consistent tone and since the guitar is connected directly to the fuzz input, all of the fabled Fuzz Face interaction with the guitar volume is available. However some players feel the effect of the Wah is then too exaggerated and that the low end of the guitar sound is lost. Otherwise some of the pedals have Level controls and some don’t. Usually pedal level controls are used to set the level, when the pedal is engaged using the foot switch, to be equivalent to the volume level when the pedal is bypassed. Level controls are often found on distortion and fuzz pedals because the apparent volume of pedal output is significantly affected by the settings of the distortion controls. Other pedals such as tremolo or delay may not have level controls because it is assumed that the various settings of the pedal controls will not affect the apparent volume. Flat – this button is of more use to guitarists, as it allows flattening the tuning in one semitone steps by up to three semitones. A number of famous players, Jimi Hendrix and Stevie Ray Vaughan for example, achieved their signature tones by tuning down a half step. Range– a six way rotary range switch that switches in different values for the resonating capacitor The bypass foot switch is a ‘true’, fully mechanical bypass and cuts the echo effect off dead, rather than allowing echo trails.

We ship everywhere! To Canada, Mexico, Latin America, Europe, Asia, the Middle East and many more countries. For an effect that produces a simple cyclic change in volume it is surprisingly atmospheric and effective. This board was built for a client with no previous experience of foot pedal effects and who therefore had no existing pedals to incorporate. The brief for this pedal board was to build something that provided a basic range of effects for the lowest possible price.

Acoustic Guitar Repair

The original Cry Baby circuit has particular characteristics, that many later introductions, such as the Morley Wah, do not have. The Cry Baby circuit uses an tuned circuit composed of an inductor and a capacitor. At its lowest point in the frequency sweep this circuit has relatively high Q – it produces a sharp peak in the response. It also produces some distortion. As the Wah treadle is depressed to sweep up to the highest frequencies the Q is reduced – the response opens out, and distortion is reduced. I bought my first one of these delays because it was so cheap, the clarity of the delay impressed me so much that I bought the others to use as echo presets. I gave one to a doctor friend who has tons of expensive synthesizers, he was quite impressed and uses it regularly on a pricey Moog.

Usual settings for a Fuzz Face are Fuzz at maximum (and in the case of this pedal, Tone at maximum) and set Level to balance with the bypassed volume. Overall volume from this pedal board can be controlled by the volume pedal. The volume pedal is wired just before the delay pedal so that any delay trails will still be audible after the signal has been shut off by the volume pedal. Fine – the Fine control (the rearmost on the side of the pedal) fine tunes the upper limit (toe down) of the wah sweep. Used in conjunction with the Range control the user can fine tune the lower and upper points of the wah sweep. Examples – Very short delays with some repeat level sound a lot like reverb. With high repeat settings you get strange, spring-like, boinging sounds. If we assume that the aim of the circuit is for the collector of output transistor to be biased at around one half the supply voltage (around 4.5V or actually a little higher to allow for drop across the output transistor an its emitter resistor) to produce something close to square wave clipping, then the only way to make sure of this is to fit a trimmer and adjust it so that the individual Fuzz Face is biased to just above 4.5V for the most symmetrical square wave. This is something that even now the manufacturers do not do.Fortunately the Behringer HB01 Wah is active buffered bypass and the Zoom is downstream of the wah, so there should be no loading problems from the 100K pot in the Zoom. Looking at the ‘official’ Boss schematic for the TR-2 it shows Rate as 100K lin, Wave as 100K log and Depth as 100K lin, which is weird. It may be that this schematic is wrong and that the ‘modders’ have simply been copying this error. Pitch– repeated depressions of the Pitch button cycles between 440 to 445 and then 436 to 439 Hz in one Hz steps. These steps are indicated on the tuners display by the numbers 0 to 5 and then 6 to 9. Although the ‘standard’ concert pitch is A 440 small variations in this ‘standard’ are still in use around the world. Most guitarists would use A 440. The Caline Puffer Fuzz is a slightly modified Fuzz Face circuit using silicon transistors. I had to modify it myself by adding a bias trimmer to get it to work properly. It has three controls and a mechanical true bypass footswitch. The controls are; The Chord CPT-01 Chromatic Guitar Tuner has two outputs, one labelled Output, is muted when the tuner is engaged, the other labelled Bypass, is not. Both outputs go to true mechanical bypass when the tuner is not engaged.

