Baldwin-Burns Dizzy Tone...?

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Here's a mystery for the real nerds.

Back around 2011 this weird pedal popped up on the internet that had the enclosure and graphics of an Elka Dizzy Tone, but also the "B" logo used by Baldwin-Burns, and contained the circuit of a Buzzaround!

As it turned out it was owned by an old friend of the blog (a very difficult to track down friend), who probably has the best fuzz collection in the world. At the time we had a few long discussions about the mysterious "Burns Dizzytone", but unfortunately never discovered any kind of definitive story behind its origin or reason for its existence. 🤔

Well it's been over 10 years now, and we're still about exactly where we left off. So I figured it was time to throw it up on the blog and see what happens...

There has always been a rumored connection between Elka and the Buzzaround; with the Dizzytone essentially being an Italian copy of the British fuzz (most likely brought to Italy by Gary Hurst while he was working for Elka... but that has never been confirmed). 

So with this pedal, we see a literal Buzzaround circuit inside of a Dizzytone enclosure, but what are we actually seeing? 

Is it a mockup or prototype enclosure that they used for demonstration purposes? Is it evidence of a partnership between the two brands that ultimately fell through? Is it simply a rehoused Buzzaround that someone made at home? Or is it some crazy fourth option we haven't even considered yet?

Adding to the weirdness, the enclosure isn't quite the same dimensions of an Elka Dizzytone and it's heavier/thicker, but it's clearly the same shape! And it obviously says "Dizzy Tone" right where it should...

So what's the deal with this thing, and what does it tell us about the history of Baldwin-Burns, Elka, and possibly Gary Hurst???

These are questions that as of now will most likely remain unanswered. But I thought it would be cool to highlight this oddity and get it out there for the collective fuzz trust to stumble upon and maybe offer up some new possibilities.

So what do you think? 

Hit me up via Email or Instagram, or just leave a comment below. 

Thanks for reading, 

-ed

Royal Fuzz Box Demoooooo!

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I just stumbled on this awesome demo of the best Super Fuzz circuit ever designed... The Royal Fuzz Box!

Check it out in all its gnarly and unhinged glory//

Thanks for watching!
-ed

Electro Harmonix Pulse Modulator (1970)

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After a year and half of releasing plug-in style effects, Electro Harmonix came out with their first true stompboxes in the Spring of 1970. These were the Big Muff π, the Low Frequency Compressor, and the massive Pulse Modulator. Obviously the most popular of this trio is far and away the Big Muff, but unfortunately to the point that people tend to overlook the ingenuity and technical wizardry that went into creating the other two.

And because of this, most people are not aware that in addition to the now legendary Perfboard Big Muff, both the v1 Low Frequency Compressor and the v1 Pulse Modulator also featured circuits built on perfboard!

In the ocean of wild and ridiculous effects that Electro Harmonix has produced in the last 50+ years, the Pulse Modulator is right up there with craziest...

So what is it?

Well in a simple explanation, it's a pedal with 3 separate tremolos that allow you to control the speed and volume of each individually. It also features a boost circuit, that I assume is somewhat similar to the LPB-1(?). 

When it comes to the tremolo, it's considered a pulsewave, which is essentially a non-linear squarewave (on/off) style. And if you engage all three at different speeds, you can imagine how chaotic this would get; with cascading pulses creating mind-melting patterns and wild polyrhythms!

So the design itself was a bit ahead of its time (or maybe it was perfectly OF its psychedelic time), because in just two short years the Pulse Mod was no longer being sold by ehx.

Even though it didn't do well, the Pulse Mod surprisingly saw two brief spin-offs with the Stereo Pulse Modulator and wildly misnamed Hare Lip Microphone Echo.

All three of these effects were super weird, and would essentially set the stage for the type of experimentation that Electro Harmonix and Mike Matthews would become known for.

While it hasn't been 100% confirmed, I do believe the Pulse Mod was conceptualized by Matthews and designed by Bob Myer (who also invented the Big Muff).

When looking inside, it seems very likely that the two pedals were created around the same time. And you even see some of the same exact parts that were used in both; certain very specific capacitors and resistors can be found.

And while they both have the same 1966 date codes that you typically find in all early ehx pedals, the real clue lies in the CTS brand on/off potentiometer that's dated to the 22nd week of 1970 (which again you will find in many perfboard Muffs).

