UralKit FF Si -rakennussarja: Tulossa Rockway-blogiin

Testi tulossa Rockway.fi-blogiin. https://blog.rockway.fi


Here’s a short demo of my UralKit FF Si, based on the Lenny Kravitz classic ”Are You Gonna Go My Way”.

Check out the pedal kit here: https://uraltone.com/ffsi.html


• Rhythm guitars: Fame SE TL Deluxe Amber (left channel) + Harley Benton DC-60 Junior (right channel)

• Lead guitar: Harley Benton DC-60 Junior

• Amplifier: Bluetone Shadows Jr

• Bass: 1985 Squier Japan Jazz Bass

• Microphone: Shure SM7B

• Interface: Universal Audio Volt 2

Assembling Your First Pedalboard

Tätä juttua on alun perin julkaistu suomeksi Rockway-blogissa.


Even though the first guitar effects were already introduced in the mid-1960s, guitar pedals only started to become affordable and widely available in the late-1970s with brands such as Boss. Ibanez and MXR.


Why do I need a pedalboard?

Back in the early Seventies most guitarists used one to three effects at the most on stage, if any. Back then the signal chain was straightforward and easy to set up and tear down. There were maybe a couple of guitars, a guitar lead, a couple of effect pedals, a short patch cable, as well as a long cable from the front of the stage to the amplifier.

In the early days most guitarists weren’t even too particular with their live sound. If the guitar sounded a little different from one show to another, who cares? The main objective was to keep the show on the road.

These days both the musician and his/her audience are much more discerning, and want to hear a fairly accurate version of a song’s recorded guitar and bass sounds live as well. Most players are very knowledgeable and specific when it comes to their signature sounds, as well as the pedals they use. A dependable and ”secure” signal chain is a prerequisite for the professional musician of today.

If you carry your effects around in a sports bag, setting up your signal chain – and troubleshooting it in case of problems – is much more time-consuming than pulling a clean pedalboard out of its gig bag (or case) and connecting only a couple of audio cables; one for the guitar and one for the amp.

A pedalboard also protects your effects and patch cables from damage by keeping them firmly in place during transport. Additionally, powering all your effect pedals is much easier using one central power supply for the whole board.

Luckily, the 2020s offer us a wide array of different solutions for the budding ’board builder, making even the assembly of a complex signal chain relatively easy.

If you want to find out all there is to know about pro-grade pedalboard assembly, I can heartily recommend you check out Kimmo Aroluoma’s in-depth online guide.

Kimmo Aroluoma, who is the founder of Custom Boards Finland, has spent years on the road as one of Finland’s most sought-after guitar technicians. Kimmo has worked for acts such as The Rasmus, HIM, or Hanoi Rocks. These days Kimmo spends most of his time running Custom Boards, a company dedicated to making world-class pedalboards, as well as supplying pro-grade components to DIY pedalboard builders.

Is there a ”correct” order for effect groups?

Find out more on the best order for effects placement HERE.

Making music is a creative process, so any type of experimentation is highly encouraged, but if you want to ensure that your ’board will work in the desired way with the least amount of hassle, the above picture will get you there. Of course this effect order works also with effects that are not placed on a pedalboard.

The yellow box is home to such effects that will only work reliably with a pure/dry guitar signal. The orange box contains effects that add gain and texture to your signal. Next up are modulation effects. The green box adds space to your signal, as well as providing a good spot for a master volume pedal. And if you use an audiolooper and/or a booster pedal they should be placed last.

Plan before you act

You should definitely plan your new pedalboard, before you buy anything. Otherwise you can easily end up buying something that isn’t right for what you’re trying to achieve.

Choosing the effect pedals

What is the purpose of the ’board? What type of music do you play? Are you in a Metal band or do you play Top 10 covers?

The fact that there’s an old pedal lying around somewhere in a box isn’t a good enough reason to add this pedal to your new pedalboard. There should be a logical, musical or practical reason behind any addition to your effect chain, because any unnecessary addition could potentially degrade your guitar signal.

I had been dreaming about a compact board for playing Psychedelic Rock music – a bit ”Hendrix-ey”, but not necessarily totally authentic.

Because my main objective is ”compact” I have chosen a Jim Dunlop CBM95 Mini Crybaby-wah-wah for this project, as it is small enough to fit almost any ’board. Next up there are three blocks of different gain effects – a fuzz-style Electro-Harmonix Nano Big Muff Pi, as well as an EHX double-pedal – the Germanium 4 Big Muff Pi – to provide slightly wonky overdrive and distortion effects. The last pedal is a vintage-style phaser – the EHX Small Stone Nano. Tremolo, reverb and additional boosting are provided by my combo amp.

