jodrau's Activity

Behold! Much fuzziness is now to hand. The D*A*M Super Bee is the airborne chum and bosom buddy to the D*A*M Drag'n'fly. Small footprint, big tones, modern features and 100% unadulterated germanium bliss. The no frills approach of the Super Bee is basically an evolved version of the 'Super Bee' setting that is featured on our 1966 fuzz pedal. Corn fed and ripe for the picking the Super Bee pedal is much more capable of handling higher gain pick-up types along with modern equipment and playing styles.

The tone you will hear is a deep brick wall type of fuzz tone. It is heavy in flavour and mood but never mushy or unfocused. It is a bass heavy pedal and has all the weighty tone of a good germanium Fuzz Face but with a little more push and shove in the upper and midrange frequencies. The treble content is finely balanced therefore giving the SB-66 a little more drive and aggression than its vintage relations. As with our 1966 the roots of the Super Bee are firmly rooted with the Italian made Vox Tone Benders though the Super Bee really is squeezed it tight. I've juiced this circuit type for as much gain as is possible whilst retaining the vintage feel. When this little fellow is fully dimed out it is more than capable of moving a good amount of air whist laying down a truly old school flavour. This fuzz box will most certainly sting like a bee!

The Controls

Level - Varies the degree of output volume and upper frequency saturation.

Attack - Controls the amount of overall fuzz and sustain available. This control is best suited in use for attenuation. For best results set this dial at maximum and then decrease to a desired taste.

Fuzz Sound MKIV (used to be badged as the MKIII) Basically a pimped out version of the Tone Bender MKIII and MKIV but with more tonal scope, more muscle and packing space age features. First up, a few quick words on the differences between a Tone Bender MKIII and a MKIV. They do both use the same circuit blue print if you will but there are subtle and noticeable differences to each pedal in the tone department. Without over complicating matters, as I do what to get to the point, the Sola Sound made MKIII and the MKIV basically sound of their time. The early MKIII's sound fuzzy and choppy, later MKIV's sound smooth and distorted. Then there's a blurry line in the middle. Basically the biasing evolved to the point that the pedal became more overdriven than fuzzy. Ya know, I guess, to suit the needs of Musicnauts of the day. The FS-75 is the blurry line in the middle and some. It's not a direct replica of either but the flavour I have gone for is an all out balls to the wall, big hair, big boobs, fat cars, fast food, dirty denim, dirty hippies, 8-track stereo cranking, 3-D glasses rocking fuzz tone. To quote, its: "1970 rollin' in sight"

My freaking ears

So the tone is fat and fruity. Smooth fuzz tones bordering on the sound of a quality distortion box that I grew in a pot on the window sill. Yes, I am going to use that word...organic. It's organic. It's a pedal packing three germanium Mullard transistors and lays down a tone as greasy an as fat as a pound of butter, so I think I'm allowed. If you want a comparison, say a pedal for pedal idea of what I was aiming at here it's kinda like this. It's a nice tasty sour mash style soup made from a few sliced & diced Sola Sound MKIII & MKIV Tone Benders, a few grated Buzzarounds (remember the that one, that's related here too) all simmered on a medium heat and served up with a nice slice of Big Muff Pie. In other words. Mojo of the MKIII, the base tone and clarity of a MKIV and a Buzzaround and the go fuck yourself volume of a Big Muff.

You have unity with an original MKIV at 10 O' Clock on the Volume control, after that you have mucho boosting! Up to around 2 O'clock you have a good deal of boost with the same flavour, after that only the lords of space know. It's kinda in the ball park of the Meathead's Dirt control as it will start boosting highs and the saturation levels as it is increased. Mr.Bass player stealing your frequency? Not any more. Chop that sucker in half with your formidable clarity.

The flavour of both the original MKIII and the MKIV's with the tone control set for full treble is kinda like chewing on glass. It's fun an all but pretty useless. The treble side of the FS-75 tone control is a little more healthy shall we say. You can still get that swarm of killer bees type tone but minus the tinnitus. The bass side of this control has a little more kick also giving four string folk and lower tunings a helping hand. Past 2 O'clock on the rotation you have a little more muscle to play with over a stock MKIV.