For vintage pedal nerds the Pulse Modulator wasn't seen as very collectible for a long period of time. More often it was simply a cheap(ish) way to harvest a stash of  knobs for Triangle Muffs!

But the rarity of these, and the fact that they were made for a very short (and very early) period in Electro Harmonix history, is finally starting to be realized.

So while you may have a hard time finding a perfboard version, I do recommend tracking down a Pulse Mod for history-sake, as they signal the beginning of Electro Harmonix' legacy of innovative boldness.

thanks for reading!

-ed

LIMMCO / Bob Seidman Interview

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One of the forgotten heroes of 60s effects pedals was a distribution and wholesale company based out of Hicksville, NY called LIMMCO (Long Island Musical Merchandise Company).  Since the mid-60s Bob Seidman, the owner, not only lead the way in disseminating East Coast-based guitar gear, but he appears to be the main connection between brands like Applied, Nomad, Kimberly, UMI, Guild, Goya, and so-on.

In addition to this monumental contribution, Seidman was also one of the first, if not THE first person from the US  to go over to Japan and set up a musical instrument business relationship between the two countries; which would eventually lead to the 60s Japanese import boom!

There is a great interview with Bob Seidman over at the NAMM "Oral Histories" page, and I would highly recommend checking out the full video:

WATCH INTERVIEW HERE <<<

Additionally, there is an unfortunate lack of information about LIMMCO currently online. And since I believe Seidman to be a pivotal player in the early effects world, I would love to find out more about him and his company! 

So if you happen to have anything at all related to LIMMCO; a catalog, old advertisements, a personal story, etc. please reach out to me via Email or Instagram. I would love to help put together the story of this mysteriously important part of rock history.

thanks for reading!
-ed

How To Read Shin-Ei Date Codes

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If you've ever owned one of the endless amounts of Shin-ei built pedals, then you've probably seen a cryptic circular stamp with odd letters and numbers somewhere on the bottom plate. They tend to come in varying sizes and somewhat different layouts. And if you don't know what you're looking at, it can be very tempting to just disregard this stamp altogether. But it's precisely this confusion that has lead pedal enthusiasts to incorrectly date these legendary stompboxes for at least two decades now...

So today I think it would be helpful to go through the history of Shin-ei date stamps, and how to decipher what they actually mean...

To start off we need to understand why these numbers are not formatted using the typical Gregorian calendar. And the best way to think about it, is that in Japan the date is based on the reign of the current emperor (*to really just reduce it down for the sake of this article...). 

So from 1926-1989 this was the period of Emperor Shōwa. Which would mean that 1926 is year 1, and then you simply count up from there.

But don't worry, I got you! I made this little chart with a date range you could possibly find on vintage Japanese pedals:

Now in addition to simply knowing how to read these numbers, Shin-ei also used different stamps at different periods. And I have taken a stupid amount of time to go through literally hundreds of photos and figure out which stamp style came out when.

So let's get into it!

The earliest stamp I have found (so far) is from March of 1970. Which makes sense because the end of 1969 saw Shin-ei go through a huge change and expansion. Honey had just gone out of business, Univox seemed to cancel a large portion of their contract, and "Companion", Shin-ei's house brand, was just getting going. And even though they had been manufacturing pedals since 1967, I believe it wasn't until early 1970 when they started using date stamps.

These early stamps were much smaller, and simply had the "SM" "NO" labeling with the Shōwa year and month codes (sometimes in both English and Japanese):

This format was used for nearly two years, until January of 1972 when we would see our first big stamp. *as of now I have yet to find a small stamp dated after December 1971 (46.12), or a large stamp dated before January 1972.

This new stamp did away with the Shōwa formatting, and instead used a Gregorian dating style. I can only assume this decision was made because of the large amount of US brands that had contracts with Shin-ei?

This new format combined the "SM" and "NO" into a single line, and added the Companion logo. The below example can be read as "January of 1973":

This new style though, lasted only a single year. And by March of 1973 the date stamp we are most familiar with came into existence.

It was the same size and followed roughly the same format, with two major exceptions; they went back to the Shōwa dating, and altered the logo to say "Shin-ei, Companion". 

This change came about as the company was going through yet another rebranding period. And in January of 1973 we would see the first "Shin-ei, Companion" labeled effects. *interestingly, for two months there was a small cross-over of the previous "Companion" stamps on products with the new "Shin-ei, Companion" labeling. 

