Overview & Features
Block diagram — signal paths from inputs through gain, mixer, tone, saturation, filter and dual outputs.
The All-in-One is the Swiss-army knife of the TH Custom Effects line-up: a single PCB that brings together everything you need for recording, home practice and small-stage use. Despite the high parts count it is an easy build — board-mounted pots and switches mean almost no off-board wiring.
Depending on which sections you populate, the All-in-One can act as all of the following — together or in any subset:
Input gain stage
Buffered guitar input with 1 MΩ-lin GAIN pot. Sets the level feeding the FX-loop and downstream mixer.
FX-loop send/return
True buffered send and return — drop any external pedal chain into the loop without impedance mismatch.
Wet/Dry blender
25 kΩ-lin pot blends FX-return signal with the dry guitar — full panner, 100 % wet to 100 % dry.
Aux mixer
Stereo-summed AUX input with its own log volume pot. Plug in a phone or backing-track player.
Tone control
Single-knob wide-range tone — passive Baxandall-style tilt around an active op-amp stage.
Speaker saturation
Soft-clipping stage with germanium and silicon diodes plus a 30 Hz high-pass — emulates a driven cab.
Dual cascaded LP filter
Two switchable 12 dB Sallen-Key low-passes in series — 4.8 kHz then 3.98 kHz, totalling 24 dB/octave.
Balanced XLR line-out
TL082 differential driver feeds an XLR socket — true balanced DI with two complementary phases.
Three independent outputs
AMP-OUT (full mix, post-tone), MIC/LINE A & B (post-filter), and LINE-OUT — feed amp, recording chain and PA from one box.
Circuit Theory
Schematic — all stages on a single sheet. Power section bottom-left, signal flow runs roughly left-to-right and top-to-bottom.
Active devices
Three op-amp packages handle every signal stage:
IC1 (TL074, quad) — Tone control (A), speaker-saturation high-pass & clipping driver (B), low-pass stage 1 (C), low-pass stage 2 (D).
IC2 (TL074, quad) — Input gain buffer (A), FX-loop return / Wet-Dry mixer feedback (B), Wet/Dry mixer summing (C), main mix bus driver into the AMP-OUT chain (D).
IC3 (TL082, dual) — Balanced XLR driver — non-inverting and inverting halves produce the two complementary phases for pin 2 (XLR-2) and pin 3 (XLR-3).
Power and bias
D9 (1N4001) provides reverse-polarity protection on the +9 V input, followed by bulk decoupling C21 (220 µF) and the local rail bypass C23 (100 n). The bias network is split into two virtual references: VR (the standard half-supply mid-rail set by R30 / R31 = 22 k each, bypassed by C18 22 µF) and VC (a second mid-rail, decoupled by R39 22 k and C27 22 µF, used by stages that need an isolated quiet reference). Splitting VR and VC keeps switching transients on the AMP-OUT path out of the sensitive XLR driver.
Signal path
Stage 1 — Input gain (IC2A). Guitar enters via C9 (10 µF coupling) into a 1 M pull-down (R42) and a non-inverting op-amp gain stage. R16 (100 k) and the GAIN pot (1 M-lin) in the feedback path set the gain from unity (pot at min) up to ×11. Output at C13 (10 µF) feeds both the FX-SEND pad and the wet/dry mixer.
Stage 2 — FX-loop return (IC2B). FX-RETURN comes back via R28 (27 k) and R29 (14 k) — these set the return level with a small attenuation, then C15 (100 n) couples into IC2B configured as a non-inverting buffer with R23 (82 k) / R2 (56 k) gain ratio. C17 (100 p) is a feedback HF roll-off keeping the loop stable. R3 (100 k) provides input bias.
Stage 3 — Wet/Dry mixer (IC2C). The dry signal (R17, R13 = 33 k each) and wet signal (R18, R14 = 33 k) feed the WET/DRY 25 k-lin pot wired as a panner. The pot wiper goes to IC2C's +IN; R10 (10 k) and R9 (100 k) set the inverting gain, and R7-style summing keeps the mix bus low-impedance. Output appears at C4 (10 µF).
Stage 4 — Aux mixer. AUX-IN passes through C1 (10 µF) to the AUX-IN-VOL 100 k-log pot, which feeds the same summing junction as the wet/dry output via R10 (10 k). This is a passive mix into IC2C's feedback summing junction — no separate aux op-amp.
