Contents of schematics-20000228 Note: There is some duplication in this archive, some schematics show up multiple times in various formats. I know about it, you don't need to mail me, I don't plan on fixing it right now, down the road yes - but not right now. schematics-20000228/ File Description 3btone.ps 4bandeq.ps ab3pcb.ps angrybd3.ps axgrindr.ps b_gsynth.pdf bclipper.ps bigmufpi.ps biphase.gif bl_delux.gif bosssg1.ps brighten.ps cln9powr.ps controfz.ps crybaby.ps dodcomp.ps dodenvf.ps dodfx75.ps dodoverd.ps dualpabb.ps dublbeat.ps eh16secd.ps ehbsters.ps ehfuzzwa.ps electra.ps eq.ps fblender.ps foxfzwah.ps fuzz001.ps fuzz002.ps fuzzface.ps geuoctv.ps grnring1.ps harmswtn.ps ibnzbe10.gif ibnzpt90.gif ibnzts9.ps jhfface.ps jordan.ps jordan_bosstone.gif jshfuzz.ps kaytrem.ps korgngt1.gif korgoct1.gif korgpeq1.gif korgphs1.gif korgtnb1.gif lbgmuff.ps maefuzz.ps mboomer.ps mboomer2.ps mfuzrite.ps motionff.ps mtsfuzz.ps mu-tron3.jpga mufffuzz.ps Simple 3 Band Tone Control PAiA 4 Band EQ, 35Hz to 15kHz range Angry Beard 3 PCB Angry Beard 3, germanium fuzz pedal PAiA Axe Grinder, distortion pedal EH Guitar & Bass Microsynth Dan Armstrong Blue Clipper, distortion pedal EH Big Muff Pi, distortion pedal Bi-Phaser Fender Blues Deluxe Boss Slow Gear SG-1, attack delay effect 2 Frequency Brighteners Ultra-Clean 9VDC Power Supply Gretsch Controfuzz, distortion pedal Dunlop Cry Baby Wah-wah pedal DOD Compressor 280A DOD Envelope Filter 440 DOD FX25 Flanger DOD Overdrive 250 Dual Preamp & A/B Box Roland Double Beat, fuzz wah EH 16 Second Digital Delay, partial 5 EH Tone Boosters EH Fuzz-Wah (volume too) Electra Distortion, guitar overdrive module 10 Band Graphic EQ Fender Blender, fuzz pedal Foxx Fuzz-Wah Unknown fuzz pedal Unknown fuzz pedal Dallas Arbiter Fuzz Face Guitar Effects Unit, octaver fuzz pedal Dan Armstrong Green Ringer, pseudo ring modulator Harmonic Sweetener Ibanez BE10, 7 Band EQ Ibanez PT90, phase shifter Ibanez TS9 Tube Screamer, distortion pedal Dunlop Jimi Hendrix Fuzz Face Jordan Boss-Tone Jordan Boss-Tone JSH Fuzz, model FZII Kay Tremolo Model T-1 Korg NGT-1 Noise Gate Korg OCT-1 Octaver Korg PEQ-1 Parametric EQ Korg PHS-1 Phase Shifter Korg TNB-1 Tone Booster EH Little Big Muff, distortion pedal Maestro Fuzz Maestro Boomerang, wah-wah Maestro Boomerang 2, wah-wah & volume Mosrite Fuzz-Rite, distortion pedal PAiA Motion Filter/Follower Modified Tube Sound Fuzz Mutron Mu-Tron III EH Muff Fuzz mxrdistp.ps mxrhott.ps obphaser.ps octavia.bmp olsonns.ps panner.ps pcrat.ps pcratb.ps pipebomb.ps preamps.ps purple.gif rd.ps reverb.gif screverb.ps shrdmstr.ps smixer.ps smlstone.ps soulprch.ps spreader.ps thrmndat.ps thrmnpcb.ps thrmnsch.ps tonebstr.ps toneccts.ps tremoloc.ps tubedist.ps tubehead.ps tubemicp.ps uniflash.bmp univibe.ps unvbachk.ps unvbaovr.ps unvbapcb.ps unvbbchk.ps unvbbpcb.ps uvspfuzz.ps voxtb.ps voxtreb.ps MXR Distortion + MXR Hot Tubes Oberheim PS-1 Phase Shifter Bob Starr's Octavia Olson New Sound G. Forrest Cook's Voltage Controlled Panner ProCo Rat Distortion ProCo Rat Distortion Type B Pipebomb, silly tone modifier 3 Simple Preamp Circuits The Purple Pedal, distortion pedal Gibson RD-Artist Spring Reverb Driver/Reciever Stage Center Reverb Unit (spring) Marshall Shredmaster Simple Mixer EH Small Stone Phaser Issue J EH Soul Preacher, compressor EM Stereo Spreader Theremin Information sheet Theremin PCB layout Theremin Schematic Everyday Electronics Tone Booster 2 Tone Control Circuits Controllable Tremolo Circuit Tube Distortion Pedal PAiA TubeHead Preamp PAiA Tube Mic Preamp Bob Starr's UniVibe Lamp Flasher Circuit Unicord UniVibe R.G. Keen's UniVibe check plot Lamp Version R.G. Keen's UniVibe overlay Lamp Version R.G. Keen's UniVibe PCB layout Lamp Version R.G. Keen's UniVibe check plot LED Version R.G. Keen's UniVibe overlay LED Version R.G. Keen's UniVibe PCB layout LED Version Vox Tone Bender Vox Treble Booster Simple 3 Band Tone Control from Graff’s Encylcopedia of Electronic Circuits / Popular Electronics R1 0.05uf 11k + 1uf - 11k 100k + R2 0.005uf 3.6k 3.6k 100k 0.022uf 1.8k 500k 1.8k 0.005uf + 10uf + 10k R1 is left up to the user depending on gain needs, R2 is unknown - experiment, the op-amps are not critical, any standard ones could be used. This circuit was originally intended for home audio use, but should be able to be hacked into an effect circuit with very minor modification. Name: Manufacturer / Designer: Four-Band EQ 10k 10k 6 Input IC1a cut 5 - 10k 10k 6 8 IC2a + boost cut 10k Revision: PAiA Electronics 5 - 10k 10k 6 8 IC3a + boost cut 10k 5 - Model # 9/21/95 10k Originally designed by Jules Rychkebusch 10k 100 6 8 IC4a + boost cut 9303 5 - Output 8 + boost 10k 10k 100k IC1b 2 1 - 3 + 0.047uf 47k IC3b 2 1 - 3 10k 47k IC2b 2 + 10k 4k7 47k 1 - 3 4k7 47k 47k 1 - 3 + 10k 47k IC4b 2 4k7 + 10k 47k 47k 0.047uf 0.01uf 0.0039uf 0.0022uf 100k 100k 100k 100k 0.01uf 100k 4k7 0.0039uf 100k 4k7 Freq. 35-680Hz Freq. 450-8.5kHz 1N4001 150 + 100uf + 100uf + 330 100uf 1N4001 0.0022uf 4k7 Freq. 150-3kHz 12VAC 100 mA 100k 100k 4k7 Freq. 750-15kHz V+ Pin 8, IC1 - IC4 0.01uf + 100uf 150 VPin 4, IC1 - IC4 4k7 IC1 - IC4 : 5532 Angry BeardIII 0.22uf Normal 1M 0.022uf High 1k 330 ohms 0.22uf +9v - 10k 10k + 10uf 0.01uf 10k 2N44 + IN 0.0056uf OUT 100k 1M 20k + +9v + 20k 10uf +9v The op-amp can be any lownoise single op-amp, the original used a NE5534. The 2N44 could probably be replaced by other PNP germanium transitors with out much change in sound. The switching aspect has been left out of this schem, but you will probably want to add a bypass of some type to this effect. The emphasis switch chooses a tone flavor, this could be expanded to include a wider range of frequencies, but too small a cap value may cause oscillation. Any attempt at taming the internal gain of this effect has been left out, but could be easily added. This can be noisy depending on your rig, so a 10-15pf cap could be placed in the feedback loop of the op-amp if your concerned about too much squeaking. -Jamie Heilman firstname.lastname@example.org Manufacturer / Designer: S1 - Cancel Effect S2 - Full Intensity 5k Pot - Tone Control 500k Pot - Distortion Intensity 100k Pot (by tone) - Distortion Level 100k Pot (by IC2c) - Clean Level 11 1 - IC1a 100k 0.1uf 3 + +9v S2 10k 15pf S1 D2 D1, D2 - 1N914 or 1N4148 0.1uf D1 10k 1uf 8 - 2 In 11 500k 5750 The Axe Grinder has been designed with a couple of key fetures in mind, it not only allows a wide variety of distortion tones from the clipping part of the effect it also allows the user to overload thier amp with a greatly boosted clean tone. The distorted tone and the clean tone can be blended together for additional sound tailoring. Also the tone control only affects the distorted signal, and leaves the clean signal untouched. The "cancel" switch lets your guitar signal bypass the effect entirely. 10 IC2a Model # 10/28/95 12 S2 is a switch integrated into the 500k pot, and is wired such that rotating the pot fully will allow you flip the switch and kick in the full intensity of the distortion. +9v +9v 10M Revision: PAiA Electronics IC1b 7 10 All polarized caps 16v 10k + Axe Grinder + 10k 9 10M 1uf +4.5v 5k 13 1 4k7 - 13 1uf IC1d IC2b + 12k 1uf 1k Out +4.5v + +9v 12 + 10k 0.1uf 2 14 + 100k + Name: 1uf 10k + 100pf +9v 0.1uf 10k 220k 6 - + 10uf +4.5v 10k 10k 5 + 4 5 IC1c 100k NC IC2d NC 10M +4.5v IC2c 4 3 + 10uf IC1 - 4136 Quad Op-amp IC2 - 4066 Quad Switch +9v 14 6 10 9 8 NC 7 NC +V C5 0.0018 R15 3.3M R14 100K SQUELCH +V 1 8 A2A J1/INPUT 1/4" PHONEJACK R2 3 1 4.7K 700 HZ LOW PASS FILTER R8 R9 3.3K 33K R7 2.2K R13 15K 5 C4 6 C1 0.1 RC4558 4 PREAMP GAIN R3 10K -V C2 0.022 C3 0.0022 10K 0.47 TANT. RC4558 FULL WAVE RECTIFIER R11 R10 7 R1 68K -V -V 4 10K R12 2 7.5K 3 A3A 1 RC4558 D2 1N914 R5 13K 1N914 D1 2 R4 470 27K 3 A2B 2 R16 8 6 +V 7 GUITAR R6 100K LIN 5 A3B RC4558 C12 0.47 TANT. C13 D4 D5 D6 D7 1N914 1N914 1N914 R19 R18 27K 560 2.2K C8 2.2 -V R17 2.7K A6A 4 C6 C7 4.7 TANT. LOG AMP 5 R24 7 22K C9 1.0 C10 0.1 6 R29 8.2K 4 C11 1.0 A4A 2 1K -V TANT. TRIGGER R31 100K LIN 3 R25 22K RC4558 RC4558 R30 2.2K 8 1 +V A5B 3 1.0 D3 5 -V STOP DETECTOR 1 3 +V 1N914 R33 330 R32 390K 7 6 8 8 SQUARE WAVE SHAPER RC4558 A5A SQUELCH SMALL SIGNAL DETECTOR 3 NORMALLY LOW HIGH 8 PULSES AT END OF NOTE +V -V 1 +V +V 2 PEAK FOLLOWER R42 820K R41 220 R43 1K A7B RC4558 RC4558 R44 330K 4 -V R39 5 7 C16 4.7 6 D8 R45 470 1N914 120K 0 TO -7V DEPENDING ON SIGNAL RC4558 R38 22K 1.0 2.7K C15 0.047 R35 2 10K 4 NORMALLY -8V PULSES HIGH ON ATTACK 6 HIGH ON SILENCE D11 1N914 +V 7 7 ATTACK DETECTOR D10 1N914 2N5087 3 7 -V A6B Q1 5 6 SQUARE WAVE MODULATOR R34 A7A RC4558 4 2 2 RC4558 C14 R26 820 R27 4.7K 4 1 R23 47K 0.082 R28 A4B SMOOTHING FILTER R20 R21 R22 3.3K OCTAVE 100K LIN -V 1N914 A8 1 8 6 5 CA3094 (or EH1040) R40 D9 1N914 6.8K SQUARE WAVE R36 100K LIN R37 1 2 5 TO SUB-OCTAVE TRACK & HOLD MODULATOR (A18) & OUTPUT 4 5 TO VCF (A10) 13K 3 TO ADAPTIVE SCHMITT TRIGGER 6 TO VCA SWEEP GENERATOR 7 TO VCF SWEEP GENERATOR -V SQUARE WAVE SHAPER * ALL CAPACITOR VALUES IN MICROFARADS ELECTRO HARMONIX DESIGNED BY: D.COCKERELL REVISION: 12/12/78 Title ELECTRO HARMONIX BASS MICRO SYNTHESIZER Size Document Number A DRAWN BY: FABIAN P. HARTERY Date: September 28, 1996 Sheet 1 of REV 1 3 -V ADAPTIVE SCHMIDT TRIGGER R46 R47 5 3.3K 3.3K 6 3 A15B RC4558 D13 7 R49 220 1N914 D12 1N914 2 A15A RC4558 R53 1 3 47K 4 R48 10K C19 4.7 TANT. SUB-OCTAVE TRACK & HOLD MODULATOR -V 8 C17 0.0033 12 +V Q +V 13 A16A RC4558 D15 1 8 3 C20 4.7 TANT. R52 220 6 A16B RC4558 R54 7 5 47K 2 C18 0.1 1N914 D14 1N914 4 A17B CD4013 5 R CLK R50 6.8K +V 1 1 0 Q S D 11 3 D A17A 6 CD4013 1 S Q CLK 9 R Q 2 -V 4 7 U9A RC4558 8 D16 1N914 3 1 -V 47K R60 C21 0.1 +V R71 