fiery red horse
saturated & starved fuzz

Overview

Technical

Demos

 

The Fiery Red Horse fuzz pedal delivers vintage fuzz pedal sounds but also boasts modern updates. The active Baxandall tone stack adds a huge range of tonal variations without the volume drop inherent to passive EQ designs. Our variable HCC technology allows you to produce everything from super-saturated and sustained lead tones to dynamic fuzz-stortion that cleans up nicely with your guitar’s volume knob. The POWER control simulates a dying battery; set it to noon for velvety saturation, or pull it all the way back for sweet gated fuzz tones.

LEVEL:

 

SUSTAIN:

 

COMP:

 

 

 

 

POWER:

 

 

 

 

BASS:

 

TREBLE:

 

INTERNAL CONTROLS:

Sets the output volume of the Fiery Red Horse.

 

Sets the gain/sustain of the distortion stages.

 

Variable HCC circuitry sets the amount of compression/distortion & harmonic content of the distortion engine. G = asymmetrical germanium, S = symmetrical silicon

 

Sets the power feeding the distortion stages. Range = 3V up to two times the power supply used (9v becomes 18V). Lower voltages create a smoother fuzz with less dynamic range.

 

Boost or cut bass frequencies (post-gain).

 

Boost or cut treble frequencies (post-gain).

 

LED trimpot sets the brightness of the water-clear red LED light.

CHECK AVAILABILITY

DIMENSIONS:

 

 

POWER:

 

CURRENT DRAW:

 

INPUT IMPEDANCE:

Enclosure dimensions: 2.37"W x 4.37"L x 1.16"H  (60 x 111 x 29mm)

With knobs & jacks: 2.6"W x 4.4"L x 2.1"H  (66 x 111 x 53mm)

 

Industry-standard 2.1mm, negative-tip 9V to 18V power supply or 9V battery.

 

<15ma continuous, +30ma surge for 4ms during on/off switching

 

~100K-ohms

Input & Output

Clipping & Power

Tone

The details in this technical section refer to the v1 Fiery Red Horse. This section will be updated soon for the v2 circuit.

 

 

 

The input stage is a high-gain boost that feeds into cascading distortion sections. It is a medium-impedance input, which both smooths out harsh treble frequencies and makes the Fiery Red Horse more response to the guitar’s volume control. This stage uses an emitter-to-ground setup with a high gain MPSA18 transistor, making the gain range in the FRH greater than any version of the BMP.

 

 

 

 

 

 

 

The output stage provides make-up gain after the passive tone stack. The LEVEL control is a passive attenuator at the end of the circuit. The voltage fed to the transistor in this stage is controlled by the POWER control. Lower voltages lowers headroom & overall output.

Input Stage

Output Stage

 

 

The FRH has two identical cascading gain stages. The clipping diodes are arranged in the feedback loop in both transistor gain stages. The clipping diodes in these stages is controlled by the 3-way toggle switch. The S mode uses a symmetrical arrangement of 1N914 silicon diodes. The L mode uses a symmetrical arrangement of 3mm red LEDs in one stage, and a diode lift (clean boost) in the other for maximum output & greater dynamics. The A mode uses a single germanium diode in each stage, resulting in a very asymmetrical distortion that emphasizes even harmonics & retains the dynamics of the L mode.

 

 

 

 

 

 

The POWER control affects the voltage fed to the last three transistor stages, which includes both distortion stages. When the voltage is decreased, overall headroom and output decreases. Also, transistor distortion increases & diode clipping decreases. At more extreme settings, the transistor turns off when the signal falls below a certain threshold, creating a gated fuzz that opens up more easily for bass frequencies.

Clipping Stages

Power Control

 

 

 

 

 

The passive TONE stack blends between two signal paths - a high cut & a low cut. The MID control affects the cutoff frequencies of both of these high & low cut filter. When fully counterclockwise, the MID control creates a mid-scoop when blending the two signal paths with the TONE control. When fully clockwise, the MID creates a mid-hump when blending with the TONE control. However, because the amount of cut is reduced when the MID control is turned clockwise, the tonal change when turning the TONE control reduces as the MID control is increased.

Tone Stage