Stage 5 — Tone control (IC1A). A wide-range single-knob tilt-style active Baxandall, built around the TONE 100 k-lin pot. R24 / R27 (47 k) set the bass and treble pivot levels; R25 / R26 (15 k) define the slope; C14 / C16 / C19 (10 n each) define the corner frequency. The R41 1 M sets DC feedback; R40 1 M provides input bias from VR. Output at C30 / C29 (100 n) feeds the next stage.
Stage 6 — Speaker-saturation emulation (IC1B + diode network). A 2nd-order Sallen-Key high-pass (R20 33 k, R22 150 k, C10 / C12 47 n each) followed by a soft-clipping stage. The SATURATION 10 k-lin pot drives the signal into a six-diode clipping network: two 1N4148 silicon diodes (D2, D4) set a hard cap at ±0.6 V, and six AA112 germanium diodes (D1, D3, D5, D6, D7, D8) in series-parallel arrangement provide soft asymmetric clipping with a lower threshold (~0.3 V each). The high-pass before the clippers removes sub-bass that would otherwise pump the diode network. R1 (1 k) is a series build-out resistor at the output of the clipping bus. The HP-BYPASS switch lets you skip the whole stage.
Stage 7 — Cascaded LP filters (IC1C + IC1D). Two 2nd-order Sallen-Key low-passes wired in series. IC1C uses R12 / R7 (22 k each), C8 (2n2) and C6 (1 n) for a 4.8 kHz corner. IC1D uses R5 / R11 (22 k each), C11 (3n3) and C5 (1 n) for a 3.98 kHz corner. R6 / R15 are 0 R jumpers between the stages. The LP-BYPASS / LP-BYPASS1 switches allow individual or full bypass of the filter chain. See section 03 for the full analysis.
Stage 8 — Output volumes & AMP-OUT (IC2D). The MIX-VOL 100 k-log pot feeds IC2D wired as a unity-gain inverting buffer (10 k / 10 k). The FX/MIX SPDT switch lets you select pre- or post-saturation source for AMP-OUT. C20 (10 µF) couples to the AMP-OUT pad. Separately, the VOLUME 10 k-log pot feeds the LINE-OUT pad through R8 (470 R) and R3 (470 R) build-out resistors that set the recording-level output impedance.
Stage 9 — Balanced XLR driver (IC3A + IC3B). C26 (220 n) couples the line-level signal through R36 (330 k) bias resistor to the IC3A non-inverting input, followed by R32 / R37 / R38 (1 k / 10 k / 10 k) gain network and C24 (10 µF) coupling to XLR-2. IC3B is the inverted phase: R34 / R35 (10 k / 10 k) at unity-gain inverting, C25 (10 µF) coupling to XLR-3, with R33 (1 k) build-out and R38 (10 k) feedback. The two XLR pins carry the same signal in opposite phase — true balanced output, common-mode-noise-rejecting.
Filter Analysis
The filter section is the heart of the All-in-One's voicing. It contains three Sallen-Key 2nd-order stages: one high-pass that defines the bottom edge of the speaker-saturation chain, and two low-passes that cascade to a 24 dB/octave 4th-order brick-wall in the recording path.
Speaker-saturation high-pass (IC1B)
A 2nd-order Sallen-Key high-pass sits in front of the diode clipping network. Its job is to remove sub-audio content that would otherwise modulate the clippers and produce muddy, pumping artefacts. The labelled "30 Hz" in the schematic is the design-intent corner; the calculated value with the populated parts is closer to 48 Hz. The Q is well below Butterworth, giving a gentle skirt that does not boost low-mid.
Speaker-Sat HP — IC1B
Cascaded low-pass — IC1C → IC1D
Two Sallen-Key low-passes wired in series. Each individual stage is 12 dB/oct (2nd-order); cascaded they form a 4th-order, 24 dB/oct brick-wall low-pass. The two corners are intentionally staggered — IC1C at 4.8 kHz, IC1D at 3.98 kHz — so the combined response begins rolling off softly above 4 kHz and reaches its full 24 dB/oct slope by 5 kHz. Either stage can be bypassed individually with the LP-BYPASS switches to soften the cut.