Patch cables

You should buy the best patch cables you can afford, because a poor quality cable will degrade your sound noticeably by ”eating away” your signal’s dynamic and treble content (especially with traditional passive pickups). There are many different models of ready-made patch cables available.

The number of patch cables you’ll need is dependent on the number of effect pedals you’re going to use. The individual length of each patch cable is determined by the physical placement of the pedals on the ’board. You should also remember to make sure that the plug design on a patch will fit in the space between two pedals. Choosing a relatively fat cable with large-bodied plugs will automatically mean that your pedals will have to be placed a little bit further apart.

Many professional pedalboard makers use bespoke patch cables for their clients’ pedalboards, using top-grade thin cable material coupled with special (no-solder) screw-on plugs. These patch cables save a lot of real estate on the ’board, while also being thin enough to be secured with the same security clips used for the ’board’s DC-power cables.

The physical placement of pedals and patch cables

My compact pedalboard will need no complicated wiring. I will place the effects in the physical order in which they appear in the signal chain in one simple row. This makes it very easy to use pre-made, off-the-shelf patch cables, because the signal continues straight on from one effect to the next.

In larger and more complex cases it may be more convenient to place the pedals that are used most in the bottom row of a ’board, with lesser-used effects placed farther away in the second row. On such ’boards the signal flow can be decidedly different from the physical order of the pedals. In such cases you should prepare a signal flow chart for yourself, so you can easily look up how you have planned to hook up all of the effects. Placing the pedals in their approximate place on the ’board frame will make it easy to measure the lengths of all the patch cables needed.

Choosing your pedalboard frame

To find the best pedalboard frame for your project you have to measure the outer dimensions (width and height) of your effect array, but you shouldn’t forget to take into account how you plan to install your pedals on your board. Most ’board frames these days are made from metal, and the pedals are installed with adhesive hook-and-loop fastener tapes – either generic velcro (sold with most frames) or industry-grade 3M Dual Lock-tape (bought separately).

There are also a few companies who use their own types of screw-on bottom plates or side clamps on their board frames.

Choosing a power supply aka PSU

You have to choose your PSU according to the physical space of your ’board frame, as well as according to the power needs of your effect pedals. There is a plethora of different PSUs available on the market these days; some pedalboard brands also offer frames with pre-installed power supply units.

Do check the power requirements of each of the pedals that will go on your pedalboard. You should check for voltage (9, 12 or 18 V), for milliamperes, and for the type and polarity of the connector plug. Note that there are a few pedals out there that will require alternating current (AC) in contrast to most effects that run on DC! Pro-grade PSUs come with a whole set of different pedal power cables. Make sure that the set includes all the cables (and connectors) you require. If not you will have to buy the additional cables you need.

Because a pedalboard runs audio effects the power supplied by the PSU has to be ”clean”, e. g. free from extraneous noise, buzz and hum. Most traditional pedalboard PSUs provide this type of isolated power with the help of a whole row of tiny transformers. The transformers make sure no mains hum gets into the pedals’ power cables, while also isolating each of the outputs individually.

Because I have chosen the very compact and flat Palmer Pedalbay 50S frame, most professional PSUs cannot be mounted underneath the pedalboard in my case. Luckily, a 1Spot ”wall-wart” can be a viable option, if you forsake the additional safety and dependability of a ’board-mounted PSU. I’m not planning on touring with this pedalboard, and all the transporting will be done either by car or public transport, meaning the long cable between the transformer and the daisy chain cable will not be a problem for me. Additionally, I’m not running more than four pedals concurrently, and there’s no power-hungry digital multieffect in the group, so a simple daisy-chain set-up will work here.

Building my pedalboard

Here’s where it starts

Here’s what everything looks like at the beginning. I forgot to put the scissors in the picture, used to cut the velcro to size. Additionally, I made a last-minute switch to black cable ties, because they looked better, after all.

Cleaning all connectors

Should one of your chosen pedals be faulty, you should have it repaired before it goes on the pedalboard. One faulty pedal will have a very detrimental effect on the whole signal chain and the reliability of your new ’board.

You should clean all audio jacks before you assemble your ’board by squirting a little bit of switch cleaner (like PRF 7-78 Kontakt) on a 1/4″ plug, and then inserting and unplugging the plug several times from the jack. Repeat for each audio input and output.

Cleaning all bottom plates

Before you can use any adhesive material on a pedal’s base plate, you will have to take off all rubber feet from the pedal. Velcro and 3M Dual Lock need a smooth and clean surface for them to stick reliably to a pedal’s bottom plate. Sometimes using an additional cleaning agent (like PRF Label Off) can help to get rid of any old glue residue.