680K 7 R72 1K START FREQUENCY R93 R95 4.7K R94 820 R105 R104 1K +V R100 22K Q5 Q6 8.2K R103 820 C30 10 -V Q4 2N5088 3 C28 10 TANT. R63 10K 1 8 6 5 2 R96 47K R97 1K C29 1.0 TANT. -V R64 C24 0.082 10K -V -V R75 3.3K 4 5 6 8 1 0.0033 7 C25 R76 8.2K R77 -V R79 3.3K A11 CA3094 /EH1040 4 2 3 47K R78 1K 5 6 8 1 0.0033 C26 7 -V -V R80 8.2K R81 47K A12 CA3094 /EH1040 2 R82 1K 3 R83 3.3K 4 R84 8.2K 5 6 8 1 0.0033 7 C27 2 +V R87 330K 4 7 A14 3 RESONANCE R86 100K LIN +V +V R85 R88 47K 5 R89 4.7K R91 470 47K R90 1K 4 -V 2N5088 2 +V R98 47K R99 47 2N5088 -V A10 CA3094 /EH1040 2 A13 1 8 6 5 CA3094 D18 (OR EH1040) 4 1N5235 6.8V -V 1 1K S1 FOOTSWITCH J2/OUTPUT 1/4" PHONEJACK R62 12K R70 22M R69 12K 3 -V 27K R59 470 SWEEP RATE R74 100K LIN R73 +V Q3 2N5087 -V R102 -V R56 -V R68 1K 4 6 4 2.2K D17 1N5235 6.8V 2 3.3K Q2 2N4302 C23 R61 100K LIN SUB-OCTAVE 1.0 0.0033 -V R67 820 R92 100K LIN 2 R55 3.9K -V S-R FLIP FLOP & DIVIDE BY TWO SPECIAL NOTE: PIN 14 IS CONNECTED TO THE POWER SUPPLY GROUND AND PIN 7 IS CONNECTED TO THE -V SUPPLY. +V 3.3K R58 470 CA3094 7 (OR 1EH1040) 8 6 C22 5 A18 8 R51 10K +V STOP FREQUENCY R66 R57 27K 3 -V R65 100K LIN +V CA3094 (OR EH1040) VCA D19 1N914 R101 100K LIN ATTACK DELAY TANT. * ALL CAPACITOR VALUES IN MICROFARADS ELECTRO HARMONIX DESIGNED BY: D.COCKERELL REVISION: 12/12/78 Title ELECTRO HARMONIX BASS MICRO SYNTHESIZER Size Document Number B DRAWN BY: FABIAN P. HARTERY Date: September 28, 1996 Sheet 2 of REV 1 3 2N6110 NORMALLY TOO HOT TO TOUCH R109 Outboard, a.c. transformer Q5 120 Vac Primary 24 Vac Secondary 12K 2N6110 (+9 Vdc RELATIVE TO A1, PIN 2) +V P1 R108 1K 8 N.C. PHONEPLUG 3 1 D22 1N914 2 R111 680 A1A R107 5.6K RC4558 R110 4.7K D20 LED 4 - + J1/POWER BR1 W02M C31 100 35V C32 10 25V R106 15K 1/8" PHONEJACK POWER JACK-ISOLATED (SOME NON-DOMESTIC MODELS) 24 VAC A1B 6 7 5 RC4558 C33 10 25V D21 1N961B 10V -V (-10 Vdc RELEVANT TO A1, PIN 2) ELECTRO HARMONIX DESIGNED BY: D.COCKERELL REVISION: 12/12/78 Title ELECTRO HARMONIX BASS MICRO SYNTHESIZER Size Document Number A DRAWN BY: FABIAN P. HARTERY Date: September 28, 1996 Sheet 3 of REV 1 3 +V C5 0.0018 R15 3.3M R14 100K SQUELCH +V 1 8 A2A J1/INPUT 1/4" PHONEJACK R2 3 1 4.7K 700 HZ LOW PASS FILTER R8 R9 3.3K 33K R7 2.2K R13 15K 5 C4 6 C1 0.1 RC4558 4 PREAMP GAIN R3 10K -V C2 0.022 C3 0.0022 10K 0.47 TANT. RC4558 FULL WAVE RECTIFIER R11 R10 7 R1 68K -V -V 4 10K R12 2 7.5K 3 A3A 1 RC4558 D2 1N914 R5 13K 1N914 D1 2 R4 470 27K 3 A2B 2 R16 8 6 +V 7 GUITAR R6 100K LIN 5 A3B RC4558 C12 0.47 TANT. C13 D4 D5 D6 D7 1N914 1N914 1N914 R19 R18 27K 560 2.2K C8 1.0 -V R17 2.7K A6A 4 C6 C7 4.7 TANT. LOG AMP 5 C10 0.056 6 22K C9 0.47 R24 7 R29 8.2K 4 C11 1.0 A4A 2 1K -V TANT. TRIGGER R31 100K LIN 3 R25 22K RC4558 RC4558 R30 2.2K 8 1 +V A5B 3 1.0 D3 5 -V STOP DETECTOR 1 3 +V 1N914 R33 330 R32 390K 7 6 8 8 SQUARE WAVE SHAPER RC4558 A5A SQUELCH SMALL SIGNAL DETECTOR 3 NORMALLY LOW HIGH 8 PULSES AT END OF NOTE +V -V 1 +V +V 2 PEAK FOLLOWER R42 820K R41 220 R43 1K A7B RC4558 RC4558 R44 330K 4 -V R39 5 7 C16 4.7 6 D8 R45 470 1N914 120K 0 TO -7V DEPENDING ON SIGNAL RC4558 R38 22K 1.0 2.7K C15 0.047 R35 2 10K 4 NORMALLY -8V PULSES HIGH ON ATTACK 6 HIGH ON SILENCE D11 1N914 +V 7 7 ATTACK DETECTOR D10 1N914 2N5087 3 7 -V A6B Q1 5 6 SQUARE WAVE MODULATOR R34 A7A RC4558 4 2 2 RC4558 C14 R26 820 R27 4.7K 4 1 R23 47K 0.082 R28 A4B SMOOTHING FILTER R20 R21 R22 3.3K OCTAVE 100K LIN -V 1N914 A8 1 8 6 5 CA3094 (or EH1040) R40 D9 1N914 6.8K SQUARE WAVE R36 100K LIN R37 1 2 5 TO SUB-OCTAVE TRACK & HOLD MODULATOR (A18) & OUTPUT 4 5 TO VCF (A10) 13K 3 TO ADAPTIVE SCHMITT TRIGGER 6 TO VCA SWEEP GENERATOR 7 TO VCF SWEEP GENERATOR -V SQUARE WAVE SHAPER * ALL CAPACITOR VALUES IN MICROFARADS ELECTRO HARMONIX DESIGNED BY: D.COCKERELL REVISION: 12/12/78 Title ELECTRO HARMONIX GUITAR MICRO SYNTHESIZER Size Document Number A DRAWN BY: FABIAN P. HARTERY Date: September 28, 1996 Sheet 1 of REV 1 3 -V ADAPTIVE SCHMIDT TRIGGER R46 R47 5 3.3K 3.3K 6 3 A15B RC4558 D13 7 R49 220 1N914 D12 1N914 2 A15A RC4558 R53 1 3 47K 4 R48 10K C19 4.7 TANT. SUB-OCTAVE TRACK & HOLD MODULATOR -V 8 C17 0.0033 12 +V Q +V 13 A16A RC4558 D15 1 8 3 C20 4.7 TANT. R52 220 6 A16B RC4558 R54 7 5 47K 2 C18 0.1 1N914 D14 1N914 4 A17B CD4013 5 R CLK R50 6.8K +V 1 1 0 Q S D 11 3 D A17A 6 CD4013 1 S Q CLK 9 R Q 2 -V 4 7 U9A RC4558 8 D16 1N914 3 1 -V 47K R60 C21 0.1 +V R71 680K 7 R72 1K START FREQUENCY R93 R95 4.7K R94 820 R105 R104 1K +V R100 22K Q5 Q6 8.2K R103 820 C30 10 -V Q4 2N5088 3 C28 10 TANT. R63 10K 1 8 6 5 2 R96 47K R97 1K C29 1.0 TANT. -V R64 C24 0.082 10K -V -V R75 3.3K 4 5 6 8 1 0.0033 7 C25 R76 8.2K R77 -V R79 3.3K A11 CA3094 /EH1040 4 2 3 47K R78 1K 5 6 8 1 0.0033 C26 7 -V -V R80 8.2K R81 47K A12 CA3094 /EH1040 2 R82 1K 3 R83 3.3K 4 R84 8.2K 5 6 8 1 0.0033 7 C27 2 +V R87 330K 4 7 A14 3 RESONANCE R86 100K LIN +V +V R85 R88 47K 5 R89 4.7K R91 470 47K R90 1K 4 -V 2N5088 2 +V R98 47K R99 47 2N5088 -V A10 CA3094 /EH1040 2 A13 1 8 6 5 CA3094 D18 (OR EH1040) 4 1N5235 6.8V -V 1 1K S1 FOOTSWITCH J2/OUTPUT 1/4" PHONEJACK R62 12K R70 22M R69 2.2K 3 -V 27K R59 470 SWEEP RATE R74 100K LIN R73 +V Q3 2N5087 -V R102 -V R56 -V R68 1K 4 6 4 2.2K D17 1N5235 6.8V 2 3.3K Q2 2N4302 C23 R61 100K LIN SUB-OCTAVE 1.0 0.0033 -V R67 820 R92 100K LIN 2 R55 3.9K -V S-R FLIP FLOP & DIVIDE BY TWO SPECIAL NOTE: PIN 14 IS CONNECTED TO THE POWER SUPPLY GROUND AND PIN 7 IS CONNECTED TO THE -V SUPPLY. +V 3.3K R58 470 CA3094 7 (OR 1EH1040) 8 6 C22 5 A18 8 R51 10K +V STOP FREQUENCY R66 R57 27K 3 -V R65 100K LIN +V CA3094 (OR EH1040) VCA D19 1N914 R101 100K LIN ATTACK DELAY TANT. * ALL CAPACITOR VALUES IN MICROFARADS ELECTRO HARMONIX DESIGNED BY: D.COCKERELL REVISION: 12/12/78 Title ELECTRO HARMONIX GUITAR MICRO SYNTHESIZER Size Document Number B DRAWN BY: FABIAN P. HARTERY Date: September 28, 1996 Sheet 2 of REV 1 3 2N6110 NORMALLY TOO HOT TO TOUCH R109 Outboard, a.c. transformer Q5 120 Vac Primary 24 Vac Secondary 12K 2N6110 (+9 Vdc RELATIVE TO A1, PIN 2) +V P1 R108 1K 8 N.C. PHONEPLUG 3 1 D22 1N914 2 R111 680 A1A R107 5.6K RC4558 R110 4.7K D20 LED 4 - + J1/POWER BR1 W02M C31 100 35V C32 10 25V R106 15K 1/8" PHONEJACK POWER JACK-ISOLATED (SOME NON-DOMESTIC MODELS) 24 VAC A1B 6 7 5 RC4558 C33 10 25V D21 1N961B 10V -V (-10 Vdc RELEVANT TO A1, PIN 2) ELECTRO HARMONIX DESIGNED BY: D.COCKERELL REVISION: 12/12/78 Title ELECTRO HARMONIX GUITAR MICRO SYNTHESIZER Size Document Number A DRAWN BY: FABIAN P. HARTERY Date: September 28, 1996 Sheet 3 of REV 1 3 Blue Clipper v+ 20k .047uf v+ 5 + 1/2 Input 6 240k 7 4558 - 8.2k + 4.7uf D1 D2 .033uf 10k 50k ? 150k 240k + 4.7uf D1, D2 -Pick an element Supply -9v. Battery Output ELECTRO-HARMONIX BIG MUFF PI 15k 15k 0.1** 1u* + 1u* 500p 1uf* 470k 39k 470k 470k 8.2k 8.2k 100 1k 100k 100 100 Sustain + 100k 500p + + 100k 1u 15k + 500p 0.1** 390k 9V 10k + 1u* 0.01 39k Tone Volume 0.1 0.004 IN 100k 100k 100k 2.2k OUT The EH Big Muff Pi would probably be improved by modern input-jack power switching and a DPDT bypass switch. This is the original schematic. The diode and transistor types are unknown. Probably any high gain NPN and 1N914s work. Coupling caps marked by a * have been reported to sound better if changed to 0.1uf as have the ** marked ones if changed to 1.0uf. The original transistors were marked SPT 87-103, and the original diodes were marked 525GY or 523GY (hard to read). BOSS Slow Gear SG-1 Attack Delay 1k IN 2SC932 0.1 +9V 22k 220k + +4.5V 1u 1u 1u 470k 1m 1u 3.3k 2SC932 1k 1u OUT 1m 1M 100k 10k 10k + 100k "Sensitivity" +9V 47u 1k +4.5V 4.7k 220k 0.001 1uf + - 0.022 390k 1uf 3.9k 1M + 1u "Attack" 100k 4.7k 0.047 100k + 10 +9V 1k 20k + + 10 47k 10k trimmer, 25k? + 1k + 0.5u 56k 1M 47p 56k 47p 470k "Check" 1k 47p "Cancel" 22 + 1u 56k 100k 100k 56k 47p 9V +9V +4.5V = 2SK30A + 22k + 30u 22k + 10 = 2SC1815 unless otherwise marked = silicon signal diode, 1N914 OK The SG-1 is an attack delay unit. A struck note is at first inaudible, then fades up, similar to a reversed tape recording. Frequency Brighteners +9v 1uf 100k + 47k 1M 1uf 22k IN 0.0047uf + 2N3904 0.01uf 100k 15k 1.8k 100k** 100k* nc 2.2k 10k + 0.1uf 0.047uf +9v 1uf 100k +9v 1M 0.47uf OUT 2N3904 120k IN All Signal Brightener 47k + 6.8k 4.7k 1uf 0.22uf 2N3904 0.15uf 62k 5k 1k High Frequency Brightener These two effect modules are not actually "guitar" effects per say, but rather synth modules that will work on any analog signal. The input and output impedances may need altering depending on your needs. The high frequency brightener is nothing more than a simple treble booster with a gain control (1k) and an intensity control (5k). The all signal brightener, however, has a seperate control for brightening the low end (100k*) as well as the high end of the frequency spectrum (100k**). The 10k trimmer is a set and forget type adjustment. Set it so the circuit breaks into oscillation, then back up the setting to the point where the oscillation just stops. These two modules were excerpted from Music Synthesizers - A Manual of Design and Construction by Delton Horn; TAB Books, 1984. OUT Ultra-Clean 9vdc Power Supply Designed by Rick Barker +9v out LM317T 25VAC + Vin Vout Vadj ladj 274 2k r1a r1b + vref 110VAC + 1000uf 10uf 0.1uf 2k 6.81k r2a r2b 470uf 0.1uf = 1N4002 LM317T 274 Adj Vin Vout 2k R1= r1a || r1b = 241 ohms R2 = r2a || r2b = 1456 ohms Vref = 1.25V ladj = 50uA Vout = Vref(1+r2/r1)+ladj*r2 = 9.35VDC To pin 11, V+, on both opamps 100K 25pF 3 0.1uF 220K 10 + 6 0.1 uF 10K 4 0.47uF 5 9V 25pF 12 4 12 3 5 10 6 0.47uF 100K 1N4001 220pF 1N4001 10K Distort 220K 100K 330K 100 IN + 10uF 10K Boost OUT Gretsch Controfuzz Model No. 7798 The Gretsch Controfuzz is a variant of the op-amp-driving-diode-clipper type of distorter. The only unusual features are that the distortion is run at high boost all the time in the first opamp, and then subtracted from the dry signal in the second opamp. The amount of distortion mixed in is determined by the "Distort" control, and the overall volume level when the distortion is switched in is set by the "Boost" control. The op amps are both type 748, which needs a compensation capacitor (25 pF in this case) to be stable. Other modern opamps should work. Dunlop Cry Baby Wah Wah .001uf ? 