LP Stage 1 — IC1C
LP Stage 2 — IC1D
Customising the LP corners
The filter values define the speaker emulation voicing. If the stock 4.8 / 3.98 kHz pair sounds too dark, raise the corners by reducing C8 and C11. Keep C5 and C6 unchanged — they set the Q of each stage.
| Change | From | To | New corner | Voicing |
|---|---|---|---|---|
| C8 | 2n2 | 1 n | ≈ 7.2 kHz | Brighter, more open top end on stage 1 |
| C8 + C6 | 2n2 / 1n | 1 n / 560 p | ≈ 9.6 kHz | Fully open — minimal speaker emulation, line-style |
| C11 | 3n3 | 2n2 | ≈ 4.9 kHz | Stage 2 matched to stage 1 — flatter combined response |
| C11 | 3n3 | 4n7 | ≈ 3.3 kHz | Darker — emulates older or smaller speaker |
Feel free to substitute your own values. For different topologies entirely, Texas Instruments' free Filter Pro software can design a custom 4th-order Sallen-Key low-pass with any chosen corner and Q — just keep the resistors in the 1–22 kΩ range to fit the PCB footprint.
Speaker-saturation clipping
Bill of Materials
Resistors are 1 % metal film ¼ W. Capacitors marked "box film" should be 5 mm or 7.5 mm pitch polyester or polypropylene boxes. Electrolytics should be at least 16 V; the schematic-marked 22 µF / 22 V parts (C18, C27) tolerate 25 V types as direct substitutes.
| Ref | Qty | Value | Colour code | Notes |
|---|---|---|---|---|
| Resistors — Metal film 1 % ¼ W | ||||
| R1, R32, R33 | 3 | 1 kΩ | Brown · Black · Black | Brown · Brown | Metal film ¼ W |
| R2 | 1 | 56 kΩ | Green · Blue · Black | Red · Brown | Metal film ¼ W. Schematic shows 58 k — 56 k is the standard E12 value used on the PCB. |
| R3, R8 | 2 | 470 Ω | Yellow · Violet · Black | Black · Brown | Metal film ¼ W. LINE-OUT build-out resistors |
| R4 | 1 | 1k8 | Brown · Grey · Black | Brown · Brown | Metal film ¼ W |
| R5, R7, R11, R12, R30, R31, R39 | 7 | 22 kΩ | Red · Red · Black | Red · Brown | Metal film ¼ W. Filter R's (R5/R7/R11/R12) and bias dividers (R30/R31/R39) |
| R6, R15 | 2 | 0 R | jumper / wire link | Wire link — bridge between LP filter stages |
| R9, R16, R19, R21 | 4 | 100 kΩ | Brown · Black · Black | Orange · Brown | Metal film ¼ W. (Doc table erroneously shows qty 1 — schematic confirms 4) |
| R10, R34, R35, R37, R38 | 5 | 10 kΩ | Brown · Black · Black | Red · Brown | Metal film ¼ W. (Doc table erroneously shows qty 4 — schematic confirms 5) |
| R13, R14, R17, R18, R20 | 5 | 33 kΩ | Orange · Orange · Black | Red · Brown | Metal film ¼ W |
| R22 | 1 | 150 kΩ | Brown · Green · Black | Orange · Brown | Metal film ¼ W. Speaker-sat HP filter R |
| R23 | 1 | 82 kΩ | Grey · Red · Black | Red · Brown | Metal film ¼ W |
| R24, R27 | 2 | 47 kΩ | Yellow · Violet · Black | Red · Brown | Metal film ¼ W. Tone control bass/treble pivot R's |
| R25, R26 | 2 | 15 kΩ | Brown · Green · Black | Red · Brown | Metal film ¼ W. Tone control slope R's |
| R28 | 1 | 27 kΩ | Red · Violet · Black | Red · Brown | Metal film ¼ W. FX-return level |
| R29 | 1 | 14 kΩ | Brown · Yellow · Black | Red · Brown | Metal film ¼ W. FX-return level |
| R36 | 1 | 330 kΩ | Orange · Orange · Black | Orange · Brown | Metal film ¼ W. XLR driver input bias |
| R40, R41, R42 | 3 | 1 MΩ | Brown · Black · Black | Yellow · Brown | Metal film ¼ W. Pull-down / DC-feedback resistors |
| Capacitors — Film box (non-polarised) | ||||
| C5, C6 | 2 | 1 n | Box film. LP filter shunt caps tuning — see §03 for alternatives | |
| C8 | 1 | 2n2 | Box film. LP stage 1 feedback cap tuning | |
