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The effect has somewhat more refined sound than other clones of the circuit, due to a modified tone circuit. The Maxxon Maxon OD uses the same circuit. The first edition was discontinued in The OD was available in the "0" sries from - This fuzz pedal has two octave fuzz settings, one with scooped mids and one with a really thick mid-range. The effect was discontinued in I bought an earlys Ibanez Standard Fuzz pedal, the octave fuzz with the two sliders.
I also use those green Sovtek Big Muffs on the road. Those are my favorite, the absolute best. This version moved to use NPN transistors.
These had four rubber feet on the bottom. Sola Sound made this pedal under various names, in various enclosures and for various distributors. It features one tone knob, one level knob, and one distortion knob. It can produce a thin, light, snappy distortion up to a heavy and harsh sound. The DS-1 has been used by to many artists to list.
Other users of this effect include Joe Satriani and Steve Vai. The circuit was made with one of the popular op-amps and one RC dual op-amp, though occasionally V4 Big Muffs are seen with different chips.
In , "The RAT" was being built as a custom-order product. Each pedal was built in a standard project box, hand painted, and hand drilled. By , as the pedal became more popular, Pro Co began mass producing them. The distortion is produced using a variable gain circuit with diodes shorting the output to ground to produce hard clipping of the input waveform. This distortion stage is followed by a passive tone filter and volume control. This is the same scheme as the Boss DS-1 distortion pedal, although there are major differences between the two circuits, therefore the sound of the two pedals are different.
The circuit was redesigned to use op-amps instead of 4 transistors. Unlike the transistor versions, the tone is very consistent from unit to unit. This version is loved by some and hated by others.
Power was from a 9V battery or an AC power adaptor jack. The top had to be removed to change the battery. With the bypass switched on it removes the tone circuit, making a huge, peircing distortion.
These older Big Muffs do not bypass the signal even when off. The signal still goes through and is amplified by the active op-amps, which can sometimes add a gain boost. This is the same circuit found in the Deluxe Big Muff. In fact he has plainly stated the pedal he used was an un-modded vintage american muff. The v6 is a transistor based Big Muff circuit. The tone is very similar to the V3 Big Muffs described above.
In the examples I have played and owned the tone has more bass and can sound a bit flatter and fuzzier than typical V3 Muffs. Some have the mids slightly more scooped than the V3s. This gives a raunchy, raw, and very loud tone, but lacks some of the tredemark Big Muff scooped mids character. The bass, treble, and fuzz varies slightly from unit to unit. The v6 was avaible in several different color combinations, including a reverse color imprint fo the stock muff graphics.
The overdrive and OD-II had a different, much more distorted, fuzzy circuit. This pedal uses Japanese JRC opamps.
The main change in the TS-9 circuit is in the output section. This caused the tube screamer to be a bit brighter and less "smooth". In later years the TS-9s were put together with seemingly random op-amp chips, instead of the JRC which is called for in the schematics.
Changing these opamps is the main function of the "ts-9 to " mods you see everyone offering. Produced in extremely small quantities, never found its way into the official Ibanez catalogs. This series was only made in , and did not include a tube screamer in the lineup.
All TSs and other L and 10 series pedals used cheap jacks and pots which were mounted to the boards instead of the cases. In light of this it was not uncommen for them to break and fall apart. There is also a ribbon cable inside which attaches the pot board to the main board.
This pedal is not as sought after as the 9 and models. It should be noted that this is the pedal SRV was using near the end.
Musicians who have used this effect include: It is a Big Muff transistor circuit, and all of the the later Russian Big Muffs were essentially this same pedal with different graphics. This is probably the rarest of all the Russian made Muffs due to the classic "Star" graphic on the top panel and the small number that were manufactured.
There are gold coloured boxes and silver ones, both cases sometimes carry a centaur graphic on them but not always. The circuitry inside has apparently not changed at all throughout all of the version. The effect was designed by Bill Finnegan.
The third revision BM These pedals were 9V battery operation only. A red LED light shows when the circuit is on. The circuit is not modeled after any classic fuzz design. The five knobs are named for the parameters over which they seem to have the most control.
The original pedals were mostly handbuilt and painted in Minnesota. In December of , Z. The Vexter series differs from the Handpainted version in that it has a silkscreened enclosure and a shorter warranty period.
This effectively lowers the price point, and makes both production easier for Z. Vex and allows the effect to become more accessible to musicians. The Vexter Fuzz Factory contains the same circuit as the original Fuzz Factory pedals, with the inclusion of modern touches such as an indicator LED and DC power jack for powering the fuzz with an adapter. As of August , Vexter series Z.
Amplifiers | True Vintage Guitar - Part 5
Vex pedal subassemblies are completed in Taiwan, but a large portion is still done in Minnesota. The transistors were Russian E type and these pedals were 9V battery operation only. Each position adds low end, increases volume, and actually decreases distortion. Again power was supplied from a 9V battery only and a red led shows when the circuit is on.
There are several circuit boards inside, they seem to be generic and several different effects can be built using the same boards. These have a HOT mode switch for extra distortion and volume, which is quite useable. All the boards, connectors, and cables inside add a lot of complexity and there are many things to break.
Most of the partinside are not standard so replacments may be hard to come by. The silk screened graphics were identical to the version graphics, classic red and black. The main visual change is the addition of an led. The first edition circuit board was marked ECA and used four 2N transistors.
Ei, maestro (1986) - IMDb
In the board was changed to a second edition B schematic and with BCC transistors, and in it was changed to a third edition C schematic, also with BCC transistors. The sound is slightly different for each edition. The C changed the volume pot to a k linear taper pot, though the tone and sustain pots remained k linear taper as on previous Muffs. The Muffs were not true bypass, but after all V9 Muffs were made true bypass. Two Muff Fuzz circuits in one box. It looks good, other than a slight color variance.
In fact Analog man noted a preferance to the tone of the new reissue in his comparison. The old style components were replaced with the newer micro "surface mounted" components.
The circuit is true bypass. It runs off of either a 9V battery or an industry standard 9V AC adaptor. For the first time, the AC polarity of a Big Muff was changed to standard polarity. All previous USA Muffs were reverse polarity. This meant you could use a standard Boss type AC adaptor to power it.
Circuit board is all "surface mounted" components. While the pedal was based on the Russian Big Muff circuit, it is not identical in tone to the Russians. All toggle switch settings - bass boost, norm, and dry - sound good with bass. For guitar, the normal setting sounds best, and is very close to the black Russian Big Muff tone, though not as noisy at full sustain.