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Corona Jet Flanger circuit

Started by StephenGiles, August 04, 2007, 03:16:37 AM

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StephenGiles

August 04, 2007, 03:16:37 AM
This has been posted over at Effektgerate - looks interesting, but a German forum.

http://forum.musikding.de/yabbse/index.php?topic=10268.0
"I want my meat burned, like St Joan. Bring me pickles and vicious mustards to pierce the tongue like Cardigan's Lancers.".

StephenGiles

#1
August 04, 2007, 06:09:10 AM
"I want my meat burned, like St Joan. Bring me pickles and vicious mustards to pierce the tongue like Cardigan's Lancers.".

StephenGiles

#2
August 04, 2007, 08:29:40 AM
LM339, 4013 and an MC151 - never heard of it! It may be the way that it's drawn but either the clock circuit is different, or a pinch from the standard Electric Mistress!
"I want my meat burned, like St Joan. Bring me pickles and vicious mustards to pierce the tongue like Cardigan's Lancers.".

Bernardduur

#3
August 04, 2007, 08:45:13 AM
Cool!

A long time ago I had a Coron (!) one and it was a HUGE pedal next to sounding great!
Am learning something new every day here

SquareLight | MySpace account

Dragonfly

#4
August 04, 2007, 10:52:33 AM
"Saved" to look at later !

Thanks Stephen ! :)

StephenGiles

#5
August 05, 2007, 04:18:52 AM
Has anyone built this yet? ::)
"I want my meat burned, like St Joan. Bring me pickles and vicious mustards to pierce the tongue like Cardigan's Lancers.".

StephenGiles

#6
August 11, 2007, 02:24:10 PM
No other interest, comments, pontification, ethics, "I want one now!" etc..... ;)
"I want my meat burned, like St Joan. Bring me pickles and vicious mustards to pierce the tongue like Cardigan's Lancers.".

Zero the hero

#7
August 12, 2007, 10:18:29 AM Last Edit: August 12, 2007, 10:21:57 AM by Zero the hero
Stephen, this one doesn't fuzz!  ;)

EDIT: face added.

Mark Hammer

#8
August 12, 2007, 12:59:08 PM
Buy one today!  If you act now, we'll throw in a Distortion+ for absolutely free!

Actually, what's interesting is that this could qualify as a dual pedal.  The onboard distortion circuit does not appear to be directly accessible on its own, but it could be.  The lesson to be gleaned from this circuit is that anything that provides filtering-based effects, whether through time-modulation or just plain old vanilla analog filters, sounds "better" when there is more harmonic content to filter out.  That was the basis of the Roland Jet Phaser, the basis of this pedal, and one of the reasons why demonstrations of phasers and flangers always sound absolutely amazing when you use broadband noise as your signal source...and then things somehow don't sound that mind-boggling when you get the pedal home and plug your lowly guitar into it.

Zero the hero

#9
August 12, 2007, 01:45:10 PM
While reading your post, the sound sample of white noise passing through "The pipe" popped into my mind!
That phase shift seemed so pronounced; I never thought to use a noise generator with a flanger, though...

Mark Hammer

#10
August 13, 2007, 03:00:32 PM
For at least a decade, I have been flogging the idea of guitar effects being classifiable into "additive" vs "subtractive" synthesis.  The classic example of additive synthesis is the old CMI Fairlight, where one could literally build a waveform almost like a Fourier transform in reverse by specifying what happened to individual harmonics over time.  In many respects, ye olde fuzzbox IS a form of additive synthesis in which the harmonic content is essentially specified by how we pick and the circuit settings.

Subtractive synthesis was the basis for the earliest analog synthesizers.  The basic premise was that you start out with a harmonically rich waveform and you carve away what you don't want.  The carving would be done with static/fixed filters but was also done with filters that shaped harmonic content over time by means of ADSR generators controling the filters.  Later in the 70's, we saw the emergence of analog additive synthesis in the form of waveshapers and waveform "animators" that would add harmonic content over time under voltage control.  In some respects, even some digital-sample synths fall into the subtractive synthesis category by starting out with harmonically-rich digital samples that are then shaped and carved via filters.

Flangers and phasers are a form of subtractive synthesis in that they remove harmonic content, or at least attenutate it in ways that gve new character to the original audio signal.  In the same way that feeding a pure sine wave through a voltage controlled filter is not nearly as interesting as feeding a square or sawtooth wave through the same filtering, feeding a plain vanilla guitar signal through a flanger is not nearly as interesting as feeding a distorted guitar through the same flanger, largely because it provides more to carve away.  It is no small surprise, then, that many of the "classic" flanging sounds that make us all want to rush out and buy/build/borrow/steal one almost always involve extreme wide-bandwidth sounds, often multiple instruments mixed down into a single track.  Even when such mixed tracks are clean, clean, clean, the harmonic richness and the extended frequency range provided by that multi-source signal yield something "carvable", just like a fuzz guitar.....or broadband noise.
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