| C11 | 1 | 3n3 | Box film. LP stage 2 feedback cap tuning | |
| C10, C12 | 2 | 47 n | Box film. Speaker-sat HP filter caps | |
| C14, C16, C19 | 3 | 10 n | Box film. Tone control corner caps | |
| C7, C15, C23, C29, C30 | 5 | 100 n | Box film. AC-coupling and supply decoupling | |
| C17 | 1 | 100 p | Ceramic. FX-return op-amp HF roll-off | |
| C26 | 1 | 220 n | Box film. XLR driver input coupling | |
| Capacitors — Electrolytic (polarised) | ||||
| C1, C2, C3, C4, C9, C13, C20, C22, C24, C25, C28 | 11 | 10 µF | Polarised electrolytic ≥ 16 V — observe polarity | |
| C18, C27 | 2 | 22 µF | Polarised electrolytic ≥ 25 V. VR / VC bypass | |
| C21 | 1 | 220 µF | Polarised electrolytic ≥ 16 V. Main supply bulk | |
| Semiconductors | ||||
| IC1, IC2 | 2 | TL074P | Quad op-amp, DIP-14. Pin-compatible alternatives: TL084 TL064 RC4136 — TL074 is the standard low-noise JFET-input choice | |
| IC3 | 1 | TL082P | Dual op-amp, DIP-8. Pin-compatible alternatives: TL072 NE5532 OPA2134 — NE5532 or OPA2134 give lower noise on the XLR output | |
| D1, D3, D5, D6, D7, D8 | 6 | AA112 | Germanium signal diode, VF ≈ 0.3 V. Substitutes: 1N34A 1N270 OA90 — any small-signal Ge diode with VF ≈ 0.3 V works. Bend the leads gently — the glass body breaks easily. | |
| D2, D4 | 2 | 1N4148 | Silicon signal diode. 1N914 works identically | |
| D9 | 1 | 1N4001 | Reverse-polarity protection. Any 1N400x family or 1N5817 Schottky for lower drop | |
| Pots — 16 mm right-angle PCB-mount | ||||
| GAIN | 1 | 1 MΩ B (linear) | 16 mm right-angle PCB. B taper = linear (Alpha/Bourns convention) | |
| WET/DRY | 1 | 25 kΩ B (linear) | 16 mm right-angle PCB. Wet/dry panner — linear is correct for blend | |
| TONE | 1 | 100 kΩ B (linear) | 16 mm right-angle PCB. Tilt tone — linear preserves symmetric boost/cut | |
| SATURATION | 1 | 10 kΩ B (linear) | 16 mm right-angle PCB. Drive into diode clip network | |
| MIX-VOL, AUX-IN-VOL | 2 | 100 kΩ A (log) | 16 mm right-angle PCB. A taper = audio log — correct for level controls | |
| VOLUME (LINE-VOL) | 1 | 10 kΩ A (log) | 16 mm right-angle PCB. Recording-level output | |
| Switches | ||||
| FX/MIX, LP-BYPASS | 2 | DPDT on-on-on | Mouser 633-M202403. Three-position toggle for source / two filter stages | |
| HP-BYPASS | 1 | SPDT on-on | Standard miniature toggle. Bypass for speaker-saturation high-pass + clip stage | |
| Connectors & Hardware | ||||
| IN, FX-SEND, FX-RETURN, AMP-OUT, LINE-OUT, MIC/LINE A, MIC/LINE B, AUX-IN | — | Solder pads | Wire to panel-mount jacks of your choice. 6.35 mm mono / TRS for guitar, 3.5 mm for AUX, panel switching jacks for MIC/LINE A and B | |
| XLR-2, XLR-3 | 1 | XLR connector | Important: wire XLR-2 to pin 2 (hot, IC3A output), XLR-3 to pin 3 (cold, IC3B output). Do NOT connect ground to XLR pin 1 from this PCB — see §06 for the correct grounding scheme | |
| +9 VBAT | 1 | 2.1 mm DC jack or battery snap | Centre-negative is the standard pedal convention. Battery snap can be wired in parallel — D9 prevents reverse current either way | |
| IC sockets | 3 | 14-pin × 2, 8-pin × 1 | DIP sockets recommended — IC swap is the easiest way to taste-test op-amp options | |
Build Guide
The board is dense but logically grouped. Following a strict bottom-up build order — flat parts first, tall parts last — keeps everything sittable on a flat surface during soldering and avoids reflow on previously-fitted parts.