On my Electro-Harmonix effects my work is made easier by the separate little rubber feet this company uses. Most Boss and Ibanez pedals, on the other hand, use large rubber or silicone mats, which are much harder to get to grips with. I’d recommend looking for the appropriate removal techniques in the Custom Boards online guide or on Internet forums.

Prevent leakage!

Remove all batteries from the pedals that go on your ’board. The patch cables stay inserted in each pedal’s input jack, which means any battery will be drained in a matter of hours (or a couple of days at the most). Taking the batteries out will prevent damage from leaking batteries in the long run.

Applying the adhesive

Now it’s time for the velcro to go on the base plates of the pedals. Make sure the adhesive tape sits nice and flat with no air bubbles.

The Palmer Pedalbay 50S comes with the loop side adhesive already installed on the frame. Most other models require you to glue the loop side yourself. If I were to use 3M Dual Lock on this ’board, on the other hand, I’d have to remove the pre-installed adhesive first and clean up all glue residue, before putting on the Dual Lock.

Installing the effects and patch cables

As there’s usually only a certain amount of space on a pedalboard, an effect pedal has to be installed on the frame with the patch cable already inserted in the previous effect’s output and this effect’s input. A 1/4″ plug is too long to be inserted after you’ve put all the pedals next to each other.

Installing the DC-cables with security clips

You’ll achieve a very clean and professional look by wiring the power supply cables from the ’board frame’s underside.

Many guitar shops also sell stick-on plastic security clips, which are just the ticket to keep all the DC-cables in place and securely out of harm’s way.

Time to check out your new pedalboard

This is a good time for a trial run of your new pedalboard with a guitar and an amp. Check out if the placement and the distance between the footswitches is convenient for you. Do all effects power on and off as they should? Is the signal going to the amp free from extraneous noise and hum?

In my project everything worked fine, but if you need help troubleshooting your pedal, you should consult Custom Boards’ builder’s guide.

Securing the patch cables

Because I’ve used off-the-shelf MXR patch cables for my project, and the cables had a relatively large diameter and flat, but wide, plug bodies, securing the patch cables with small plastic clips wasn’t really feasible. This is why I’ve chosen cable ties.

The idea is to keep the patch cables out of harm’s way – or should that be foot’s way – so that it’s impossible to step on them. You apply only a minimal amount of pull on the cable ties. You only want to keep the patch cables from moving around, you don’t want to damage the cables’ outer insulating layer.

Many DIY patch cables are thin enough to be secured with the same type of stick-on security clips used for the DC-cables.

Tiedote: Custom Sounds -koulutus – Soittokamojen huolto


Järjestämme sunnuntaina 13.3.2016 vuoden ensimmäisen Custom Sounds- koulutuksen. Kurssi on suunnattu kaikille, joita kiinnostaa, miten omat soittokamansa saa pidettyä kunnossa.

Miten huollat kitaraasi?

Miten pidät kitarasi vireessä koko keikan ajan?

Miten pidät vahvistimesi kunnossa?

Miten kasataan ammattimainen, kiertueita kestävä pedaalilauta?

Kouluttajina toimivat Custom Soundsin kitarahuoltaja ja kaksi Custom Boardsin teknikkoa, jotka auttavat sinua ratkomaan ongelmiasi ja pärjäämään laitteistosi kanssa täysin itse. Käymme läpi soittimet, johdot, pedaalilaudan, vahvistimen ja kaiuttimet niiden yleisimpien ongelmien kautta. Opit tekemään pikahuollon vahvistimellesi turvallisesti ja helposti.

Päivän kruunaa artistivieraamme Erja Lyytinen. Puhumme Erjan kanssa keikkailun haasteista ja kitaroiden ja vahvistimien huollon tärkeydestä ammattimuusikon näkökulmasta. Erja esittelee meille slide-soittoa ja miten hän käyttää efektejään hyödyksi keikoilla. Käymme myös läpi hänen koko keikkakalustonsa “plektrasta kartioon” -periaatteella.

Lisää infoa löydät TÄÄLTÄ.

Custom Sounds Finland uudessa omistuksessa

Helsingin Kruunuhaassa sijaitseva Custom Sounds on saanut elokuussa uudet omistajat. Ensi kuussa uusi tiimi pitää avajaisviikon (10.-15.12.2012) erilaisine teemapäivineen.

