11/11

Starting with the Leqtique "9/9" in 2013, we have been designing four models of the modern high gain series up to 12/12, and in 2017 we released the "10/10" with a higher gain, stronger mid-scoop and metallic sound. Since then, we have not had any ideas to surpass those two models, and we are now in 2018. However, we decided to move away from the original 9/9 and 10/10, which were innovative ideas at the time, which were to build distortion using discrete circuits based on DMOSFETs, and to further develop the multi-stage idea of ​​PowerIC cultivated with Roger, and created the new 11/11.

 The previous two models had a very tight low end, which is the biggest feature of the DMOSFET, but the 11/11 model has a vacuum tube-like, dense low end that is typical of the PowerIC, which is one of the big differences. In addition, the 11/11 model inherits the extraordinary natural response to guitar volume that you can experience with Roger, and although it is quite intense even at Gain=0, you can drop it to a thick, practical, and brilliant clean just by turning the guitar volume. This feature makes it a versatile model that stands out among the many distortion pedals from Leqtique, capable of outputting from clean to ultra-high gain without compromise.

 Therefore, the equalization, which was originally intended to push the 10/10 direction and create a more metallic sound image, has been greatly expanded, and the Bottom adds a tight low end with a different flavor to the original high-density low end. In addition, the control named Edge, as its name suggests, has been expanded to an edgy level that is hard to believe for a Leqtique pedal, which is often set to a muffled sound. The cut direction has also been expanded considerably, so the equalization itself is versatile. In addition, the built-in Mid-Cut is set to 50% (12 o'clock direction) by default, and the band that tends to become hot with ultra-high gain is slightly reduced with a sharp Q. The equalization frequencies of the series continuing from 9/9 are all different for each model, but in this flavor, the basic character of a wicked distortion with an edgy and super thick low end is the highest point, and the sound is sweetened by making the control range very large, and by combining it with the guitar volume, it is a machine that can handle a wide range of music. I think that's the most accurate explanation. As this is the third of four parts, the gain reaches an incredibly high level, which is the limit of practical use. The way the sense of saturation increases as the gain is increased, which is a feature derived from the power IC, is the closest to the behavior of modern high-gain amplifiers in the series.

  "11/11" has tremendous destructive power and the most tube-like qualities of the series, but I hope you will feel the message of "essential versatility amidst fierceness" and enjoy it freely against a variety of musical backdrops.

Control : (Left to Right) Volume, Edge(mini), Bottom, Gain, Mid-Cut(inside,50% Default

Operation Voltage: 7V~12V, Current Consumption: Approx 34.0mA

 

11/11 Interview

Yuichiro Hosokawa

https://yhosokawa.myportfolio.com

-Nokina, what do you think is the ideal high-gain distortion effector?

Shun Nokina (hereinafter SN): When I first started looking for high-gain effects, there were very few options, and many of them had loose low frequencies. In contrast, the ideal sound when you mute the bridge is tight and atmospheric.

-Have you ever considered the sound of a high-gain amp as a competitor?

SN: I've been listening to the Mesa Boogie Dual Rectifire since I was in high school, and I've tried and learned about many high-gain amps at overseas trade shows, but I don't have any direct interest in existing amps. However, I have tried making an effect pedal while keeping certain factors in mind, and ended up with one that sounds like Diezel, and another that sounds like ENGL.

-Are there any high-gain distortion effects pedals released by other companies in the past that have influenced you?

SN: There are so many. But there isn't a pedal that has directly influenced me in terms of circuitry. In terms of tonal influences, there are so many, it's almost overwhelming. A typical example would be the Bogner Uberchall Pedal.

-The high gain series starts with 9/9 , including the 11/11 this time. I don't think there have been any previous effects pedals with model names that only consist of numbers, so please tell us the origins of these model names and the meanings of the numbers.

SN: They each have their own meaning, but I must keep it a secret until the release on December 12th. If I had to say one thing, I can tell you that the meaning is different before and after the / (slash).

-So, for example, the two "9" s in 9/9 each have a different meaning?

SN: That's right. The color scheme of each model also has a meaning, but we can't tell you about it just yet.

-The 9/9 was the prologue to that series, but what kind of sound were you aiming for, and what kind of circuits and functions did it ultimately contain?

SN: The first thing I was most conscious of was the pleasant feeling when using bridge muting, which I also answered in the first question. Creating the overtones required to achieve that would also make the solo sound great, so I ended up aiming for those two things at the same time. In terms of the circuit, I used a D-MOSFET element to create a four-stage amplification circuit, and placed an active filter at the end.

-What were the advantages and characteristics of the D-MOSFET , the element first used in the 9/9 ?

SN: The biasing method can make a big difference, so speaking only of the biasing method I use and comparing it with regular MOSFETs using standard biasing, D-MOSFETs allow for more precise operation settings. For example, in the 9/9, it is easier to create different frequency characteristics for each of the four amplifier stages.