PCB layout (silk-screen). Top edge carries the pots; left edge carries the LINE-OUT and MIC/LINE pads.
Reference photo — populated PCB before pots are mounted.
Diodes — populate first
Start with D9 (1N4001) at the power input, then D2 / D4 (1N4148), and finally the six AA112 germanium diodes (D1, D3, D5, D6, D7, D8). Bend the AA112 leads slowly with two pliers — the glass body breaks if you stress the leg-to-body junction. Observe polarity (band end = cathode).
Resistors
All 47 resistors next. Sort by value first; check the colour bands against §04 before insertion. R6 and R15 are 0 R wire links — use a clipped resistor lead.
IC sockets
Two 14-pin sockets (IC1, IC2) and one 8-pin (IC3). Notch on the socket should match the silk-screen. Do not insert the ICs yet.
Ceramic and film capacitors
C17 (100 p ceramic) first, then all box-film caps in ascending value: 1 n (C5, C6), 2n2 (C8), 3n3 (C11), 10 n (C14, C16, C19), 47 n (C10, C12), 100 n (C7, C15, C23, C29, C30), 220 n (C26). Non-polarised — orientation does not matter.
Electrolytic capacitors — observe polarity
Long leg = positive. Eleven 10 µF (C1, C2, C3, C4, C9, C13, C20, C22, C24, C25, C28), then C18 / C27 (22 µF), and finally C21 (220 µF). The PCB silk-screen shows the + or stripe marking — do not skip this check.
Off-board pads — wire later
Solder header pins or use direct flying leads at the I/O pads (IN, FX-SEND, FX-RETURN, AUX-IN, AMP-OUT, LINE-OUT, MIC/LINE A, MIC/LINE B, XLR-2, XLR-3, +9 V battery, GND). Wire the panel jacks/switches/XLR last during enclosure assembly.
Bypass switches — HP-BYPASS, FX/MIX, LP-BYPASS, LP-BYPASS1
The two DPDT on-on-on (FX/MIX and one of the LP-BYPASS) and the SPDT (HP-BYPASS) are panel-mount; the second LP-BYPASS1 also panel-mount. Wire short, twisted pairs of solid hookup wire from the PCB pads to the switch lugs.
Pots — mount on the back side of the PCB
The seven 16 mm pots (GAIN, WET/DRY, TONE, SATURATION, MIX-VOL, AUX-IN-VOL, VOLUME) all mount on the opposite side of the PCB so their shafts protrude through the enclosure. Apply double-sided tape to the pot bodies first to make sure the metal cases cannot short any pin protruding through the PCB. Tack the centre lug, push the pot snug to the board, let the solder set, then solder the remaining lugs — this aligns the pots cleanly horizontal.
Trim the pot anti-rotation tabs
Each 16 mm pot has a small bracket / lug on its body that prevents it from rotating in a chassis hole. Clip these off before mounting — they will otherwise prevent the PCB from sitting flush against the enclosure top.
Insert the ICs — last step before power-up
Pin 1 alignment matters — the dot or notch goes to the silk-screen marker. Insert IC1, IC2 (TL074) and IC3 (TL082) only after all soldering is complete.
Pot mounting detail — note the use of insulating tape between pot body and PCB to prevent shorts.