1/2 .001uf Out 1k + .0011uf D1 1k 22k 9v 470k - Q2 68k 470k .01uf In Q1 1/2 S1 + 4.7uf 470 1.5k 33k 660mH -D1 is a 1n4148 -S1 gives true bypass -Q1 & Q2 are 2n3904 .01uf S1 82k 10k DOD Compressor 280A + +9V 0.05uf VTL5C2 3M 4.7k 22k IN 500k 0.01uf + 100k +9V 10k 0.05 uf 0.05 uf + 470k + 10uf OUT 0.05 uf 22k 47 uf + 220k +9V 220k 22k Bypass Q1, Q2 = NP4124 Op amps are LM358 100k This is the original schematic, but it looks funny to me. I think that there should be a 100k resistor at the (-) input of the second opamp to make it a pure inverter. As it is, that stage would have a very large voltage gain, unbalancing what I think works as a full wave rectifier/current source for the LED in the compression feedback loop. I would expect that the proper circuit is as shown in the fragment below. I think the VTL5C2 LED/LDR module could be replaced with a CLM6000 if you could find one of those. 3M + 100k 100k +9V 0.05 uf + 22k +9V 22k DOD Envelope Filter 440 220k + Battery, 9VDC 22k 100k + 22k 0.02uf 10uf 0.01uf IN 10k 0.02uf + - 100k 220k 430k 0.05 uf OUT 100k 100k RL + - 22k + 10k D 100k 4.7uf 0.1uf + 1uf 470k 22k 1N4148 Opamps are each 1/2 of TL022dual low power opamp. LED/LDR module is unknown, but is probably a Vactec VTL module with LED to center-tapped LDR. NON-POLARIZED 10K 15 UF Q1 J111 1N4001 U3B 47 UF 56 UF 7 22K 22K 100K 4 6 10 UF 4.7K 2 5 1N4148 1 220K 3 TL022C 100K Q2 2N5089 U3A TL022C 220K WIDTH 8 22K 180K VCC 2K 10K 1N4148 5K 100K 100K (*) PLUGGING INTO THE INPUT JACK CREATES THE CIRCUIT GROUND. 4.7K SPEED 500K 150K VCC 100K + 0.0023 9Vdc P1 100K 27K 150K 100K VCC IN 330K 470K (*) 3 10K 1 0.01 1 8 1 8 2 7 2 7 3 6 3 47K 6 4 5 4 5 2 TL022C 62K 22K 10UF 10UF Q3 2N4125 U1A 8 470K 10K MN3101 MN3007 0.001 120PF 4.7K 0.047 25 PF 1K 33K Q4 4 47K 2N4124 1N4148 33K 1N4148 0.022 62K REGENERATION 500K 4 U2A 2 100K U2B Q5 J113 5 OUT 7 3 6 1 UF 0.047 1K TL022C 100K 0.005 1 10K 47K 9 12 11 1N4148 0.0063 7 8 VSS 2DN 13 14 2DP VDD 1M 0.047 47K 120PF 4 5 1 2 10K 100K U1B U6 3SN 3Y 3A 3SP Q6 2A TL022C 8 10 1M 33K 33K 0.001 VCC 6 PARTS DESCRIPTION: 1SN 1DN 1A 1DP 1SP CD4007 3 5 OUT 33K 120PF TL022C LOW POWER DUAL OPAMP; (TEXAS INSTRUMENTS) MN3101 CLOCK GENERATOR FOR BUCKET BRIGADE DEVICE /BBD MN3007 AUDIO SIGNAL DELAY, 1024 STAGE LOW NOISE BBD (5.12-51.2 msec delay) 7 6 1 UF 100K 4.7K CD4007 DUAL COMPLEMENTARY PAIR WITH INVERTER; (RCA) 2N5089 TL022C 1M MN3101/MN3007 MANF. PANASONIC; THESE ARE EQUIVALENT TO ECG1639/ECG1641 RESPECTFULLY. 10K 47K 0.047 MOMENTARY SWITCH USED TO ENGAGE EFFECT 120PF A COMMON POINT (OR JUNCTION) IS ILLUSTRATED BY >> WHEN THIS IS NOT SEEN, WIRES WHICH CROSS OVER EACH OTHER ON THIS SCHEMATIC ARE "NOT" CONNECTED. Title DOD FX75 FLANGER (10-15-84) Size Document Number B DRAWN BY: FABIAN P. HARTERY Date: November 20, 1994 Sheet 1 of REV 1 1 DOD Overdrive 250 + 9V 4K7 IN 0.05uF 1M 0.001uF 2 3 0.01uF 10k + 20K OUT + 7 6 + 500K Reverse Log 10K 100K 4 10uF 741 1M 20K 10uF The DOD Overdrive 250 is Yet Another 741With Two Diodes On The Output. It is almost exactly the same as the MXR Distortion Plus, and a number of other units. Dual Pre-Amp & A/B Box Designed by Rick Barker 20k 20k IN A 6.8uf 1 - 3 100k 5532 20k 1/2 2 5532 1 + 8 3 + + 1/2 2 + 20k + 6.8uf 8 10uf 0.1uf 0.1uf A 20k 5 10uf 10k 100k 5532 7 - IN B 6.8uf 10k 1/2 6 5532 7 + + B 4 5 + + 1/2 6 + 20k + 6.8uf 20k 4 10uf 0.1uf 10k 100ohms + 0.1uf 50uf + 0.1uf 100uf This low noise preamp & a/b box was originally designed for switching between different harmonica mics. OUT Roland Double Beat IN OUT +9V + 10uF 9V Batt 120K 820K 22K 330K 2K2 0.01 0.1 1M 2SC1000 2SC1000 47pF 0.1 150K 2SC1000 250pF Fuzz Tone Select 150K 220K 1K2 0.0068 + 470K 1uF + 1uF 1K 470K 1M 0.0068 22K 22K 10K Fuzz Section +9V 20K 1K5 47K 1K 470K 0.01 2SC828 470K 0.01 68K 0.22 0.22 2SC1000 0.5 H 33K 470 + 10K 150K 10uF 100K Wah Section The Double Beat is another of those funky, funky Fuzz Wahs. The wah function is pretty standard, if a little quiet because of the resistive divider in front of the wah section cutting the signal down. The Fuzz secttion is pretty good, though. It has a good sound - no surprise as the first section is a lot like a Fuzz Face, but is followed up by yet another gain stage to distort even more. The three fuzz tone selections are RADICALLY different from each other. Name: Manufacturer / Designer: 16 Second Digital Delay IC1 - TL082 IC2 - 4558 Q1, Q4 - 2N5087 Q2, Q3 - 2N4859A Revision: Electro-Harmonix Model # 12/9/95 EH7875-2A IC7, IC8 - Unmarked ? IC9 - 571 IC11, IC4 - Unmarked Dual Op-Amp, probably a 4558 D1, D2 - Signal Diode ? D3, D4 - 6.8v Zener +5v B/O + 10k 150k Q2 +5v Q1 d 100k 6 3k9 0.047uf 5 - 3 A + 2 IC2b 10uf 3 + 10uf +10v 13 11 1 18 6 4 14 - 7 10uf 47pf 15 IC7 D3 5 D4 3 FCK 10uf 2 8 + 9 + 5 IC11a 5 1 + IC9b 7 7 27k To A/D Input 6 12k FCK 47pf 0.033uf 2 - 8k2 8k2 1 + IC4a 12k 7 8 5 5 6 + 7 3 10uf IC9a 3 IC4b 10uf + 7 - A 47pf 1 680pf 2M7 -10v 47k + + 5 3 6 Output 47k 47p 10k 2 1 + -10v +10v IC8 150 1 0.0068uf 47k 7 0.47uf tant 6 IC1b 3k9 1M5 16 8 - 10k Lin 47k From D/A Out 2 47k IC2a 5 Q4 100k 10k D1 B 0.047uf Q3 + s 100k 1M g 1uf 10k d g 1M RO D2 + Direct Output 100k 5 10uf 7 + Input 1k 100k 0.1uf IC1a - + 6 Blend 10k Lin s 47k + 0.47uf tant 10k 0.0068uf 1/ 10k 100k + 430k + ELECTRO HARMONIX BOOSTERS 10k 0.1uF + 0.1uF 9V 50uF 0.1uF 2N5133 2N5133 In 0.1uF In 43k 390 Out 100k 100k 100k 100k Out 2.7k LPB-1, LPB-2, EGO Muff Fuzz / Little Muff Pi (early) Other variations on the LPB-1 include a BC239 with a 100k resistor from base to ground and a 430k 0.1uF + 10k 10k In 0.002uF 2N5133 0.002uF 27k 2N5133 43k 3.3uF 390 Out 0.1uF 390 Out 100k Mole/ Hog’s Foot (Old Version) Screaming Bird/Tree +9V 220k In 0.1uF +9V 10k 100k 1M + - + - 220k 100k 0.22uF 0.02uF 10k 100k 1M 0.22uF 0.02uF 2200pf 2200pf 270k 100k 0.022uF +9V 27k 22k + + 43k 3.3uF + 10k In + 430k + 1M resistor between base and collector. 5uF +9V 10uF + 27k + 1uF 9V Out 2N5087 100k Hog’s Foot (new) Electro Harmonix Fuzz-Wah (Actually Fuzz-Wah/Volume ) 1/2 S1 1/2 Out S1 S2 In .022uf 470k - D1 100k 9v 6 10k - + 1/2 5 + 2 7 1458 3 4 -Q1 & Q2 are 2n3565 -Fuzz bypass S1 has been improved to provide true bypass -S3 chooses volume or wah-wah D2 -S2 gives just fuzz, just 1458 wah-wah / volume, or fuzz into wah-wah / volume -S4 sets tone of filter -D1 & D2 can be any 1/2 + .1uf 1 100k 8 signal diode 10uf + 680k 680k 1/2 -S5 provides for sweep reverse S5 100k 1/2 .0033uf 100k .01uf .047 33k 1k S3 + S4 10uf .1uf 22k 470k 1.5k 500mh 68k Q2 .0022uf S5 Q1 470k .22uf .22uf .022uf 470 ohms 10k Model 3006 Name: Manufacturer / Designer: 16 Second Digital Delay Revision: Electro-Harmonix Model # 12/9/95 EH7875-2A +12v XA0140 R - W 120V Red 100V 0V + + 2 10uf + 100uf 35v 33uf + + 5.1v 33uf 47 1 +5v - + 470uf 10v Y + 470uf 10v Reciac Rev Slow - IC10b # 30k SCK A2 10 9 Resistors marked # are 1% types. IC10 - LM358 IC12 - unmarked, CD4049 perhaps? +12v to pin 8 on IC1, IC2, IC4, IC5, IC6, IC10, IC11, IC43, & IC44 pin 13 on IC9, & IC3 +10v to pin 5 on IC7, & IC8 +5v to pin 20 on the ADC0804 a pin # I coudn’t read on IC12 pin 14 on IC13, IC14, & IC21 through IC24 pin 16 on IC15 through IC18 pin 3 on IC19 pin 8 on IC20, & IC30 through IC41 pin 20 on IC27, & IC42 pin 5 on IC28 pin 12 on IC29, & IC3 pin 7 on IC44 pin 9 on IC19 -15v to pin 4 on IC1 through IC4, IC10, IC11, IC20, IC43, & IC44 pin 17 on IC42 -10v to pins 1 & 6 on IC7, & IC8 4 clk 3 wr 1uf 9 +5v 7 # 7k5 F/S 14 IC12a in- 16 15 A.gnd msb REV RO 3 1k 3 + 22uf + 22uf 14 1k 13 IC12b 1uf B/O IC12d 11 10 8 + 22uf + 10k 6 7 10k ADC0804 vnff/2 11 12 13 680 C D.gnd 10 8 # 3k74 2 rd cs 1 + 1uf Click Out 22k + 5 # 15k 7 0.068uf 2N5088 B 11 20 6 vcc in+ 6 100k 22k 10uf 4k7 0.01uf 100k 100k + # 1k37 Bypass - 12k # 1k87 +5v 4k7 1 100k 10k lin -15v Click Select D 82k + + +5v Foot Switch IC10a -15v 8 7805 + 2 +5v A 10M 3 CLIX 12 7815 Y +5v 0.0022uf + 100uf 35v White C 7812 R Black +10v 4 IC12c 13 REC All diodes were unmarked. 