Custom Soundsin uudet vetäjät ovat Kimmo Aroluoma ja Jani Marjoniemi. Kimmo on tehnyt pitkän uran maan tunnettuimpien bändien kitaratekniikkona (ansioluettelosta löytyy mm. HIM, The Rasmus ja Michael Monroe), ja hänen erikoisalansa ovat pedaalilautoja. Jani taas on Custom Soundsin asiakkaille entuudesta tuttu mies, jolla on laaja tuntemus kielisoittimista, vahvistimista ja efektipedaaleista.


Uusien omistajien käsialaa näkyy myös myymälän tuotevalikoimasta, johon kuuluvat esimerkiksi kitaratekniikoille tärkeät tarvikkeet…

…iso putkivarasto…

…runsas efektivalikoima…

…sekä kovia laukkuja efektilaudoille.


Kitara- ja bassovalikoimaan kuuluvat sellaiset brändit kuin Reverend, Vintage (by JHS), Fret-King ja Nash.

Korjaukset ja -huollot hoidetaan luotettavien yhteistyökumppaneiden avulla.


Myymälän kodikas tunnelma kutsuu kokeilemaan tuotteita kaikessa rauhassa.


Kimmo Aroluoma käyttää kaiken kokemuksensa rakentaa jokaiselle asiakkaalle rankkaa kiertue-elämää mukisematta kestäviä pro-luokan pedaalilautoja – riippumatta siitä, onko kyseessä kahdesta efektistä ja virtalähteestä koostuva pikkusysteemi vai puolitoista metriä pitkä efektihirviö. Asiakas voi valita haluamansa efektejä vapaasti, myös muiden kuin Custom Soundsin edustamien valmistajien mallistoista.

Turenki Tonefest 2012

Mad Professorin (ja Turenki Recordsin) Harri Koski ja hänen tiiminsä ovat laittaneet meille tänä vuonna entistäkin herkullisemman kattauksen suomalaista soitinrakennustaitoa.


Kumu-rummut ovat esillä kokeiltavaksi ja kuuntelevaksi, esimerkiksi Jaska Lukkarisen soittamana.


Kitarakuun Seppo Kaskenmäki esittelee mm. firmansa maahantuomia Magneto-kitaroita ja Klein-mikrofoneja.


Marko Karhu ja Mad Professorin tuotteita.


IKATA:lla on myös oma ständi, jossa voi kokeilla opiskelijoiden kitaroita. Tässä Rainer Lorenz ja hänen itse rakennettu puoliakustinen sähkökitaransa.


Tamperelainen Halla Custom Instruments on erikoistunut sähkökitaroihin ja -bassoihin. Ville Mattila on yrityksen luova pää.

Halla Custom Instruments valmistaa myös omat mikrofonit.


Amfisoundin Sampo Leppävuori ja firman tuotannon äärilaidat – Rock-virtuoosin mehevä lavakitara ja Rockabilly-henkinen kaunotar.


Myös virolaiset Romu-vahvistimet voi kokeilla Turengissa.


HOS Guitarsin Henry Salo pitää Erja Lyytisen sähköresonaattorikitaraa sylissään.


Juho Mannisen Manninen Custom Instruments on uusi tuttavuus Loimaalta.


Flaxwood-kitarat saa nyt myös rakennussarjoina.


Flaxwoodilta tuttu Veijo Rautia rakentaa jälleen kitaroita ja mikrofonia myös omalla nimellä.


Taito-Finlandian tuore voittaja, Juha Ruokangas, on ollut koko lauantaina huomion keskipisteenä.

Ruokankaan 12-kielinen Mojo-malli on erittäin tyylikäs tapaus.


Rosenblad Guitarsin prototyypissä käytetään kennorakenteista tuplakanta.


Custom Shopin uudet omistajat – Kimmo Aroluoma ja Jani Marjoniemi – esittelevät mm. firman efektipedaaleja ja kustomoituja efektilautoja.


Oakbridgen Jouni Järvinen ja firman kiinteällä tallalla varustettu mandoliinimalli.


Soitinpaja JaSeSoin Ari-Pekka Paasosella oli jälleen kerran esillä monta upeaa soitinta.


Jarno Salo (Salo Pickups) ja puulla päällystetty Rough Boy -mikrofoninsa.


Mikki House-mikrofoneja ja -testisoittimia.


Finlandia Instruments Hämeenlinnasta tarjoaa laajan skaalan erilaisia kielisoittimia. Teemu Järvinen esittelee firman lankkuakustista kitaraa.


AJL-Guitarisin osastolla soitetiin kuumaa mustalaisjazzia – Hot Club de Finlande feat. Olli Soikkeli.

Soitinrakentaja Ari-Jukka Luomaranta on myös loistava kitaristi.


Tonefest jatkuu vielä huomenna!

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