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RE: foxx-tone (was King crimson stuff)



Title: RE: foxx-tone (was King crimson stuff)

>>Red? Hmm!, the one I had in the 70's was blue (maybe there was another
version or it was customized) but, I did love that thing (it still had a
slightly ugly fuzz sound) the octave thing was cool<<

a few years ago, the guitarist from brit-pop band "dodgy" presented me with one of these things, in black furry fabric over a basic tin box, and told me that ian broudie (of "the lightning seeds", and then in the producer's chair) had lent it to him and wanted it back.

so could I dismantle it and copy the essential part (the octaver) into the front-end of this EH big muff?

I hated the idea of making a hole in the pi-box, which hadn't then been "reissued" and had something of a holy status for me, but I went ahead and copied the octaver circuit from the foxx.

essentially, it's a phase-splitter. that is, the incoming waveform is amplified using a single-stage transistor amplifier, with outputs taken from both collector-side and emitter-side of the circuit. these waveforms are the same shape but 180deg out of phase. one is quite a bit smaller than the other too, as I recall.

both signals are boosted up into pretty horrible near-symmetrical rectangular waveforms and then half-wave rectified so that each positive-going half-cycle of the "original" waveform ends up "represented" twice in the output waveform.

I may still have a sketch of this somewhere....

the whole thing uses about five transistors and a few germanium diodes- I remember trying a few of these to get the right tone.

a few months later, I tried to build another one and couldn't make it work at all. the one I did get going was duly installed with an extra switch in the aforementioned big muff and was particularly good at emphasizing the higher harmonics of regular playing aswell as making played harmonics incredibly loud. so it wouldn't surprise me if mr belew used one of these to assist his technique, which (as far as I can tell from bowie and KC perfs I've seen) relies on loads of gain and a considered stance in front of carefully-arranged amps.

d.



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