680 +5v 2/ ELECTRA DISTORTION +9 V 4.7K 2.3M OUT 0.1uF IN 2N3904 0.1uF 470 Ge Ge This distortion was posted to the net by Bruce E. (?), email@example.com on 5/14/94. It is supposed to sound amazingly like a Tube Screamer. With the exception of the diodes, the circuit is the same as the circuit for the Electra Power Overdrive module, which was fitted inside some Electra guitars in the 70’s. It’s important to use germanium diodes to get the right sound. Silicon is supposed to produce more power and less distortion. Ge gives 0.4 volts of signal out, Si gives 1.4 volts. The values of the collector and emitter resistors can be changed to give more or less gain and distortion. The unit is not just a hard diode clipper, as the diodes load the output of the transistor and modify its gain as they turn on, giving softer clipping than you would expect. REPEAT CIRCUIT IN BOX FOR ALL FREQUENCIES. THE TABLE GIVEN BELOW SPECIFIES COMPONENT VALUES FOR C1 AND C2. C1 Vin 10K 10K 100K C2 1M 1M +V THIS OPAMP IS COMMON TO ALL OUTPUTS +V 100K Vout 3.3 UF 2.4K -V -V * A SUGGESTED OPAMP WOULD BE A TL082 OR SIMILIAR LOW NOISE OPAMP CHANNEL CENTRE FREQ. (IN Hz.) 32 64 125 250 500 1000 2000 4000 8000 16000 C1 C2 180nF 100nF 47nF 22nF 12nF 5.6nF 2.7nF 1.5nF 680pF 360pF 18nF 10nF 4.7nF 2.2nF 1.2nF 560pF 270pF 150pF 68pF 36pF FROM ENCYL. OF ELECTRONIC CIRCUITS (VOL. 2) DESIGN FIRST PUBLISHED IN ELECTRONICS TODAY INTERNATIONAL Title TEN BAND GRAPHIC EQUALIZER Size Document Number A DRAWN BY: FABIAN P. HARTERY Date: February 16, 1995 Sheet 1 of REV 1 1 Name: Manufacturer / Designer: Fender Blender Revision: Fender Model # 11/18/95 0.001uf 0.1uf 100k Sustain + 0.1uf Out All resistors 5% (many of the orginals were actually 10%) 1/2W All capacitors minimum 25V Q1 & Q2 - 2N3391A Q3 to Q5 - 2N3391 D1 to D4 - 1N276 Original switching scheme was a spdt, not true bypass. This effect would benefit from a true bypass mod. The effect itself is a distortion with octaving. + + 10uf 820 10uf 18k 3k9 Tone 10uf 10k 125k 27k D4 100k 50k + 8k2 27k D3 820 10uf 27k 10uf + Q3 Q4 D2 + 10uf 10k 150k 10uf 0.003uf + + 10uf 150k 10k Blend 47k 10k 100k + 0.05uf 150k 9v 560k 10uf 3k9 Q5 0.1uf 10k 680 1k5 In D1 + 10uf Q1 120k 15k 0.1uf 8k2 220k Q2 + 47k +9v FOXX FUZZ-WAH IN FUZZ BYPASS +9V 47k +9V OCTAVE +9V +9V +9V +9V 100k 4.7k 0.1 film + 470k 10k 150k 3300pf + + 10k + +9V 1k TONE DRIVE + 100k 47k 0.1film 100k 22k + 50k 100k 100k 50k + 15k 4.7k 4.7k + 1000pf 50k 0.047uf 220 47k 1.5k 1k FUZZ VOLUME WAH BYPASS +9V WAH OUT 100k log +9V 1k 22k 0.22 470k WAH TONE SELECT 0.22 0.01 0.047 470k + +9V .0.0033 0.01 68k 0.0047 100k + 10k 33k 0.047 0.1 220 0.5H 1.5k "5103 TDK". The Foxx Fuzz Wah includes a fuzz, an octave effect, a wah pedal, and in later versions a volume pedal al l in the same box. The box, by the way, is covered in blue or red no-fooling stiff plastic fuzz. The wah has four different resonant frequencies selected by a rotary switch. The inductor should be relatively easy to find, as it looks to be a somewhat standard part. The volume pedal action is the default when wah is bypassed. Max volume is with the pedal all the way back, very odd. - All transistors 2N3565-R249, NPN silicon in little plastic button packages. - All diodes germanium - All unmarked electrolytic capacitors 10 uF, 16Vdc. The fuzz and octave section MAY be a copy of the Octavia pedal. Note that the Wah pot is log (audio) taper. The wah sound is really sensitive to the positioning of the wah pot’s rotation in the rack-and-pinion. Fuzz 001 - Unknown Commerical Source 1n42 100k 0.1uf +9v 100k 6 - 5 9v + +9v 470pf 4558 + 1M 10k 8 0.1uf - 100k 1 0.1uf 2 4558 + 4 3 7 1M + 10uf 47k Log Distortion Booster +9v 100k 10k 0.1uf 0.01uf Q1 Q2 D1 D2 In 100k 100k 3k3 + +9v Q1 and Q2 are BC108 D1 and D2 are silicon or germanium (pick your favorite flavor) signal diodes. -make unknown... Out Fuzz Face Dallas Arbiter 470* 0.1uf 9v 8.2k 33k + Q2 500k 2.2uf + IN 1/2 1/2 S1 OUT Q1 S1 100k 20uf 1k + There are apparently two similar versions of the fuzz face. In one Q1 and Q2 were PNP germanium AC128 or NKT275 types in the other they were NPN sillicon BC108C types. Now depending on which type you choose to build will influence some of the other components. For a PNP version the schematic is as shown, but if you build the NPN version then the 470 ohm resistor marked by a * must be changed to 330 ohms and the battery and all the polarized capacitors must be reversed. The original schematic is not exaclty what is shown above, it had a very complex switching system which has been simplified (nothing has been lost don’t worry) and a unique grounding setup. Aside from that the schem is exact with minor differences in components on various units (eg. some had the 0.1uf cap listed as .047uf, which shouldn’t make a difference as long as you feed a high impedance amp). The transistors are hard to find, the thing to look for is germanium transistors with a decent gain factor (gain > 80). Note silicon transistors will clip harshly and may not sound good, though 2n3906 has been said to work. Guitar Effects Unit (Octaver-Fuzz) extracted from ETI-Canada, January 1980 +9v 10k 10k 6.8k 10k - 1.0uf 680k 10k D2 D1 + 10k a - + 1M 560pf +9v b + 100k -9v Q1 + IN 1.0uf 39k Fuzz Struzz 8.2k 270ohms S3 820 ohms S2 OUT 1k On + -9v 9v S1 + +9v 9v Off Q1 is MPS6515 DI and D2 are 1N4148 The IC is any lownoise dual op-amp, shown is the 4558. Switching could be improved with a full bypass mod. The GEU is good sounding octave fuzz, with an optional mode of just fuzz. The fuzz is a fully rectified signal and is quite chewy. For some the Fuzz alone might not be loud enough, this can be fixed by raising the value of the 820 ohm resistor and lowering the 39k one. Or one could just replace both with a normal volume pot for a more standard approach. The "struzz" is the fuzz with an octave higher signal mixed in. Good for singal notes and leads. 1k Name: Manufacturer / Designer: Green Ringer Revision: Dan Armstrong Model # 9/23/95 +9v + 160k 18k 10k 22k 0.047uf 10k 100uf * + 0.047uf 2SA666 Input 0.1uf 2SC828 Tantalum 66k 2SA666 66k 560k 47k 6k2 10k 0.047uf 22k + +9vdc The transitor marked "*" has no markings other than three stripes; green, blue, white, from top to bottom. It is PROBABLY a low gain NPN used as a dual diode with the anodes connected together at the base of the final transistor. The continuity test on the device shows no conductivity except that the topmost pin conducts when it is positive of the pins in the middle and other side; otherwise, no conduction. This is what would be expected if it were an NPN with the same pinout (base, collector, emitter) as the other transistors. Output Harmonic Sweetener 100k 10k 2 3 1M 13 - + 12 5 - 4n7 4n7 6 10uf 10k 1M Out 10pf 10k 4k7* 14 + 10k 4k7 4n7 4n7 7 + 3 2 2k2 - 10k 1 1M** 4k7* 22k 4k7 15k 10k + 8 - 22k 9+ 10 10k 13 - 12 + 14 100 +15v + to chips (4) + 10uf 100 - to chips (11) -15v + In 10k 1 - + 100k + 1uf 10uf A couple of red led’s will work nicely for the clipping section. The op-amps shown are TL074 types with 3 of the 4 amps used. Possible modifications include changing the resistors marked * to a 10k dual-ganged pot for a tunable filter, and/or changing the resistor marked ** to a 2.5 M pot for a drive option. TS-9 Tube Screamer +9V +4.5V 10k .02u 1k + - 1uf/50v np* 1k 10k 0.22 tant 51p + - + 510k 1k 20k 0.1 +4.5V IN 100k "Level" +4.5V 220ohms + 10k 1uf/50v 1k np* "Tone" +4.5V 500k 4.7k 0.22 "Drive" .047u tant 51k OUT +9V +4.5V 510k 9V 10u + 510k + +9V 2SK30A 2SK30A 510k 0.1 1M* +4.5V 47 + 10k 470ohms 100k 1M* +4.5V .047 + 100 +9V 62k 22k .047 56k* cr2 56k* 3.6k cr1 10k In/Out 22 1M 1M 3V 56k 56k 1000p 1000p 100 Opamps are in a dual 8 pin dip, 4558. All transistors 2SC1815. All diodes silicon signal diodes, 1n914 or similar. np* = nonpolorized resistors denoted by * marked as 1M on original might be 22k and those marked as 56K might be 10k. crf1 and cr2 are a special cap and resistor in parallel, the cap is 51p the resistor is 56k. Jimi Hendrix Fuzz Face by Jim Dunlop 9v 470 + + 100uf 6v 1N5239B 9.1v In 330 43k 2.2uf Out 0.01uf 10k 500k "level" 100 Q2 + Q1 1n 68k 180k 47pf 1k "fuzz" + 22uf Q1 & Q2 are MPSA18 Model JH-2 Jordan Boss-Tone +9VDC 18K 560K 0.022uF 0.022uF 47pF Input 18K 10K 560K 100K 0.022uF 150K Output 2N2222 -or2N4124 -orsimilar 1N914/1N4148 The Jordan Boss-Tone is another distorter from the Inna-Gotta-Have-A-Fuzza era of effects. This circuit fragment shows only the effects circuit, not the in/out switching and the battery circuit. A DPDT stomp switch and input-jack battery switching would finish this up nicely. Like many others, the circuit is based on a collector voltage feedback single transistor circuit with a second transistor as a buffer following the first gain stage. Others in this genre are the Vox Tone Bender and the venerable Fuzz Face, although these do not have a diode-clipping limiter after the gain stages. JSH Fuzz 9v + 1M 0.1uf 6.8k 1n2 33k 50k Log Q1 0.1uf IN 0.1uf Q3 4.7k Q2 OUT Si* 10k 22 150k 1k + 22uf *pretty much any silicon signal diode can be used here Q1 - BC238B Q2, Q3 - BC239C Model FZIII 10K 10K 1K2 68K + 4K7 33K 100K 0.01uF 470K 0.1uF 9VDC 33K + 10uF + 4.7uF 4.7uF 33K 0.22uF OUTPUT INPUT 33 2SC828R 1K 100K 47K 43K 3X 2SC828P Kay Tremolo Model T-1 The Kay model T-1 tremolo is a very simple circuit. A twin-T oscillator circuit drives two bipolar transistors to load the signal down after it is amplified by a single input stage. The sound of this is more like the "repeat percussion" effect of Thomas Organ Vox amplifiers than the smooth variation in loudness of tube based amplifier tremolos, but it is a useful sounding effect; just different. The pedal itself is a cheesy plastic case with a wah-pedal like treadle which controls the speed of the oscillator. There is no tremolo depth control, and the in/out switch is not shown on the schematic from the inside of the case, although it is a very conventional DPDT bypass. The bypass was unique in that you had to slide a switch manually, no stomp switch on this one. Electro-Harmonix Little Big Muff 8.2k 10k 0.1u* 560p 470k 10u 560p 0.1u 470k 15k + 0.1u + 560p 0.1u* 470k + 33k 8.2k 10k 100k 150 100k 100 150 + 43k 430k + 470u 15k 9V 0.1 0.01 39k Volume 100k 0.1 100k Tone 100k 0.004 IN 22k 6.8k OUT The EH Little Big Muff could probably be improved with modern input jack power switching and a DPDT bypass. This is the original schematic. The diode and transistor types are unknown. Probably any high gain NPN and 1N914s work. The caps marked with a * have been reported to work great at 1.0uf. Maestro Fuzz + 470k 100k 330k 0.0047uF 0.047uF 33k 470k 0.001uF In 33k 50k 18k 47k 33k 0.01uF 470k 8.2k 0.1uF 3.3M 0.1uF 0.002uF 3.3k Impedance Matcher Squelcher Out 50k Fuzz Amp 100k 0.1uF 50k Fuzz Preamp The Maestro Fuzz is reputed to be the fuzz used in the recording of the Stones’ "Satisfaction". The transistors are house numbered "991-002298" and the diode is house numbered "919-004799". They are probably all