Contents of schematics-20000228
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
n9343176@cc.wwu.edu
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. (?), bew4568@zeus.tamu.edu 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
n9343176@cc.wwu.edu
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. don@till.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!
================[30]======================
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.
-[30]-
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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