Seven Fuzz Topologies of the 1960s, Pt. 3: The Tone Bender MkII

Part 3 of Seven Fuzz Topologies of the 1960s, a bench-reference series. New here? Pt. 1 covers the drawing conventions and how to read the clipping diagrams.

3

3-Transistor Modified Darlington

Sola Sound Tone Bender MkII topology · 1966

A Fuzz Face core (Q2/Q3 with the 100 k feedback loop) with an extra common-emitter gain stage in front of it. The pre-stage overdrives the core so hard that the output is a near-symmetrical square with long sustain, and a hard gate when the note dies.

Devices
PNP germanium ×3 (OC75 / OC81D), 9 V, positive ground
Supply as drawn
+9 V
Controls
ATTACK · VOLUME
Clipping
transistor saturation, two clipping stages in series
Schematic drawn NPN / positive rail for comparison; see conventions above
How it clips signal at each point in the chain (dashed = what the wave would be without clipping)
1 Input+V0 Valready startingto flatten2 Q1: extra gain stage, first clip+V0 Vmore drive than a Fuzz Face →both halves hit the rails3 Q2/Q3 core: hard, near-symmetric square+V0 Vstays square wellinto the decaysnaps off ("gated") once thestarved Q2 loses drive4 Decaying note: sustain, then gate

Stage by stage

  • Q1 is a plain common-emitter stage with collector-to-base bias (R1 100 k / R2 10 k). Its gain (×40–60 with a leaky germanium part) is enough to start flattening the signal on its own.
  • Q2/Q3 are the Fuzz Face pair, but now they are fed a signal that is already many times larger than a guitar pickup delivers. Both halves of the wave hit the rails, so the result is squarer and more symmetric than a Fuzz Face and it sustains far longer.
  • The ATTACK pot is the Fuzz Face’s FUZZ pot: it bypasses Q3’s emitter with C3 (47 µF) to raise the gain of the core.
  • Because the core is biased so hot and starved of headroom, it drops out abruptly when the input falls below a threshold. That "gated" decay is a feature of the MkII, and the reason the Mk III and Mk IV added an emitter resistor and tone control to tame it.

Bench notes & values

  • Values follow the Sola Sound Professional MkII. The 8.2 k at Q3 is usually built as a 470 Ω resistor in series with a 10 k trimmer so Q3’s collector can be set to 8.0–8.5 V below the rail; Q2’s collector wants 1.0–1.75 V.
  • Typical hFE targets: Q1 55–60, Q2 70–80, Q3 100–140. Leakage matters as much as gain; a modern low-leak silicon part in Q1 needs a smaller feedback resistor (try 47 k).
  • The video’s sketch shows an emitter resistor on Q1; the MkII grounds Q1’s emitter, the Mk III/IV do not. Both count as the same family.
  • Bench cost: about $3 silicon, $25–50 for three matched germanium PNPs.
Same topologySola Sound Tone Bender MK IISola Sound Tone Bender Professional MKIISola Sound Tone Bender MK IIISola Sound Tone Bender MK IVTone Bender MKIII / MKIVVox Tone Bender Mk IIIColorsound Tone Bender Mk2Colorsound OverdriverBurns Buzzaround

Sources for values: Gibson patent US 3,213,181 (FZ-1); Arbiter Fuzz Face germanium schematic; Sola Sound Tone Bender Professional MkII (pedalparts.co.uk BOM, vero-p2p); Aion FX Orpheus (Fuzzrite) and Astra (Astrotone) documentation; fuzzcentral.ssguitar.com Octavia parts lists. Octavia and Boss Tone stage values are representative working designs, not traces.

Drawn with schemdraw and matplotlib. Made for Jason’s bench at Illicit Apothecary.

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Seven Fuzz Topologies of the 1960s, Pt. 4: The Octavia

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Seven Fuzz Topologies of the 1960s, Pt. 2: The Fuzz Face