The sustain is as you expect. Turn it up and your thing gets longer. One of my main hang ups with sound is clarity. It's easy to distort the shit out of something and get mad crazy fuzz but there is a boarder line between the two. I guess this is it. I really wanted this pedal to gel with other things so it's not totally ape shit crazy. It is a high gain fuzz, don't get me wrong. It basically stops short of that last fraction of a turn on a Buzzarounds sustain control where all the stars in space fall to earth. The FS-75 will basically stand aside a Pro MKII or say a Triangle Big Muff in the sustain department, it sings it don't scream. Though due to the fierce some volume boosting capabilities you still have the means to further push it over the edge it your really wish too.

Where to begin

Well unlike most other D*A*M pedals setting everything to noon is a good place to begin your journey. This, with most guitars and amplifiers, will give you a nice starting block. Use the pedal alone with your guitar and amp at first; do not use anything else until you get accustomed to the pedals flavour. This is a high gain germanium fuzz and has subtle layers of colouring within the tone. Let the pedal speak to you, get friendly with its ways and how it reacts to how you play. Also set out with a clean amplifier tone and at good volume levels. You don't have to have your amp crazy loud but dial in enough to give the Fuzz Sound room to breathe. This pedal is our most "modern" sounding germanium fuzz box to date but it is still of a very vintage nature. In other words, you will still have better results with low to medium output pick-ups and classic amplifiers. High gain active pick-ups and a super hi-gain modern amp might not be the best option for this pedal.

Pound for pound

What's inside? Tasty things...

1. High quality gain selected trio of genuine NOS Mullard germanium transistors.

2. Quality components and parts including BC Components metallised polyester film capacitors, SAMWHA and Vishay/BC Components Electrolytic capacitors, Arcol carbon composition resistors, Audio grade Alpha potentiometers, Bulgin style Chicken head knobs and Gold plated Neutrik audio jacks.

3. A very high quality heavy duty cast aluminium enclosure that features a super tough acrylic coating, six screw fixing and a rubber gasket sealed base plate.

4. An easy access tool free slide out battery drawer that makes battery change overs a breeze.

5. Low noise circuitry featuring the heavy use of internal shielded cable, short signal paths and single point grounding.

I know none of this is rocket science or revolutionary but just pointing out I did think about every part of this pedal and everything has its place for a reason. And yes it's a big pedal but it doesn't eat up a much room as you'd think. The internal space is well used too. Gotta let them Mullards breathe eh.

Handmade with the finest components possible for superior tone such as point-to-point military spec silver plated wiring, silver soldering, Switchcraft jacks and a heavy-duty aluminum enclosure. No buffers and no tone-sucking BS.

As small as can be made (practically at least in my book)

Black 1.5×2″, no stomp. Please let me know your choice of pot values upon order. Typical sweeps are 25k & 250k, but I’ve built 50k, 500k etc. These are small enough you can stuff em’ anywhere!

This is a BC-170 based ‘crackle ok’ circuit with tons of clean boost gain on tap. This circuit is a great buffer as well (in a left always on position) and in its closest approximation is found on many touring boards. works great as an always on pedal, for pushing tubes into saturation or for a good stomp as you leap into that epic solo! The MSB is a fantastic tool in a small size that will add flexibility to any pedal board.

I’ve had many requests to manufacture the infamous Mini Buffer for customers, so here it is! These are small enough you can stuff em’ anywhere!

Customers have been selling high end ‘name brand’ buffers in favor of the mini! so if you’re looking for a no frills buffer in a small package, look no further!

Jensen BKP 0.022uF capacitor

For over 60 years Jensen have been making hi-end capacitors. Today, they are made using a special purified mineral oil and the unique production process ensures not only a high quality capacitor but a long lasting one. Furthermore, Jensen have their own soldering process which provides minimum inductance and excellent internal electrical connection.

14mm x 25mm

For humbuckers and P90s, use our Jensen 0.022uF caps for the bridge tone.

Strats have generally used 0.015mfd caps whilst Teles have had a variety of different pot and cap combinations however we find that the majority of players prefer the roll off with a 0.022mfd cap.

Jensen BKP 0.015?fd capacitor

For over 60 years Jensen have been making hi-end capacitors. Today, they are made using a special purified mineral oil and the unique production process ensures not only a high quality capacitor but a long lasting one. Furthermore, Jensen have their own soldering process which provides minimum inductance and excellent internal electrical connection.

14mm x 25mm

For humbuckers and P90s, use our Jensen 0.015?fd caps for the neck tone.