germanium devices. The use of a squelch device is somewhat unique, possibly put there to tame hiss and noise during quiet passages between notes. The two 50K pots which have their wipers connected by resistors are wired so that as one increases, the other decreases, giving a pan from one point in the circuit to another, probably changing the amount of distortion. The last 50K pot is an output level control. This unit could probably benefit from a modern DPDT switch setup to completely isolate the circuit when it is switched out, and a modern input-jack power switching arrangement. Maestro Boomerang (Wah-Wah) + 10k 9v 620k 1uf + 1/2 1uf .047uf 1.5M 48k In + 25k S1 Out Q2 Q1 + 1/2 6uf 120 S1 4.7k 47k 500mh -Transistors Q1 and Q2 were designated P-2356 .01uf 8.2k Model EG-1 Maestro Boomer 2 (Wah-Wah / Volume) + 10k 9v 820k 1uf + 1/2 1uf - + 25k S1 Q2 1.5M .047uf 48k In Q1 .1uf + 6uf 1/2 120 S1 56k 10k S2 1k 47k 500mh -Transistors Q1 and Q2 were designated 991-002873 This was undoubtably an inventory number, a replacement transistor will probably have to be used. -S2 is used to switch the pedal between its modes of wah-wah (off as shown) and volume (on). .01uf 8.2k Model EG-2 Out Mosrite Fuzz-Rite 470k .05uf 350k 470k .05uf 470k 470k .002uf .002uf TZ82 TZ82 33k Input Output - + 9v Manufacturer / Designer: Motion Filter / Follower Revision: PAiA Electronics Model # 10/29/95 5720 Initial Frequency +V 500k +V 100pf 6 - IC1a 5 + 4 Sensitivity 0.1uf 7 1uf 500k 1M 2 A 1M 1 3M9 - 150 3 1uf D1 2N4124 + IC1b + D2 1uf 47k +Vr + 10 1uf A 0.01uf 0.01uf +V 10k 1uf 1M 8 + In + 11 + 1M - 1M 9 +Vr 9v 100 + 1N4001 100uf +V +Vr 500k Offset + 10 IC1c 10k 100k 14 - 13 12 1 14 + IC1d +Vr IC2 10 5 12 13 2 100k 1k 4 3 + Name: 1M 0.05uf 7 11 IC1 - 4136 Quad Op-amp S1 IC2 - 4066 Quad Switch D1, D2 - 1N4148 or 1N914 Connect pads marked "A" together. Offset is a trim pot that can be adjusted after roughly 15 minutes of "burn in" time. Adjust it until you hear no popping when pressing the Cancel switch S1. There is no need to play into effect during adjustment. Correct setting should be near the middle of the rotation. Out Modified Tube Sound Fuzz by M. Hammer 510pf* + 2k2 10uf - 47k 1500pf* 390pf* 390pf* + In 0.1uf 470k Bright 4700pf v10k 100k 100k 100k 100k 3k9 100k 3k9 + ICs are any low noise dual op-amp and a CD4049. + 10uf 0.1uf v- 4700pf v+ Dual-ganged Tone This circuit is a spin off of Craig Andertons Tube Sound Fuzz from his book Electronic Projects for Musicians. This only uses 2 stages of a CD4049 hex inverter/buffer the rest were left out of the schematic to keep it simple. Components with a * are suggested values, substitutions can be made freely within 30%. v+ 10k Out Muff Fuzz Electro Harmonix 470k D1 1/2 1/2 S1 S1 D2 .01uf In 100k 6 1/2 5 + - 7 10k Out 2 - 4558 3 4 1/2 1 4558 .1uf 100k Audio + 8 9v + 680k 10uf + 680k D1, D2 - Select an element to taste MXR Distortion + V+ AC Adaptor + For subtly different sounds try replacing D1 + D2 with 1n34’s for fuzzy sounds, 1n4148 for more buzz, LEDs for more crunch, 1M or a 1n34 array like this: 9v 1uf 25v - + 1M 1M In .01uf The original diodes were germanium 1N270 types. 10k 10k + + 741 - .001uf 1uf 35v Tant. .047uf D1 4.7k 1M D2 .001uf 10k 1M 1M 8-10pf 1/2 S1 Out -Components connected by dotted lines signify modifications for click prevention (1M resistor) and oscillation (cap in feedback loop). -Effect could be improved with true bypass switching. 2.2k V+ 1/2 S1 MXR Hot Tubes Distortion IN OUT 22pf 75k 20k +9v 0.1uf + + 20k + 1M 120k + 30uf 8k2 150k 220k 0.015uf 1m 0.22uf 470k + 1uf 1m5 15k 4.7uf 2m2 unknown value 100k? + - + 0.1uf 220k 1uf 47pf 22pf 220k + unknown value 10K? = 1/2 of dual 741 or 4558 opamp; +v on pin 8, -v on pin 4 = 1/6 of CD 4049 CMOS inverter. Vdd on pin 1, Vss on pin 8 The MXR Hot Tubes is a commercial cousin of Craig Anderton’s "Tube Sound Fuzz". It differs in that it uses a dual opamp input buffer, more stages, and more filtering. Also, there appears to be a DC offset in the bias points of two of the inverter/distortion stages. 4.7K -15 10K +15 10K 1M 2N4302 100K 10K IN 0.33uF 100K 10K OUT 4.7K 10K +15 33K +15 2N4302 1M +15 10K -15 4.7K 100k 100k 6 5 +15 8 + 100k 100k 3 0.01uF 100k 2 7 6 1 + 5 4 -15 0.01uF 100k 100k +15 8 + 100k 100k 3 0.01uF + 100k 6 1 5 4 -15 0.01uF 100k 100k 2 7 4.7K 100k +15 8 + 100k 2 7 3 0.01uF + 1 4 -15 0.01uF 100k 100k 100k 100k 1M -15 +15 10K selected Oberheim PS-1 Phase Shifter DC offset +15 -15 100K 4.7K 0.33uF 1M +15 8 2 10K 3 220K 10K Medium Phase Fast Phase +220uF -15 1N4002 (4X) Blk AC Switch, Power Red Wht 150K Blk 10K + 7 -15 4 -15 10K P1069C 1M 10K 33K 33K FET Bias Osc. Ampl. + 4.7uF 10K 10K All IC’s are 1458 dual op amp. All bipolars are 2N3638A. 270 +470uF 25v 25v 115 VAC 5 33K 10K 2N4302 1M +470uF Ind, Fuse 1 150K 4.7K +15 + 6 Grn (Pin 8 +15 0f IC’s) 1N965 1N965 -15 270 (Pin 7 Of IC’s) Adjustment procedure: 1. FET Bias: With Osc.Ampl. trimmer fully counterclockwise, adjust FET Bias so that audibile phasing sound is in the middle of its range. 2. Osc. Ampl.: Adjust for desired depth of phasing sound. 3. Output Offset: adjust for minimum "click" when Off/Slow Phase switch is operated. Olson New Sound No bias? Leakage bias? Battery polartiy? 1.5v + 10k 0.003uf 1uf 100k 1M In 10k 0.003uf 1uf 1M 10k = 2SB175 15k 5k Runs on one 1.5v battery! 47k Out ProCo Rat Distortion 47 100uf 33k 1N4001 + 0.022uf 1k 3 + - 1uf 1M 1nf + 2 4 6 + BF245A +9v 33k 4.5v 47uf 4.5v 100k Input + 100pf 9v 9v & pin 7 0.001uf 150k Log + 9v Adpt. 8 1 1.5k 100k Log 1k 4.7uf 35v 0.0033uf 30pf 1k 47 560 +9v + 4.7uf + 2.2uf Output 10uf 10k IC = LM308 Diodes = 1N4148 0.022uf + 100k Log BF245A 1k 1M ProCo Rat Distortion 100 100uf 16v 100k 1N4001 + + 100pf 100k 4.5v 1M 0.022uf 1k 3 + - 2 0.001uf 4 1k 6 8 1 4.5v 1uf 50v 4.7uf 35v 0.0033uf 30pf 47 560 +9v + 4.7uf 35v Output +4.5v + 4.7uf 35v 1M 2N5458 1uf 50v Type B Rev 7-81 IC = LM308 Diodes = 1N4148 0.022uf + 100k Log Current Drain @ 9v ~ .6ma, no Input (idle) ~ 1.6ma, full output 1.5k 100k Log + 9v Input 9v & pin 7 0.001uf 100k Log + 9v Adpt. 10k THE BOMB PVC Tube X long by Y diameter IN amp2 amp1 Crystal Mic Telephone Speaker My dimensions for my prototype are X= 36cm, Y= 5.5cm. This imparted a pretty high pitch tone but I like it. The X and Y dimensions should be played with to create the exact tone your looking for, also I chose a telephone speaker and a crystal mic so I got the funkiest tone I could think of. A dynamic mic would limit the trebel somewhat probably make it sound less harsh. I’d be interested in any mods made to this design (ie. stories, ideas, etc.) so feel free to email me. The amps can be any old simple op-amp configuration that can drive a speaker or take a mic input. I just used some surplus stuff I had lying around to make mine. The end product had all the circuitry inside the tube and the battery on the outside, with one control for the gain of the speaker (mic was at fixed gain). Note, if you place this infront of your amp and turn every thing up, without adding any dampening to the tube it will feedback like you wont believe! You will probably wish to avoid this as it tends to hurt your ears. I put a bit of foam rubber in one end of the tube and an old sock in the other to dampen feedback. I like to leave my options open though, so I also didn’t make this a permanent addition. My prototype is basically a fuzz, as my guitar will overload the speaker quite easily and the tube just adds a bit of strange overtone and what I swear is the tiniest hint of reverb. Sounds great though! Clean tones through a similar set up would sound good too, but I haven’t built one of those yet. Perhaps a larger speaker (4-5") and an old carpet tube would add better characteristics for clean tones. Try changing the tube matierial also for a different tone, I almost used a bit of gutter piping when I first built this, now I wonder what it would’ve sounded like. Jamie Heilman 11/93 firstname.lastname@example.org OUT to +9V to 9V battery + 220k 6.8K 5uF to output jack 1uF 2N5457 10M + - 15uF 220k 2.2K 51K + from pickup selector + from pickup switch to output jack 10uF 100k signal ground to 9V battery 100k + Gain set 22uF For people who don’t like op amps, here is a discrete JFET preamp design. It has A preamp from a TL071 op amp. The gain set resistor lets you low distortion, low noise, low feedback, overloads gracefully, is small, etc, etc. customize the gain. As shown, it is 2. Lowering the Gain Set Overall gain is 3db (2X) or so. It uses about 1/2 ma, so a 9V battery will resistor lets you raise the gain. You get distortion at high gains. last a long time. You can add a high boost switch if you like by having it shunt the 2.2k resistor with a 0.05uF cap (or other value; smaller cap = boosts only higher frequencies, and the reverse). You can just put in a 10uF cap across the 2.2k resistor to up the gain. Circuit by Don Tillman. email@example.com to 9Vterminal 1M 1M to +9V from pickup switch 250k 50 0.1uF + - 1uF to output jack The opamp is a LT1012 micro power opamp, could be other low noise low power op amp. Use a stereo jack on the guitar to turn power on when a cable is plugged in. The circuit produces no noticeable noise or distortion and a 9 volt battery lasts a couple of years. This is intended to buffer the guitar pickups and controls from the cable capacitance. It is possible to add gain to this circuit by modifying the Stage Center Reverb Unit from Guitar Player 1976 by Craig Anderton 33k 6 4 - 5 10k + 11 Input - 50k 22k 1M 9 + 10 2.2M + + 0.01uf 0.22uf 7 4.7k 0.02uf 9v C1 8 + 0.02uf 0.22uf C2 + 1N4001 9v 4.7k 1N4001 470k* 14 47k - 12 15 + 220pf 1 - 3 + To Reverb 2 Cancel 0.22uf 50k From Reverb This