The D*A*M Greasebox is kind of a hot-rodded Tone Bender MKIII. It just takes a 100n cap straight off the collector of Q3 and runs to the volume instead of passing through the usual Tone Bender tone control.
This is not my layout; this is about the same as the D*A*M layout from what I've managed to work out by looking at pics.
I've officially run out of things to say about D*A*M Tone Bender variations.
The Black on Black has a larger coupling capacitor and a larger capacitor on the treble side of the tone pot, resulting in a lower cut-off on the high-pass filter. It will have a far more meaty mid-range than a regular MKIII.
Another variation from D*A*M on the MKIII / MKIV Toner Bender.
I haven't listed transistors used etc, as the internet has more than enough info on this, and if you have found this page, I'm sure you are quite aware of positive ground circuits and what PNP germanium transistors are. Apart from that, David Main uses a variety of different transistors in his various MKIII builds.
If you want to keep the D*A*M look, put the links under the board - that confused me for a while trying to work out where the signal was going.
The Ibanez Overdrive OD-850 is an early Japanese Big Muff variation, almost a straight clone if it wasn't for the usual tone stack. It's also known as the Maxon D&S OD-801 - either way, both classic guitar effects from Japan.
The tone stack fixes the bass response to some degree, providing a more even sweep across the range.
Note that it asks for a C828 transistor, but I have used the pinout for a standard CBE transistor. 828s are usually BCE.
Not strictly my layout, as this is a copy of the original Sola Sound Tone Bender MKII board.
This is a little different to most MKII schematics, as it has a 10k resistor from base to ground on Q1, and a 47k on the collector of Q2. I've read that this is best for leaky OC75 transistors (which I have a few of). The 100k bias resistors were mainly used for OC81s.