Strats have generally used 0.015mfd caps whilst Teles have had a variety of different pot and cap combinations however we find that the majority of players prefer the roll off with a 0.022mfd cap.

Jensen BKP 0.015uF Capacitor

For over 60 years Jensen have been making hi-end capacitors. Today, they are made using a special purified mineral oil and the unique production process ensures not only a high quality capacitor but a long lasting one. Furthermore, Jensen have their own soldering process which provides minimum inductance and excellent internal electrical connection.

14mm x 25mm

For humbuckers and P90s, use our Jensen 0.015uF caps for the neck tone.

Strats have generally used 0.015mfd caps whilst Teles have had a variety of different pot and cap combinations however we find that the majority of players prefer the roll off with a 0.022mfd cap.

Jensen BKP 0.015μfd capacitor

For over 60 years Jensen have been making hi-end capacitors. Today, they are made using a special purified mineral oil and the unique production process ensures not only a high quality capacitor but a long lasting one. Furthermore, Jensen have their own soldering process which provides minimum inductance and excellent internal electrical connection.

14mm x 25mm

For humbuckers and P90s, use our Jensen 0.015μfd caps for the neck tone.

Strats have generally used 0.015mfd caps whilst Teles have had a variety of different pot and cap combinations however we find that the majority of players prefer the roll off with a 0.022mfd cap.

A true P90 single coil mounted onto a humbucker chassis. Our first humbucker-size P90 and the benchmark for all HSP90 tone.

The Mississippi Queen humbucker-size P90 was the first HSP90 made by Bare Knuckle back in 2005 and quickly rose through the ranks being used by players as varied as Adrian Legg and Matt Bellamy. Fitting into any standard humbucker cavity, the Mississippi Queen offers humbucker players a direct replacement to experience true P90 tone without hacking their guitars about.

The wide and squat coil of a P90 creates a fatter tone compared to a Strat or Tele coil while the twin magnet design gives all the power of a hot humbucker. Wound with 42AWG plain enamel wire, the bridge Mississippi Queen is powered by Alnico V magnets and the neck, Alnico IV magnets. While the bottom-end is solid and the highs really sing, it's the mid range where it's really at; all the muscle of a humbucker but a much wider frequency response allowing the mids to really breath.

Into a clean amp the tone is fat and earthy, crank up the gain and the Mississippi Queen can absolutely scream. Add plenty of head room for superb dynamic control and a calibrated neck for complete balance and you get a set of HSP90s that can cover just about anything.

Tight and punchy bass response with a smooth bite in the high-end define the voice of early '60s humbucker-driven rock'n'roll.

The Riff Raff humbucker is based on the shorter rough cast Alnico V PAFs of 1960, with a more symmetrical wind of 42 AWG plain enamel wire providing more focus in the upper-mids and brighter highs. While the same build standard and components of the other vintage humbuckers in the range apply, the Riff Raff delivers a more aggressive vintage tone and unmistakable rock voice. The bottom-end is deep but very controlled and coupled with the extra cut in the high-end, allow for plenty of snap and a classic range of organic, clean and driven tones.

Although voiced as a vintage rock humbucker, hard rock and metal players will enjoy the punchy and focused tone when used with hi-gain rigs.

It is a Jazzmaster pickup constructed like a P-90. This will fit in a standard route and requires no modification to the guitar.

A P-90 style pickup made to fit in a Jazzmaster

Here is one of my latest ideas for a Jazzmaster. It is a Jazzmaster pickup constructed like a P-90. This will fit in a standard route and requires no modification to the guitar.

Wound to vintage specs

I modeled this after my original '63 Jazzmaster pickup. It is designed to fit under vintage and reissue cover.

It is a Jazzmaster pickup constructed like a P-90. This will fit in a standard route and requires no modification to the guitar.

The Meathead. Established 2004AD. Often imitated, never surpassed. Little box, big idea. Caveman style fuzz tones for killing dinosaurs. Crank it up and hit that switch. Ka-pow! The flavour is thick and raw with a throaty woody bark. Optimum clarity and saturation are delivered with a long syrupy sustain at mountainous volumes. The bass to treble response is perfectly balanced for a heavy but dynamic fuzz tone that will project as well as it can saturate. A most excellently low background noise is achieved through careful transistor selection and biasing which further enforces the Meathead's fluid and articulate sonic capabilities.