simple spring reverb can be built cheaply and requires a minimal amount of space for the circuit it self. The op-amp is a quad type, the pinout for a 4136 is shown, but others may be substituted. The bypass caps C1 and C2 can be from 10 to 100 uf. The resistor marked with a * may need to be lessened if you experience distortion in your reverb, lower this to achive maximum signal with no distortion. Many spring reverb units may be used with this circuit, the original article suggested an accutronics model. Many reverb units also use RCA style jacks for in’s and out’s, be prepared for this. The cancel switch will shut off the reverb effect without any clicks or pops. All resistors are 1/4 or 1/2 watt, 5% tolerence, and all caps are rated at 10 or more volts. Output Simple Mixer 100K 100K 10K 0.1uF 100K 100K Gain changing resistor 9V 100K 9V + 10K 0.1uF + 100K + 0.1uF 1M 9V 10K 10K 100K 100K + 100K 0.1uF + 9V 22uF + 2.2uF A simple mixer suitable for mixing microphones or effects outputs. The overall gain from input to output is one if the pot corresponding to the input is full up. You can make this a net gain of ten (or any other reasonable gain) by reducing the input resistor to the second op amp. 10K in this position gives a gain of ten, or 20db. If you are mixing effects outputs which have an output level control built into them, you can dispense with the input level controls, or make some have level controls, some not. Audio taper pots are probably better, but linear will work. For the opamps, choose a jfet input dual or singles, like from the National Semi LF3xx series, or something like the TL072 or TL082. EH Small Stone Phaser Issue J V+ V+ Vbias 15k 10k Vbias + 33uF 10k 470k LFO 2N5087 5 1 0.0068 8 2 + - 1k 4.7k 4.7k V+ 7 5 1 + - 27k 1k 3 Vbias 4 6 3 Vbias 4 6 27k 27k 30k 10k 10k LFO 9V LFO V+ + 8 270k 27k ON V+ 0.1 BYPASS 5 7 0.0068 V+ 8 1 5 7 6 + - 27k 3 4 1k Vbias 3 6 4 1k 27k Vbias 27k 27k 27k 0.0068 2 2 + - 4.7k 470k COLOR SWITCH OUT 1 3.3k 0.1 EFFECT 8 2 30k 10uF 100k IN 7 + 2N5088 LFO V+ 0.0068 0.0068 10k 10k V+ 4.7k 2N5087 V+ 1 3 22k ON 15k 2 1k 4 5 27k 1.8k 6 + 1M 100 33uf 0.1 V+ 27k 7.5k The Small Stone is somewhat unique in using Operational Transconductance Amplifiers (OTA’s) for phase shift stages instead of opamps with variable resistors. All of the IC’s are house marked EH1048, but can be replaced with CA3094 which is a combination of an OTA equal to the CA3080 and a darlington emitter follower. Later Small Stones used slightly different circuits, but all used the OTA. Name: Manufacturer / Designer: Soul Preacher Revision: Electro-Harmonix Model # 10/13/95 330pf 10uf 25V tantalum 1k +9V 10k + 100k +9V Linear 2 Q1 1uf 25V 220k + 0.1uf 0.1uf 0.1uf IC1a In 680k 3 270k 4k7 100k + 8 0.15uf 1 4 10uf 25V tantalum 270k J1 +4.5V 9V 47k + 1M 1N3666 10k 20k 7 + Q2 220 + +9V Q3 3k9 100uf 25V 1uf 35V tantalum Q4 + 1uf 25V + 5 + 0.1uf 15k AC Adaptor 10k IC1b 6 - 10uf 16V +4.5V 4k7 4k7 -All resistors are carbon film, 1/4W, 5%, unless otherwise noted -All non-polarized capacitors are mylar, 50V, 10%, unless otherwise noted -Transistors Q1-4 and FET J1 are unknown -IC1 is a 4558 4M7 1N3666 S1 + 270k 10uf 16V + 10k 10k 10k Log S2 Out EM Stereo Spreader 100k 10k 100k 2 10k 1 - IC1a Left In 2 + IC2a 3 8 10uf + 3 1k 1 + Left Out 8 10k 100k dual linear potentiometer 10k 100k 10k 1k 6 - 100k 7 - Right In IC1b + Right Out 4 + 5 + IC2b 5 6 10uf 7 10k 4 10ohm 1/2W to pin 8 IC1 V+ and IC2 10ohm 1/2W to pin 4 IC1 V- and IC2 + 33uf 33uf + IC1 & IC2 are 5532 Dual Op amps for low noise. All resistors are 1% metal film 1/4W unless otherwise noted. Requires bipolar power supply from 9 to 15 volts. For that different sound, Music a la Theremin By Louis E. Garner, Jr. Published November 1967, Popular Electronics For about the price of an inexpensive guitar, plus a few hours assembly time, you can own and enjoy what is perhaps one of the most versatile of all musical instruments: the unique and amazing theremin. Named after its Russian-born inventor, Leon Theremin, its frequency range exceeds that of all other instruments, including theater pipe organs, while its dynamic range is limited only by he power capabilities of the amplifier and speaker system with which it is used. Above all, it is a true electronic instrument, not just an “electronic version” of a familiar string, reed, or percussion instrument. Its tone is unlike that of any conventional instrument. A musician playing a theremin seems almost like a magician, for he can play a musical selection without actually touching the instrument itself! As he moves his hands back and forth near two metal plates, he seems to “conjure up” individual notes at any desired volume; he can “slide” from one musical note to another with ease, can produce tremolo and vibrato effects at will, and can even sound notes which fall outside the standard musical scale. He can play tunes or melodies, produce unusual sound effects, or can accompany a singer or another instrument-all by means of simple hand movements.* The theremin is ideal for amateur as well as professional musicians and can be used for “fun” sound effects as well as for serious music. It makes a wonderful addition to the home recreation room, and can be used equally well by rock’n’ roll groups or larger bands. Theatrical groups find it just the thing for producing eerie and spine-tingling background effects to accompany mystery or horror plays, and for the budding scientist or engineer, it is an excellent Science Fair project. The typical theremin has two r.f. oscillators, one having a fixed, the other a variable, frequency, with their output signals combined in a mixer/amplifier stage. At “tune-up,” the oscillators are preset to “zero beat” at the same frequency. The frequency of the variable oscillator is controlled by an external tuning capacity--the “antenna”—which is a “whip” or simple metallic plate. As the musician’s hand is moved near this antenna, the variable oscillator shifts frequency and a beat note is set up between the two oscillators. The pitch is proportional to the difference in frequency between the two oscillators. This beat note, amplified, is the theremin’s output signal. The more advanced theremin designs—such as the version presented here—use a third oscillator to control output volume and two antennas. This theremin also uses a unique FET volume, and a FET output stage. See Fig. 1. Construction Except for the two control antennas, power switch S1, and battery B1, all components are assembled on a printed circuit board as shown full-size in Fig. 2(B). An insulated jumper is required between C15 and R20 as shown in Fig. 2(B) and Fig. 3. Mount the PC board in a suitable cabinet with four spacers (see Fig. 3), making sure that suitable holes are drilled in the cabinet or though a dialplate to accept the tuning-slug screws of L2 and L4. Coils L1 and L3 are mounted on small L-brackets; initially, these brackets should be adjusted so that L1 is at right angles to L2 and L3 at right angles to L4. Switch S1 is also mounted on the cabinet or * Nearly everyone who has ever watched television or attended a motion picture has heard music and background effects produced by a theremin, yet relatively few could recognize the instrument, and fewer still have had the chance to own or play one. With its astounding tonal and dynamic ranges, it has been used to produce background music and special effects in scores of science-fiction, fantasy, horror, and mystery shows. 1 dialplate, in the area of the L2 and L4 slug screws, while the battery is secured to the cabinet wall. Ordinary copper-clad circuit board can be used to make up the pitch and volume control antennas. Although the author’s units are equilateral triangles approximately 9” on a side— almost any other design will do—shape is not critical. If desired, the upper surface of the antennas may be covered with a colorful material (see cover photo). The antennas are mechanically mounted on an electrically conducting support. The ones used by the author, (see Fig. 4) were six-inch lengths of 3/4” aluminum pipe with appropriate mounting flanges. The antennas were attached to the pipe with conduit plug buttons soldered to the bottom of each antenna. The flanges of the buttons should make a good friction fit to the pipe. A solder lug for connection to the PC board is placed under one of the pipe support mounting screws as shown in Fig. 3. Connect the negative lead of the battery to terminal B on the PC Board; then connect the positive battery lead, via S1, to terminal A. The center lead of the audio output coaxial cable is connected to terminal C on the PC board, while the associated braid is soldered to the ground foil. Connect the volume control lead and one lead from L3 to the proper hole on the PC board (see Fig. 3), then connect the pitch control lead and one lead of L1 together and solder to the hole on the PC board. The other ends of both coils are soldered to the ground foil of the PC board. Tuning Although the theremin is used with an external audio amplifier and speaker, no special test equipment is needed for the tuning adjustments. The procedure is as follows. 1. Temporarily short Q6’s gate and source electrodes together, using either a short clip lead, or a short length of hookup wire, tack-soldered in place. 2. Preset the coil (L1, L2, L3, and L4) cores to their mid-position. 3. Connect the theremin’s output cable to the input jack of an audio amplifier (with speaker)-a guitar amplifier is ideal. Turn the amplifier on, volume up to nearly full. 4. Turn the theremin on by closing S1 and adjust L2’s slug (keep hands or other parts of the body away from the pitch antenna) until a low frequency growl is heard from the speaker. 