Switching & Wiring
Bypass switches — what each one does
| Switch | Type | Action |
|---|---|---|
| HP-BYPASS | SPDT on-on | Bypasses the speaker-saturation high-pass + diode clipping stage (IC1B). Off = clean signal, On = saturation engaged. |
| FX/MIX | DPDT on-on-on | Selects the AMP-OUT source: FX (post-FX-loop only), MIX (post wet/dry mixer, no tone), TONE (post tone control). Centre position is MIX. |
| LP-BYPASS | DPDT on-on-on | Three-way LP filter selector: Pure (both LPs bypassed), 4.8 kHz (only IC1C engaged, 12 dB/oct), 3.98 kHz (both stages engaged, 24 dB/oct cumulative). |
| LP-BYPASS1 | SPDT on-on | Optional second-stage isolator. Combined with LP-BYPASS, gives finer control over which filter is active. See "Configuration notes" §08. |
Output wiring
The All-in-One has four independent outputs, each suited to a different destination:
| Output | Source | Typical use |
|---|---|---|
| AMP-OUT | Post FX/MIX selector, full mix bus | Guitar amp input — full-range signal with optional tone shaping. No filter on this output |
| MIC/LINE A | Post-LP filter, post-volume | Headphone amp / IEM feed |
| MIC/LINE B | Post-LP filter, post-volume | Power amp input / second monitor feed |
| LINE-OUT | Post-LP filter, post-VOLUME pot, single-ended | Stage mixer / recording interface line input |
| XLR-2 + XLR-3 | IC3 balanced driver, post-LP, post-VOLUME | Balanced DI to mixing console / studio interface |
FX-loop wiring
FX-SEND is a buffered output ready to drive any standard 1/4" effects pedal input. FX-RETURN is a high-impedance input expecting line-level return signal. With nothing patched, the loop signal still reaches the wet/dry mixer — but the WET/DRY pot has no audible effect because send and return carry the same signal. Use a short patch cable to bridge SEND to RETURN if you want to disable the loop entirely.
Enclosure & Layout
The recommended enclosure is a Hammond 1590E (188 × 119 × 37 mm). The seven board-mounted pots and the panel switches all sit on the top face; the I/O jacks are split between the top edge (FX-SEND / FX-RETURN, headphone, AUX), the back edge (IN, +9 V, line outs) and the side (XLR).
Interior layout of the prototype showing the All-in-One main board (green) plus optional Valv-e-tizer tube preamp (blue), Headphone Amp + Stereo Sim (magenta) and 10 W power amp (yellow).
Optional sub-modules
The All-in-One was designed as the centrepiece of a modular system. Three sister boards extend its capability:
Valv-e-tizer tube preamp
External 12AX7 / ECC83 tube input stage feeds the All-in-One IN pad. Adds tube-style overdrive and harmonic warmth before the gain pot.
Headphone amp + stereo-sim
Driven from MIC/LINE A. Provides headphone-level output with simulated stereo width — practice silently with the speaker emulation.
10 W power amp
Driven from MIC/LINE B. Built-in mini speaker amp for desktop practice — no separate guitar amp needed.
Finished prototype
Prototype top panel — all controls and switches in place, with the optional tube preamp visible top-left.
Configuration Notes
The All-in-One is intentionally over-specified — most users will not need every section. You can leave parts of the circuit unpopulated and hardwire the bypass switches to skip those sections entirely. Below are the four most common simplifications.
Always-on 5 kHz LP
If you always want the 4.8 kHz LP active before the line-out, hardwire LP-BYPASS to the IC1C side and omit IC1D + R5 + R11 + C5 + C11 entirely.
No speaker-saturation
Skip the entire IC1B + diode network if you don't need cab simulation. Hardwire HP-BYPASS to bypass and omit R20, R22, C10, C12, all eight diodes, and the SATURATION pot.
No tone control on AMP-OUT
If you always want the mixed signal direct to the amp without the tone control involved, hardwire FX/MIX to the MIX position and skip the routing through IC1A.
Custom LP corner
Use TI's free Filter Pro software to design a different 4th-order Sallen-Key. Keep R5 / R7 / R11 / R12 in the 1–22 kΩ range to fit the PCB footprint; vary C5 / C6 / C8 / C11 freely.
Recommended interconnection — full pedalboard configuration
The prototype was wired as follows for live use:
| From | To |
|---|---|
| Guitar IN | Valv-e-tizer input |
| Valv-e-tizer output | All-in-One IN pad |
| All-in-One MIC/LINE B | 10 W power amp input |
| All-in-One MIC/LINE A | Stereo headphone amp |
| All-in-One LINE-OUT | Stage mixer / recording interface |
| All-in-One AMP-OUT | External guitar amp (no filter on this path) |
| All-in-One XLR-2 + XLR-3 + chassis ground | FOH desk mic input |
Disclaimer & Licence
PCBs purchased from TH Custom Effects are intended for DIY and non-commercial use only. Redistribution of PCBs and artwork from this document is not permitted. You may use these instructions and PCBs to build and sell your own product based on PCBs ordered from TH Custom Effects.
© TH Custom Effects 2013–2026. Build documentation V1.3.