This stamp style stayed with Shin-ei until the very end, lasting around 5 years in total. It is by far the most common version you will come across.

One thing to note is that from 1973 to 1975 there seems to be no "Companion" labeled products. But for some reason Shin-ei decided to bring it back, and for a while was simultaneously making effects under both brandings.

Finally, and I wouldn't be doing my job if I didn't mention this, but as of now I have only found one stamp like what you see below. It appears to be from May 31st of 1976!? But I have not encountered any other stamps like this, with exact days on them (yet). I have seen stamps just before this, and the one above which is only 3 months later, and neither include the exact date... So maybe this was a funky thing they were trying out for a minute, or maybe it was for a specific brand or style?  (this is on a Shin-ei labed FY-6, for reference). So who knows? But yeah, this is the only other variation I have come across. *please excuse the blurriness

I know some of you are probably reading this and (hopefully) are excited that you can now accurately date your pedals. 

But I also know that more of you are being hit with the realization that your "1968 Shin-ei FY-6" was actually made in 1974... 

And that's ok! It doesn't make it any less cool. I promise. The shroud of mystery that looms over Shin-ei is still very dark, and there's literal tons of information we do not yet know (like who actually invented the Super Fuzz?). But as we dig deeper and deeper, and utilize our collective wisdom, we can continue to inch closer to the truth.

So that all being said, I am trying to catalog as many Shin-ei pedals as possible in order to figure out an even more accurate timeline, and to help uncover the still many mysteries with this brand. If you feel compelled, please reach out via Email or Instagram and tell me about your Shin-ei pedal! I'm most interested in the Super Fuzz and FY-2 timelines, but literally any info related to Shin-ei, Honey, Univox will help get us all closer to the true history of this iconic brand.

thanks for reading! 

-ed

Peak Bell Fuzz Tone Box (Mexico's FY-2)

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One of my favorite nerdy pedal things to do is discover vintage effects that existed outside of the Big 5; USA, Japan, UK, Italy, and the Soviet Union. I can almost guarantee that the vast majority of pre-1980 stompboxes in your collection are from one of these 5 places...

But as you begin to dig deeper, you realize that by the mid-70s, rock n' roll had become (almost) completely worldwide, and that every country seemed to have their own version of the most popular effects of the day. 

That brings us to, I'm totally guessing here, late-70s Mexico, where we get our first in a series of Shin-ei FY-2 clones; The Peak Bell-2 Fuzz Tone Box was an almost exact replica of the Shin-ei in looks and build, with just minor part value adjustments.

The story I typically hear from people who grew up outside of the "Big 5" was that the most popular pedals were near impossible to find (and impossible to pay for). So instead the local electronics guru would create his own version and inadvertently, a new pedal brand in the process!

"PEAK" seems to be such a brand, and they really just nailed it! The enclosure is a bit different in size, but otherwise it's spot-on to the original. And in fact I actually love the labeling on the front plate. The FUZZ TONE BOX is pretty aggressive, and let's you know exactly what you're in for.

A short time later two more FY-2 copies made their way to the market, the Suzuki Fuzz and the Sona Tone. Both had the classic name plate and were a similar build style to the PEAK fuzz. 

It's very likely that this was some sort of OEM situation. Which is kind of wild if you think about it; a Mexican company that not only copies a Japanese pedal, but then goes one step further and copies their whole business model!

So after this, I'm guessing some time in the 80's, two more Mexican FY-2 copies showed up; the Takeuchi Fuzz and an updated version of the Suzuki Fuzz. They appear to be made by the same builder of the PEAK, as they're all extremely similar.

The obvious, and main difference is the missing name plate. But also the switch type, paint style, and the labeling on the side went from Spanish to English.

Now one rumor floating around is that these were actually made by Shin-ei, in Japan, for a Mexican market. But as of now, there is nothing I have seen that confirms anything close to that.

Every component, every switch, every pot, the knobs; none of it is remotely similar to those used in Shin-ei FY-2's. And while someone could point out that a few Japanese parts are in there; during the 70s and 80s it was not uncommon for builders, from any country, to order bulk electronics directly from Japan.

Surprisingly there are a few online demos of these rare birds. So I will leave you with this one of the PEAK Bell-2 Fuzz Tone Box, from user, ganchohomero.

enjoy!

Thanks for reading,

-ed