5. Turn the theremin off and remove the short from Q6. 6. Turn the theremin back on and adjust L4’s slug until a point is found where the growl is heard from the speaker. Then adjust L3’s stud until the sound is reduced to near zero. This setting, although somewhat critical, will be stable once obtained. 7. Finally, adjust L2’s slug until the growl becomes lower and lower in pitch, finally disappearing as “zero beat” is reached. With the coils properly adjusted, no output signal will be obtained unless the operator’s hands are moved near the pitch and volume control plates simultaneously. As the operator approaches the pitch control plate, a low-frequency note should be heard increasing in pitch as the hand moves nearer and, finally, going higher and higher and beyond audibility as the hand almost touches the plate. As the operator puts his hand near the volume control, a low level signal should be heard, increasing in amplitude until maximum volume is attained just before the plate is touched. After the initial adjustments, L2 and L4 can be readjusted from time to time (using the front panel knobs) as needed to correct for minor frequency drift. In any case, a preliminary check of adjustment is always desirable whenever the theremin is to be used for a performance. One further adjustment is optional. Coil L1’s positioning with respect to L2 will determine, to some extent, the shape of the output waveform and, hence, its harmonic content. The mounting bracket supporting L1 can be adjusted to reduce the mutual coil orientation to less 2 than 90 degrees if a greater harmonic content is desired. However, as the angle is reduced, low-frequency notes may tend to become pulse-like in character. Installation A guitar or instrument amplifier is an ideal companion unit for the theremin; either one allows bass or treble boost, as desired, and fuzz (distortion) or reverberation (if these features are incorporated in the amplifier’s circuit). Simply provide a suitable cable plug and connect the theremin’s output cable to the amplifier’s input jack. It is not necessary to purchase a special amplifier. The theremin’s output signal level is sufficient to drive most power amplifiers to full output without additional preamp stages. The instrument can be used, for example, with a monaural version of the “Brute-70” amplifier described in the February, 1967 issue (of Popular Electronics). If the theremin is used in conjunction with a power amplifier which does not have a built-in gain (or volume) control, a “volume level” control should be added to its basic circuit to prevent accidental overdrive. This can be accomplished quite easily by replacing source load resistor R16 (Fig. 1) with a 10,000-ohm potentiometer. Operation The results obtained depend more on the ability of the operator than on built-in limitations within the unit itself. A good “ear” for music is a must, of course, but, in addition, a moderate amount of skill is required, particularly in finger or hand dexterity and movement. The latter is learned only through practice. For a start, here are the basic techniques. To sound an individual note, first move the “pitch” control hand to the proper position near the pitch antenna (as determined by practice) to sound the desired pitch. Next move the “volume” control hand quickly to the proper position near the volume antenna to sound the note at the desired level, then away after the proper interval to sound an eighth, quarter, half or full note. To sustain a note, hold both hands in position. The note volume may be increased slowly by moving the “volume control” hand slowly nearer the volume antenna, reduced by moving it slowly away. To “slide” from one note to another, hold the “volume hand” fixed in position and move the “pitch hand” nearer (or away from) the pitch antenna plate. To produce a vibrato effect, hold the “volume hand” fixed in position and shake—or tremble— the “pitch hand” at the desired rate. To create a tremolo effect, hold the “pitch hand” fixed in position and vibrate—or tremble—the “volume control” hand. Tremolo and vibrato effects can be produced by simultaneously rapidly moving both hands back and forth. If you’ve used triangularly shaped control plates in your instrument (as in the model shown), you’ll find that a given hand movement has less effect on operation near the narrow (pointed) end of the triangle than near its broad base. Practice is important! ====================================== 3 How It Works Transistors Q1 and Q2 are the variable and fixed “pitch” oscillators respectively, while Q4 serves as the “volume” oscillator. Essentially similar circuits are used in all three oscillators, so only one (Q1) will be described here. Base bias is established by resistor voltage divider R1 and R2, with the former bypassed for r.f. by C3. Resistor R3 serves as the emitter (output) load. The basic operating frequency is determined by the tuned circuit of L1 and the combination of C1 and C2. In the case of Q1 and Q4, their tuned circuits are also connected to external “antennas.” When these antennas are “loaded” due to body capacitance (the presence of a hand near the antenna), this “load” is reflected to the tuned circuits as a capacitive change which, in turn, alters the frequency of oscillation. Because Q2’s circuit uses no “antenna,” its frequency remains constant at all times. In operation, Q1’s r.f. output signal is coupled to mixer/amplifier Q3 via coupling capacitor C5—while Q2’s signal is coupled to Q3 via C10. If these two oscillators (Q1 and Q2 ) are at the same frequency, then there will be no resultant “beat” present at the collector of Q3. However, since Q1’s frequency is determined by how close the operator’s hand is to the “pitch” antenna, the resultant beat frequency will vary as the distance between the hand and antenna varies. Because the mixing action of Q3 produces both r.f. and audio beats, capacitor C12 is used to bypass the r.f. components and prevent them from appearing at the collector of Q3. The resultant audio beat is passed, via the volume control circuit, to the FET output stage, Q7. Oscillator Q4 (the “volume” oscillator), like “pitch” oscillator Q1, has its frequency of oscillation determined by the amount of hand capacitance near its “antenna.” The r.f. signal at the collector is coupled via C20 to another tuned circuit consisting of L4 and C22. The r.f. signal across this second tuned circuit is rectified by diode D1 and applied to the base of d.c. amplifier Q5. Thus, the d.c. voltage level present at the collector of Q5 is a function of the amount of r.f. present on L4-C22. This level is at its maximum when the L4-C22 tuned circuit is at the same frequency as the Q4 collector tuned circuit. In practice, however, the frequency of Q4’s tuned circuit is made to be slightly higher than the L4-C22 frequency. As a result, very little d.c. signal is passed to the base of Q5. This means that the voltage at the collector of Q5 is at a maximum. If the frequency of Q4’s tuned circuit is reduced, when a hand is placed near the “volume” antenna, the base current applied to Q5 increases, causing the collector voltage to drop. The unique volume control consists of FET Q6, connected in shunt with the audio signal flow. The audio signal at the collector of Q3 passes through d.c. blocking capacitor C13 and is also isolated (for d.c.) from Q7 by C14. Resistor R13 and FET Q6 are arranged as a voltage divider. If the gate voltage of Q6 is highly positive, then the FET acts as a low resistance between R13 and ground, greatly reducing the signal level allowed to pass to Q7. As the gate of Q6 gods less positive, the effective resistance of Q6 increases and the level of audio signal to Q7 increases. The voltage at the collector of d.c. amplifier Q5 is connected to the gate of Q6. As this voltage level is determined by the frequency of Q4, the operator can readily adjust the output volume by changing his hand capacitance to the “volume” antenna. The variable pitch variable-volume audio signal is coupled to an external audio amplifier via FET Q7. A FET is used for Q7 because its very high input-impedance (a couple of megohms) will not affect operation of FET Q6. If desired, the source resistor of Q7 can be changed to a similar valued potentiometer. -- 4 PITCH ANT VOLUME ANT. JUMPER WIRE L2 C8 C19 D1 R17 R4 C15 R16 L4 Q4 C14 C1 Q5 C10 C20 R19 Q7 Q6 R13 Q3 C13 C5 C16 R7 R6 C18 C22 C7 R8 R3 C12 R12 R10 R15 R7 R2 C2 R14 C9 GROUND L1 Q1 C21 R20 +9 VOLTS R1 C6 Q2 C17 L3 R18 C3 C11 R11 R9 C4 AUDIO OUT VOLUME ANTENNA PITCH ANTENNA 9V DC POWER R7 R3 R20 R2 C2 Q5 C4 Q1 E C1 C20 Q4 C21 C C C17 B B C C5 C3 B C19 E E C22 R1 L1 L3 D1 C9 R6 R10 R5 C6 E B L2 B1 C1,C6 C2,C7,C17,C22 C3,C8,C19 C4,C9 C5,C10 C11 C12,C14,C15 C13 C16 C18 C20,C21 D1 L1,L2,L3,L4 Q1,Q2,Q4 Q3,Q5 Q6,Q7 R1,R4,R17 R2,R5,R18 R3,R6,R7,R8, AND R11,R19 R9,R12,R16,R20 R10,R13 R14,R15 Q3 Q2 C R4 R12 C10 R18 C13 R15 Q6 Q7 S C D G R13 B G D C8 C18 R19 C15 R8 C12 C7 R17 L4 C14 S E C16 AUDIO OUT R9 R11 C11 R14 9-VOLT BATTERY 390pF POLYSTYRENE CAPACITOR 0.001uF POLYSTYRENE CAPACITOR 0.1uF DISC CERAMIC CAPACITOR 10uF, 15V ELECTOLYTIC CAPACITOR 60pF POLYSTYRENE CAPACITOR 200uF, 15V ELECTOLYTIC CAPACITOR 0.001uF DISC CERAMIC CAPACITOR 0.01uF DISC CERAMIC CAPACITOR 5uF, 15V ELECTOLYTIC CAPACITOR 0.01uF POLYSTYRENE CAPACITOR 4.7pF POLYSTYRENE CAPACITOR 1N34A DIODE 50-300uH ADJUSTABLE COIL MPS3638 TRANSISTOR (MOTOROLA) MPS3708 TRANSISTOR (MOTOROLA) TIS-59 N-CHANNEL FET (TEXAS INST) 47K 1/2W 10% RESISTOR 33K 1/2W 10% RESISTOR 1K 1/2W 10% RESISTOR 10K 1/2W 10% RESISTOR 100K 1/2W 10% RESISTOR 4.7MEG 1/2W 10% RESISTOR R16 Tone Booster from Everyday Electronics Sept. 1978 peaks frequencies at 5000 Hz for a "cleaner and more penetrating" sound +9v + 150uf 4k7 Q2 330k 0.1uf Q1 100p 0.1uf 22000p In 820k 2k2 + 0.1uf +9v Q1 - ztx384 Q2 - BC415p 2k2 4k7 Out Bass 1M 39k Tone Control Circuits 0.005uf Preamp w/ Bass & Treble Control 0.005uf 39k 10k +V 20uf 709 + IN + - OUT + 20uf 600 ohms 0.0015uf Both of these circuits provide some additional control over tone. They were origionally intended for use with synth modules but could be easily incorporated into most any effects circuit. 