Just the one. Even through the Meathead has only one control different tones can be achieved. As the Dirt control is increased the signal not only becomes louder but slightly more saturated. Unity with your clean tone will be reached around noon thus giving you a great deal of volume boosting and drive capabilities. Lowering the guitars volume control will make the overall tone fizzier and increase the treble response.

Start out the Dirt control set at noon and increase or decrease as necessary. The greater headroom your amplifier has the greater the amount of volume boost the Meathead will deal out. The Meathead will also respond well to dirty or driven amplifiers. Used like this the Meathead will increase in intensity as the Dirt control is increased.

The Meathead is created by using…

1. Custom finished heavy duty die cast aluminium enclosure with hand applied screen print.

2. Low noise gain selected audio grade silicon transistors.

3. Long life audio grade Alpha potentiometer.

4. 1/4 inch Neutrik audio jacks with gold plated contacts.

5. Bulgin style chicken head knob.

6. Heavy duty footswitch wiring with True Bypass switching and LED status indicator.

7. 1 % tolerance metal film resistors.

8. High grade polyester audio capacitors and long life Electrolytic capacitors.

9. 2.5% silver and 0.5% copper lead free solder.

10. Stranded tinned annealed copper core wire with compound PVC insulation.

11. Stripboard (no PCB’s here) circuit that is hand prepared with any solvents or toxic chemicals.

12. The hands and mind of a human being tuned into cosmic law.

The Meathead. Established 2004AD. Often imitated, never surpassed. Little box, big idea. Caveman style fuzz tones for killing dinosaurs. Crank it up and hit that switch. Ka-pow! The flavour is thick and raw with a throaty woody bark. Optimum clarity and saturation are delivered with a long syrupy sustain at mountainous volumes. The bass to treble response is perfectly balanced for a heavy but dynamic fuzz tone that will project as well as it can saturate. A most excellently low background noise is achieved through careful transistor selection and biasing which further enforces the Meathead's fluid and articulate sonic capabilities.

Control

Just the one. Even through the Meathead has only one control different tones can be achieved. As the Dirt control is increased the signal not only becomes louder but slightly more saturated. Unity with your clean tone will be reached around noon thus giving you a great deal of volume boosting and drive capabilities. Lowering the guitars volume control will make the overall tone fizzier and increase the treble response.

Start out the Dirt control set at noon and increase or decrease as necessary. The greater headroom your amplifier has the greater the amount of volume boost the Meathead will deal out. The Meathead will also respond well to dirty or driven amplifiers. Used like this the Meathead will increase in intensity as the Dirt control is increased.

The Meathead is created by using…

1. Custom finished heavy duty die cast aluminium enclosure with hand applied screen print.

2. Low noise gain selected audio grade silicon transistors.

3. Long life audio grade Alpha potentiometer.

4. 1/4 inch Neutrik audio jacks with gold plated contacts.

5. Bulgin style chicken head knob.

6. Heavy duty footswitch wiring with True Bypass switching and LED status indicator.

7. 1 % tolerance metal film resistors.

8. High grade polyester audio capacitors and long life Electrolytic capacitors.

9. 2.5% silver and 0.5% copper lead free solder.

10. Stranded tinned annealed copper core wire with compound PVC insulation.

11. Stripboard (no PCB’s here) circuit that is hand prepared with any solvents or toxic chemicals.

12. The hands and mind of a human being tuned into cosmic law.

Red Rooster - Germanium Booster. Want to drive your valve amplifier into natural overdrive? Create valve overload at low volume settings? Need a treble booster, a bass booster, and a multi purpose full frequency old school flavoured solo booster? Biggty Bam! Check out the D*A*M Red Rooster. Does all of the above and some. Works wonders in zinging up muddy sounding fuzz boxes and will make weak or low output guitar pick-ups warmer, more dynamic and fuller bodied.

The reason for being. Two words. One name. Tony Iommi. That's kinda why this pedal exists. I like Black Sabbath...a lot. I heard years ago Tony used to use this crusty old effect from the early 1960's called the Dallas Rangemaster. The Rangemaster was a treble booster that came in a funky little folded steel desk top style enclosure. It had no footswitch or any means to control the frequency, just had a single control pot for the amount volume boost. Original Rangemasters are very scarce at the best of times, cost an absolute bloody fortune and are, to be honest, usually in need of some improvement for use in a modern day scenario.

