Ronson Cocked Wah Clyde McCoy Circuit Rose Gold Nitro Finish Fasel Inductor Hand Wired Tagboard Build

Description

Description of Product
This pedal began as part of an experiment into Mick Ronson’s guitar sound.
A lot of people talk about Ronson’s tone in terms of amplifiers or pickups, but a large part of that voice comes from the way he used a wah pedal. Instead of sweeping it, he left it in one position and built his sound around the midrange that remained.
To understand why that worked so well, the early Vox Clyde McCoy circuit was rebuilt slowly on traditional tagboard using through hole components and period correct construction methods.
This approach allows the layout and lead dress of the circuit to remain visible and serviceable in the same way many early guitar effects and amplifier circuits were originally assembled.
The inductor used in this version is a Fasel unit. Inductors of this style were widely used in classic Italian wah circuits and are known for producing a clear resonant midrange that holds its shape well when the pedal is left in a fixed cocked position.
The enclosure has been finished in rose gold nitrocellulose lacquer with cannon tattoo artwork.
Nitro finishes develop their own character over time as they pick up marks and wear from use rather than remaining cosmetically perfect.
All wiring is point to point on RS Components tagboard using traditional workshop construction rather than modern printed circuit boards.
This pedal is one of the two circuits built during the Ronson cocked wah build featured on the channel.
Description of Sound
This circuit is not about the sweep of a wah pedal.
It is about the sound that appears when the sweep stops.
With the Fasel inductor the resonant peak sits in a focused part of the midrange. When the pedal is left in the Ronson style cocked position the guitar occupies a narrow band that cuts through a band mix without needing excessive gain.
Single notes feel vocal and forward.
Chords remain clear because the low midrange that normally crowds a mix is reduced.
The result is the kind of midrange voice heard on many Bowie era recordings where the guitar sits confidently in the track without overpowering the rest of the arrangement.
Rolling back the guitar volume cleans up the sound while retaining that midrange position.