250k Treble +15v IN 10k + 100k 4.7uf 100k 250k 22k 56k 20uf 47k + 220 ohms 1k HEP 51 6800pf 2k2 20uf 10pf + 1.0uf 20uf 0.5uf + 6800pf 6800pf 6800pf 2k2 25k 2k2 470k Unlabeled ??? OUT 10k + 500k 22k 470k = HEP 50 Tone Control circuit with signal isolation and impedance-matching stages. 3k3 1N914 1N914 220 ohms Controllable Tremolo Circuit +18v 4k7 1uf 10k Depth 100k 5k6 0.1uf + 1uf + 47k 47k + HEP 251 1M 1uf 2k2 HEP 801 + 1k + IN 2uf 0.5uf 1uf 25k Rate 47k This tremolo circuit is not a "plug and play" ready guitar effect, however it could be converted to one with relative ease. It just needs some buffering on the input and ouput and perhaps some bypass switching. OUT Name: Manufacturer / Designer: Tube Distortion Revision: Ron Black Model # 10/13/95 Circuit from Guitar Player : October 1981 1N3600 Bridge Rectifier 120VAC 1 - IC2 2 12V 10k 3 12VAC 200mA minimum 470uf 50V 1000uf 12V + 6V + + 100uf 6V 10k 12V In 180k 0.1uf 180k 0.01uf 1 100k 2 + IC1a - 1 0.01uf 13 0.01uf 2 - IC1b 7 12 500k 1M 22k + 6 IC1 - 747 dual op-amp, others may be substitued but pinout will differ IC2 - LM340K-12V Voltage Regulator Bridge Rectifier - Full wave bridge recitifier, 50 Volts, 500 mA minimum All resistors 1/2 W, 10% prefered 10 0.1uf Out 4 Filament of 12AU7A 1M 4 12V 6V 9 8 3 470k 7 6 5 Name: Manufacturer / Designer: TubeHead Revision: PAiA Electronics 0.05uf IC1e Vcc 100 100uf 25v + 3 33uf 33uf 2 1000uf 16v IC1b 10 +12v S1 IC1a 15 + D1 IC1f 12 14 9305 + 12VAC 0.5A 11 Model # 11/4/95 IC1d + 4 D3 IC1c 33uf 5 D4 D5 9 33uf 1000uf 16v 33k + Vcc - Pin 1 IC1 +12v - Pin 8 IC2, IC3, & IC4 -12v - Pin 4 IC2, IC3, & IC4 - Pin 8 IC1 -12v D2 Vref 33k 100 10k +42v 0.01uf + 270k 270k 1uf + 220 1uf +42v IC1 - 4049 CMOS Hex Inverting Buffer IC2, 3, & 4 - 5532 Dual Low-Noise OpAmp D1, 2 - 1N4001 D3, 4, 5, 6, & 7 - 1N4148 All 1uf caps 50v all others 25v unless marked otherwise. All resistors 1/4W, 5% 22k In 47k" 47k* 2 3 20pf - 1 12AX7 47k Clip 1 + - IC4a 10k Pre/ Post Blend 7 2 IC2a Vref 82k 6 + 150k 3 100 1 1uf + + 2.2uf + 82k 10k Drive 2k7 4 9 6 12VAC 220 100k 1uf 8 100k Trim 3 470k 10k Output 5pf 6 - 5 7 330 33uf + IC2b 8k2 2k7 470k + + 10k 100k Trim Pot controls Symmetry 2 100k + +12v 100uf 25v 33uf + 330 10k D7 6 7 + 1k D6 220pf Channel 1 Channel 2 is identicle to Channel 1, and uses IC4b for the clipping meter and IC3 for the input/output driver. The input impedance of the TubeHead is about 20k ohms, which is consistant with most gear like Synths, Effects Processors, Mixers, EQs, and so on. 20k is too low for a proper match with high impedance sources like guitar pickups, but a few minor changes take care of this. To use the TubeHead as a instrument pickup preamp, remove the 47k* resistor and the 20pf cap from the feedback loop of the driving OpAmp. Then change the 47k" resistor to 680k and the 22k resistor in the feedback loop of the driving OpAmp to 100k. Now the TubeHead can be used to warm up a cold sounding guitar amp or just provide a great preamp tone. Original circuit from December 1993 Electronic Musician Out Manufacturer / Designer: Revision: PAiA Electronics 0.05uf IC1b Vcc + Power 14 +48v 470k PP On 100 4k7 D9 270k 1uf 270k 1uf 47uf 7 10k 100k 1uf D10 6k81 4.7uf # 33k 2 3 D12 # 10k # 1k D13 # 1k - 82k 10k Tube Drive 1uf 2 2 IC3a +48v 8 4 9 5 2k7 12VAC 3 2k7 5pf - 1 470 Output 33uf + 10k # Symmetry 22k 10k Output 3 100k 1 + # 33k 1 12AX7 7 150k 47k IC2a 6 1uf + + 6k81 # 10k + # Mic In 100k Drive D11 2 3 1 10k Blend - 4.7uf + 6 # 100k 82k + IC2b 5 270 + D8 Polarity 33uf 220 0.01uf 270k D7 33uf + + D6 33uf 10k + Phant. D5 IC1 - 4049 CMOS Hex Inverting Buffer IC2, & 3 - 5532 Dual Low-Noise OpAmp D1, D2 - 1N4001 D3 to D8 - 1N4148 D10 to D13 - 6.8v Zener Diode D9 - 51v Zener Diode Vcc - Pin 1 IC1 +15v - Pin 8 IC2, & IC3 -15v - Pin 4 IC2, & IC3 - Pin 8 IC1 100 12 470k 15 11 33k 33k -15v D2 IC1e 7 220uf 25v D4 220pf + + D3 IC1c + + 220uf 25v + 470uf 25v 33uf + + G IC1f 33uf 10 9 6 +15v 470uf 25v 330 2 100 A S1 3 + D1 IC1d IC1a 4 9407 + 12VAC 0.5A 5 Model # 11/11/95 470 10k # 6 - IC3b 5 + 33uf 2 + Tube Mic Pre 470k Name: 10k 7 3 1 Bal Out 220 All 33uf caps 16v all others 50v unless marked othewise. Resistors marked with # are 1% film type. The "Drive" LED indicates how hard the tube is being driven. The "Blend" control allows for a mixing of SS and tube coloration. Symmetry controls the relative amounts of even and odd harmonics, CCW the Tube Mic Pre may sound punchier, while CW it may sound warmer. The 12VAC needed for pin 5 of the 12AX7 can be obtained from point G while pin 4 should be connected to point A. Original circuit from Recording Magazine January 1995 1/2 Name: Manufacturer / Designer: Tube Mic Pre (Mods) PAiA Electronics Revision: 11/11/95 Model # USING STERO PHONE JACKS FOR INPUT 2 This mod converts the XLR jacks to 1/4" balanced stereo jacks. However, when a mono plug is used with this new jack the 3 1 inverting input of the differential amp is grounded, this single-ends the balanced input so standard phone plugs on dyanmic mics can be plugged in directly. Additionally the polarity switch still works, even for unbalanced inputs. If phantom power is not turned off while using a singled ended input the performance of the TMP will not be up to par but it won’t damage the TMP either. USING THE TMP WITH LINE LEVEL SIGNALS There are two options for line level signals. First if you know that you’ll be using line level signals all the time with the TMP then you can change the two 33k 1% resistors to 1k 1% types and your done. Alternatively if you want the option of line level or low level signals then you can sacrifice the polarity switch and and rewire it here as shown. Notice that the 47k resistors are again of the 1% variety. Low / Line Level 47k 2 3 1 # 47k # Mic In 0.05uf USING DC TO POWER THE HEATER FILAMENTS This mod can make the TMP quiter. Insted of using the 12VAC to power the heater filaments rectified and filtered DC can be used. This is accomplished as shown. The new resistor added is a 15 ohm 1W type, the new cap is a 1000uf 25v as shown. It is critical that pin 5 of the 12AX7 connects to the ground point shown. Vcc 12VAC 0.5A D1 S1 330 100 +15v 470uf 25v + 220uf 25v + 470uf 25v + 220uf 25v + -15v Power 100 15 1W + D2 1000uf 25v Pin 4 12AX7 Pin 5 12AX7 2/2 UniVibe (model 905, by Unicord, circa 1968) 100K B+ 22K + IN 1.2M 47K = 2SC828 except input transistor 4.7K 1u 22K + 2SC539 1u Chorus 100k + 3.3K 1u + Vibrato 220k 1u 100k 47k + 1.2M 47k OUT 100k 330p 6.8k 1u 1.2K B+ 100k 47k 4k7 1u 4k7 68k 47k 4N7uF 100k + 1u + 1u 100k + 100k 1u 4k7 4k7 470N + 1u 47k 4k7 4k7 1u + 4k7 4k7 + 4k7 100k 100k 220NF + 4k7 + 100k 15NF 1u 47k 22k CDS MXY-7BX4 B+ 10u 10u + 470 470 47k + 1u 4.7k 1k 4.7k 24vac Cancel 250k 4.7k 1u + 220k 4.7k 50k 47k 220 + 220 + 1000Uf 2.2M 1u 100k 220k 250k + + 3.3k 115vac + 6.3vac The UniVibe is famous from Jimi’s use of it. The LFO is a phase shift oscillator, with the dual 250K pots in the pedal assembly to control speed. A modern version would substitute an LED/photocell optocoupler for the four LDR’s and the incandescent light bulb that makes the shifting work. This IS just a four stage phaser, perhaps with some distortion from the signal path thrown in. Since the Univibe (r) is being reissued by Dunlop, Dunlop probably owns the "Univibe" trademark these days. This schematic bears no resemblance, except accidental, to the reissue that Dunlop or anyone else may be making. 1u Univox Super-Fuzz 47k 220k 22k 10k 10k 100k 470 22k 1k8 100k 10k 270k 50k 22k 10k 1k8 100k Drive 470k 470 0.1uf + 100k 47k 100uf/10v 0.001uf 100k Notch 47k 10k Level 22k Normal 10k 10k 0.1uf 50k 100k 15k 1k OUT IN = high gain NPN; 2N2222, 2N3391 = 10 uF electrolytic cap, positive at straight bar The Univox Super-Fuzz is a 69-to-early 70’s design that includes two unique features. These are the octave generation effect from the differential-pair-with-collectors -tied-together and the choice of just a clipping amp or a 1kHz notch for different sounds. The odd-diffamp is actually a full wave rectifier as used here. The clipping is all done with the pair of back-to-back diodes just before the normal/notch filter section. These were originally germanium, although silicon works. You can use LED’s here for a different sound, but you need a lot of gain in the input to get enough signal to them to break them over. Vox Tone Bender 1k .032uf 8.2k 10k 9v Q2 50k - 100k + .022uf In Q1 1/2 S1 1/2 S1 Out 47k 1k + 8.2k 25uf -Transistor Q1 is a SFT 363 -Transistor Q2 is a SFT 337 -Circuit is very similar to "Fuzz Face" -The 2n3906 may be used as a replacement for Q1 and Q2, however originals were probably germanium. VOX Treble Booster +9V 100K 2K2 0.1uF 2K2 500pF 2N2924 IN 22K 1K OUT + 10uF Original Circuit +9V 100K 0.022uF to 0.01uF 2K2 0.1uF 500K 2K2 2N2924 IN 22K 1K + OUT 10uF Modified to be used as an overdrive/distortion unit The input cap is changed from 500pF to 0.01 uF (1000pF) or 0.022 uF (2200 pF) to allow more bass in. This usually overloads the booster and causes crunchy distortion.
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