Q – the Q (Q is a radio term and stands for Quality of a tuned circuit) control, the middle of the three on the left side of the pedal, sets how pronounced or narrow the filter peak is. Modifications – This copy of the Boss TR-2 tremolo, which has TRM-557 Rev A 2009,06,17 printed on the PCB, has appeared under various brands such as Rogue and Crossfire apparently has a persistent assembly fault. Users complain that the Depth control doesn’t seem to do much at the low end of its rotation and the effect of the Wave control is also restricted so that all the action is in the first part of the rotation. The apparent cause is that one of the two controls is linear and the other log and they have been fitted in the wrong positions. You would expect that the Rate and Wave controls would be linear pots and the Depth would be log. That is how the pots in the Belcat are configured so they shouldn’t need changing. Behringer provide few technical details so all specifications shown here are from the Dunlop DB-01 Dimebag Cry Baby From Hell, although mostly confirmed against the Behringer circuit diagram – The effects chosen were – a Chord Tuner CPT-01, a Behringer Hellbabe Wah, a Zoom expression Volume, a Caline Puffer Fuzz, a JOYO JF1 Overdrive, a Belcat Tremolo and a Caline Time Space Echo Delay. The majority of these are budget Chinese pedals, copies of industry standards. For example the Fuzz is a copy of a silicon Fuzz Face, the Overdrive is a copy of the Tube Screamer and the German designed / Chinese made Wah Wah is based on the Dunlop Dime Cry Baby from Hell. Some of these pedals were modified to improve their performance. I extended the triangle cut out to 6mm in length, while maintaining the general triangular shape and now get a really full range of sweep from the pedal.Another foot pedal effect from the late 60’s, the Wah Wah swings in and out of fashion, but is an instantly recognisable tone. Fuzz pedals produce heavy clipping, reducing note dynamics, but greatly increasing sustain. One of the earliest transistor based foot pedal effects, they became popular in the 1960’s and have remained in use as a signature electric guitar tone ever since. They are often used with a Wah Wah pedal. These two pedals formed the basis of Jimi Hendrix’s tone as later copied by Eric Clapton and numerous other guitarists. A feature of the Fuzz Face is that it interacts with the guitars volume control making it possible to go from full on Fuzz to an almost clean tone, just by turning down the guitar volume. The Caline design is probably a copy of an early Wampler delay and like many current delay pedals, is based around the Princeton Technology Corp. PT2399, a CMOS digital audio echo chip, supported by a SA571D compandor. The compandor helps to reduce noise, which increases as the delay time is increased. The longest delay time is 600mS, roughly twice the delay the manufacturers of the PT2399 show for their example circuit, which does not have a compandor. A JRC4558 bipolar input dual op-amp is used for the input and output buffering. All three controls are 50K linear. There are no trimmers inside and most components are surface mounted. The pedal does have room for a battery and has a battery clip, but the current drain is 22mA for the PT2399 alone, so a 9V battery won’t last long. When combined with reverb, a delay allows simulation of a wide range of natural spaces from a claustrophobic small room to a huge cathedral. Using the delay you can set the first reflection time while the reverb provides the following diffuse reflections. Delay and reverberation give the electric guitar sound a sense of ambient acoustic space. Meta Platforms Ireland Ltd. is a subsidiary of Meta Platforms, Inc. based in the USA. It cannot be ruled out that your data collected by Facebook will also be transmitted to the USA.

The JOYO JF1 overdrive is a copy of the Ibanez Tube Screamer. The Tube Screamer doesn’t produce as extreme a clipping distortion as a Fuzz pedal and can be adjusted from a light rhythm crunch to a heavier lead tone. It maintains some of the input note dynamics and as well as the distortion, it introduces a mild mid boost. It was originally intended to mimic the effects of over driving a valve guitar amplifier. It has three controls and a mechanical ‘true’ bypass foot switch (original Ibanez Tube Screamer’s use electronic bypass switching) – Physically it makes sense to put the Volume next to the Wah making it easy to shift the foot from one treadle to the other. The Tuner is set forwards of the Wah to allow access to the side mounted boost switch. The Caline Time Space Echo Delay is a digital delay pedal with high end filtering on the delay regeneration, so that successive repeats become more muffled, in imitation of the old tape based echo units. Echo and reverberation in natural spaces also tend to lose high end so this type of delay sounds more realistic. Some of the earlier digital delays were/are too crisp. Unlike some delays pedals, which attempt emulation of tape delay mechanical wow and flutter, the Time Space Delay does not have delay time modulation.Boost – a side push switch for up to +12dB clean boost after the wah (this boost is active only when the wah is active), the amount of boost is set by the forward control on the left side of the pedal. When boost is activated the Yellow LED at the heel end of the pedals lights. Modifications– Out of the box the Behringer HB01 had very poor control characteristics. The auto-on switching was very choppy and the usable wah range was compressed into the final few degrees at the toe down position. Tremolo is one of the oldest effects and, apart from the very early electro-mechanical DeArmond tremolo, was often built in to guitar amplifiers of the 1960s and still is today. A traditional style Fuzz (like a Fuzz Face) only works correctly if a passive guitar is connected directly to its input. In this pedal board the Fuzz is connected after the Tuner. When the Tuner is bypassed the guitar will be connected directly to the Fuzz. It’s maybe best quality is that it’s a solid chunk of steel, feels like you could drop it off a building and she would still work.

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