- Moving on to the 10/10 , what kind of sound did it have and what kind of effect was it?

SN: The distortion sections of the 9/9 and 10/10 are both D-MOSFET circuits, and the difference is subtle, but the equalization sections that follow are completely different. The 9/9's equalization was somewhat versatile, while the 10/10 has heavier lows, stronger mid scoops, and more intense treble.

-Is the amount of distortion the same for 9/9 and 10/10 ?

SN: No, it's more like 10/10.

-And now, this is 11/11 . First of all, is the amount of distortion greater than the previous two ?

SN: Yes, 11/11 is more common. The distortion gets more intense with each series. However, we do take feedback issues into account and dial it back a little.

- And yet, when you actually play it, you can hear a very clear high range. How do you achieve this characteristic?

SN: The previous 9/9 and 10/10 were 4-stage amplifier circuits using D-MOSFETs, but this time we've built a 4-stage amplifier circuit using Power IC, an amplifier element also used in Leqtique's Roger. The nature of the Power IC is apparent, and the 11/11 is tuned consciously from the high-mids to the treble, so that's why we came up with this.

-So the fact that the amplifier circuit has four stages remains the same, but the amplifying element has changed.

SN: Yes. Of course, during the design stage we tried 6-stage and 8-stage circuits with different gains, but 4 stages proved to be the best balance.

-The drop in distortion when the volume is turned down and the texture of the clean sound seem to stand out more than in the previous 9/9 and 10/10 models . What factors influence this?

SN: 9/9 and 10/10 were designed to have a clean sound when the volume was turned down, but in the case of a circuit like this one that uses Power IC, some of you may have experienced this with Roger, but the clean sound is abnormally beautiful. By the way, there are a few distortion effects that use Power IC, but they do exist, and a representative one is KRANK's Distortion Maximus, but since the Power IC is not distorted alone, the response when the volume is turned down is very different from 11/11 .

- I'd like to ask about each control. Volume and Gain are both standard controls, but what about Bottom and Edge?

SN: First of all, the 9/9 and 10/10 did not boost the high frequencies from a flat state, but the Edge controller on the 11/11 not only boosts the high frequencies, but also strengthens the cut effect. The reason we did this is because the basic characteristics of the 11/11 were so great that we wanted it to be used in a more general range, so we equipped it with a controller that allows for a wider range of sound creation. The Bottom also takes advantage of that characteristic and allows you to add low frequencies.

-What about the Mid Cut controller installed on the internal circuit board?

SN: The 9/9 and 10/10 Mid Cuts are generally set at 0 (zero = minimum value), whereas the 11/11 Mid Cut is generally set at 12 o'clock. This is a setting that cuts the hot midrange a little with a sharp Q. If you want a more rock-like tone, turn the Mid Cut counterclockwise, and if you want a more metal-like tone, turn it clockwise.

-Although the amplifying elements in the 11/11 circuit are different, I understand that it is made up of a four- stage amplification circuit and an active EQ circuit, just like the 9/9 and 10/10. Are there any other parts or components that are common to the previous two models?

SN: First of all, the op amps used in the active EQ circuit are different between the 9/9 and 10/10. The 9/9 used the LT1498, an op amp with very high resolution sound quality, while the 10/10 used a different op amp with a tone suitable for mid-scoop. And now in the 11/11, we use the LT1498, which emphasizes resolution, just like the 9/9. Also, there are more capacitors of a type called MLCC.

-Looking at the circuit board, it looks like MLCCs are being used as a substitute for electrolytic capacitors, but is there a significant difference in the tone they produce compared to electrolytic capacitors?

SN: It's not a matter of superiority or inferiority, but there is a big difference. Between polarized electrolytic capacitors and MLCCs, electrolytic capacitors have a rough texture in the low range, while MLCCs are tighter and clearer. If you compare the sound by using both in the coupling part, the electrolytic capacitor sounds like it has more distortion. Among electrolytic capacitors, non-polar ones are closer to MLCCs.

- Although the circuits and elements are different, the sound seems to be very dry, just like the previous two works. Was this a conscious effort?

SN: It's a very conscious decision. To achieve the ideal form of high-gain distortion that I mentioned at the beginning, you have to create an absolutely dry sound.

15. Finally, what kind of effect will the upcoming 12/12 be?

SN: In the past, there was an extreme plan to increase the gain and decrease the number of knobs with each series, i.e., 12/12 would be a one-knob extreme high-gain distortion, but it will probably be a decent effect with a conventional controller. Will 9/9 and 10/10 use D-MOSFETs, 11/11 use Power IC, and 12/12 be a combination of these? I don't know yet whether it will be a normal FET circuit, but in the current situation in 2018, I think this idea using Power IC is the best.