#124408  by Rick Turner
When it was a three pickup guitar, I was running a "stereo" pedal board so I could have neck and bridge on one set of effects and the middle pickup on another. The effects in those days were pretty limited; I had a couple of different fuzz tones, a wah-wah pedal, a Vox treble booster, and around the end of it all I had a German Echolette...tape delay unit. Then it went back to mono via two inputs on the amp, though I could have split it to two amps. I'll probably do something similar with Peanut 1.1, the one I'll keep.

In the Jerry days, it just had straight-forward neck/both/bridge wiring...nothing fancy, no on-board electronics.

Not sure whether I'll buffer/preamp #1.1, but I'm leaning toward it.

I won't have it done for my SXSW gig, but I'll get it started in the next week or so.
 #124409  by mijknahs
Some type of buffer/booster is useful for onboard electronics. Even better if it has a on/off switch.
 #124410  by Rick Turner
Yes, I do know that about active electronics!

At one point in early 1968 I had a couple of small effects boxes strapped onto the Peanut and wired in. One was a Vox Treble Booster ( Trouble booster? http://www.youtube.com/watch?v=LtOD6WMiryQ ) and the other was a BossTone fuzz ( http://tonemachines.blogspot.com/2011/1 ... -1967.html ). So for a few months at least, the original Peanut was an "active" guitar...pre-Alembic...

I would certainly not claim it to be the first active guitar, but I don't know what was...maybe something of Les Paul's?...but all that I saw of his was outboard electronics and low Z pickups on board. Baldwin had their active piezo buffer for the nylon string guitars in the early 1960s followed quickly by Gibson. Some nut probably put a tube preamp in a guitar in the 1930s or '40s...and ran 110 AC up to it...
 #124412  by mijknahs
I know you're totally familiar with the use of active electronics going back to the 1960s. I'm just sayin that a booster would be pretty cool as opposed to just a unity gain buffer if you're still deciding whether or not to have active electronics in 1.1. Especially if you could control when to use the boost with a switch. But then I guess you would not have active electronics if the switch was off...unless you had a buffer (always on) plus a booster/blaster (controlled with a switch).
 #124422  by Rick Turner
My pals at Duncan have a great circuit, "the Firestorm" which can be switched in and out and has a gain control. I put one in a simplified Model 1 at one point, and it was great. Might just go with that. I will put push/pull pots in for coil cutting.
 #124434  by TI4-1009
I had a Vox treble booster- back in the mid-60's? I remember it was a noisy sucker- hissed like a box of snakes! Then if you wanted to use it for solo boost you had to reach down and flip the switch on it! We've come a long way, baby...
 #125543  by jenkins
Cool idea for the stereo pedal board running different effects for different pickups, that's pretty badass.
What kind of effects are you going to be using on the reissue you make for yourself?
It's a very interesting idea.
 #125544  by Rick Turner
I'll have to drag out the pedal board for a full rundown of the mono chain I have right now, but a couple of my faves are the Guyatone optical tremolo and the Neo Ventilator Leslie emulator.

Just played SXSW with the mono rig with a Model 1 and one of my Renaissance baritone 12 string guitars.
 #125548  by Rick Turner
OK, current pedal board, left to right, upper row, lower row

Danelectro "Reel Echo" (not so useful at this time)
Duncan Twin Tube (quite wonderful)
Guyatone Optical Tremolo (sounds fantastic, sometimes forgets who it is, maybe better for studio)

Nobels ODR-1 Overdrive (using it for just over the edge crunch leads...sounds great)
Neo Ventilator (sounds fantastic)
Nunaber Chroma Chorus (love it used fairly subtly)
EBS Multi Comp compressor (yeah...have to use it subtly, but good)

Looking for smoother compressor. Probably need both a good simple trem for a smaller setup as well as a good spring reverb simulator. One of the issues here at SXSW was using unfamiliar amps and not being able to count on the great reverb and trem that are built into my Vibro King, so I need to be able to deal with those effects separate from the amp itself just to cover the real world.

Still not sure of going back to "real" two channel, commonly known as "stereo", other than for recording. It makes for a lot of freakin' gear to schlep for a guy who got used to showing up in the past few years with nothing more than a tenor ukulele...
 #125775  by Grant
tcsned wrote:
rugger wrote:http://www.strymon.net/products/flint/

trem and verb in one pedal.

john in san diego
+1 I messed with the El Capistan tape delay a few weeks ago and those guys make some awesome stuff.
Yeah the El Capistan is an EXCELLENT pedal. It's next on my list to buy
 #126794  by pablomago

That's the craziest thing I can imagine. But I love it. A peanut reissue.

You might check out the Barber Tone Press Compressor. It has a blend control to mix in your non-compressed signal.

Is your shop still in Santa Cruz? Next time I get to CA, I'll take you to lunch. It's been a long time since the sound workshop at Telluride.

-Paul Honeycutt