So one of the rumours I heard about Tony's original Rangemaster was that is was modified. Modified to do what I did not know. Kinda made sense to me that more gain and a tunable filter or frequency control would be smart way of getting me into the sonic realms of the dark master. I made my simple improvements (circa 2003) on the original circuit and built them into a sexy little red box. Enter the Red Rooster and its plan:

1. True bypass switching. The Rooster is totally removed from the guitars signal when in bypass mode, it will not bleed through and dull your guitars original tone.

2. Features a 'Range' control so treble, full range and bass boost can be acquired. It also means it is well suited to either single coil or humbucking pick-ups of varying output and gain levels.

3. Uses a specially selected and tested high grade Mullard germanium transistor. Usually an OC71 or an OC45.

4. Adjustable biasing so that the germanium transistor is correctly set up to produce a bold, clear dynamic tone with a good amount of sustain.

5. Low noise circuitry using high grade Ero Vishay film capacitors, BC components Electrolytic capacitors and 1% tolerance metal film resistors.

6. A heavy duty cast aluminium enclosure finished in a highly durable powder coated paint job.

7. High quality passive components such as audio grade Omeg potentiometers, Daka-Ware control knobs and Neutrik jack sockets.

Range - makes the unit capable of producing crystal clear shimmering highs to a fat grunting wall of bass.

Boost - sets the overall output and gain levels. Pushing it up past half way makes things a lot more hairy and really shoves that valve amp into overdrive.

Red Rooster - Germanium Booster. Want to drive your valve amplifier into natural overdrive? Create valve overload at low volume settings? Need a treble booster, a bass booster, and a multi purpose full frequency old school flavoured solo booster? Biggty Bam! Check out the D*A*M Red Rooster. Does all of the above and some. Works wonders in zinging up muddy sounding fuzz boxes and will make weak or low output guitar pick-ups warmer, more dynamic and fuller bodied.

The reason for being. Two words. One name. Tony Iommi. That's kinda why this pedal exists. I like Black Sabbath...a lot. I heard years ago Tony used to use this crusty old effect from the early 1960's called the Dallas Rangemaster. The Rangemaster was a treble booster that came in a funky little folded steel desk top style enclosure. It had no footswitch or any means to control the frequency, just had a single control pot for the amount volume boost. Original Rangemasters are very scarce at the best of times, cost an absolute bloody fortune and are, to be honest, usually in need of some improvement for use in a modern day scenario.

So one of the rumours I heard about Tony's original Rangemaster was that is was modified. Modified to do what I did not know. Kinda made sense to me that more gain and a tunable filter or frequency control would be smart way of getting me into the sonic realms of the dark master. I made my simple improvements (circa 2003) on the original circuit and built them into a sexy little red box. Enter the Red Rooster and its plan:

1. True bypass switching. The Rooster is totally removed from the guitars signal when in bypass mode, it will not bleed through and dull your guitars original tone.

2. Features a 'Range' control so treble, full range and bass boost can be acquired. It also means it is well suited to either single coil or humbucking pick-ups of varying output and gain levels.

3. Uses a specially selected and tested high grade Mullard germanium transistor. Usually an OC71 or an OC45.

4. Adjustable biasing so that the germanium transistor is correctly set up to produce a bold, clear dynamic tone with a good amount of sustain.

5. Low noise circuitry using high grade Ero Vishay film capacitors, BC components Electrolytic capacitors and 1% tolerance metal film resistors.

6. A heavy duty cast aluminium enclosure finished in a highly durable powder coated paint job.

7. High quality passive components such as audio grade Omeg potentiometers, Daka-Ware control knobs and Neutrik jack sockets.

The Controls

Range - makes the unit capable of producing crystal clear shimmering highs to a fat grunting wall of bass.

Boost - sets the overall output and gain levels. Pushing it up past half way makes things a lot more hairy and really shoves that valve amp into overdrive.

Red Rooster - Germanium Booster. Want to drive your valve amplifier into natural overdrive? Create valve overload at low volume settings? Need a treble booster, a bass booster, and a multi purpose full frequency old school flavoured solo booster? Biggty Bam! Check out the D*A*M Red Rooster. Does all of the above and some. Works wonders in zinging up muddy sounding fuzz boxes and will make weak or low output guitar pick-ups warmer, more dynamic and fuller bodied.

The reason for being. Two words. One name. Tony Iommi. That's kinda why this pedal exists. I like Black Sabbath...a lot. I heard years ago Tony used to use this crusty old effect from the early 1960's called the Dallas Rangemaster. The Rangemaster was a treble booster that came in a funky little folded steel desk top style enclosure. It had no footswitch or any means to control the frequency, just had a single control pot for the amount volume boost. Original Rangemasters are very scarce at the best of times, cost an absolute bloody fortune and are, to be honest, usually in need of some improvement for use in a modern day scenario.

So one of the rumours I heard about Tony's original Rangemaster was that is was modified. Modified to do what I did not know. Kinda made sense to me that more gain and a tunable filter or frequency control would be smart way of getting me into the sonic realms of the dark master. I made my simple improvements (circa 2003) on the original circuit and built them into a sexy little red box. Enter the Red Rooster and its plan:

1. True bypass switching. The Rooster is totally removed from the guitars signal when in bypass mode, it will not bleed through and dull your guitars original tone.

2. Features a 'Range' control so treble, full range and bass boost can be acquired. It also means it is well suited to either single coil or humbucking pick-ups of varying output and gain levels.

3. Uses a specially selected and tested high grade Mullard germanium transistor. Usually an OC71 or an OC45.

4. Adjustable biasing so that the germanium transistor is correctly set up to produce a bold, clear dynamic tone with a good amount of sustain.

5. Low noise circuitry using high grade Ero Vishay film capacitors, BC components Electrolytic capacitors and 1% tolerance metal film resistors.

6. A heavy duty cast aluminium enclosure finished in a highly durable powder coated paint job.

7. High quality passive components such as audio grade Omeg potentiometers, Daka-Ware control knobs and Neutrik jack sockets.

Range - makes the unit capable of producing crystal clear shimmering highs to a fat grunting wall of bass.

Boost - sets the overall output and gain levels. Pushing it up past half way makes things a lot more hairy and really shoves that valve amp into overdrive.

The Meathead. Established 2004AD. Often imitated, never surpassed. Little box, big idea. Caveman style fuzz tones for killing dinosaurs. Crank it up and hit that switch. Ka-pow! The flavour is thick and raw with a throaty woody bark. Optimum clarity and saturation are delivered with a long syrupy sustain at mountainous volumes. The bass to treble response is perfectly balanced for a heavy but dynamic fuzz tone that will project as well as it can saturate. A most excellently low background noise is achieved through careful transistor selection and biasing which further enforces the Meathead's fluid and articulate sonic capabilities.

Just the one. Even through the Meathead has only one control different tones can be achieved. As the Dirt control is increased the signal not only becomes louder but slightly more saturated. Unity with your clean tone will be reached around noon thus giving you a great deal of volume boosting and drive capabilities. Lowering the guitars volume control will make the overall tone fizzier and increase the treble response.

Start out the Dirt control set at noon and increase or decrease as necessary. The greater headroom your amplifier has the greater the amount of volume boost the Meathead will deal out. The Meathead will also respond well to dirty or driven amplifiers. Used like this the Meathead will increase in intensity as the Dirt control is increased.

The Meathead is created by using…

1. Custom finished heavy duty die cast aluminium enclosure with hand applied screen print.

2. Low noise gain selected audio grade silicon transistors.

3. Long life audio grade Alpha potentiometer.

4. 1/4 inch Neutrik audio jacks with gold plated contacts.

5. Bulgin style chicken head knob.

6. Heavy duty footswitch wiring with True Bypass switching and LED status indicator.

7. 1 % tolerance metal film resistors.

8. High grade polyester audio capacitors and long life Electrolytic capacitors.

9. 2.5% silver and 0.5% copper lead free solder.

10. Stranded tinned annealed copper core wire with compound PVC insulation.

11. Stripboard (no PCB’s here) circuit that is hand prepared with any solvents or toxic chemicals.

12. The hands and mind of a human being tuned into cosmic law.

• A True Strobe Tuner in a Stompbox Format • True bypass / muted output • Instant tracking • Extreme accuracy: ±.02 cents • Rugged die-cast aluminum case

These feature a custom audio taper, smooth torque and +/- 10% tolerance and are specially made for Bare Knuckle by CTS.

Best used with humbuckers and P90s, these CTS550K custom audio taper pots can be used for both volume and tone applications.