electronics electronic schematics for audio devices
DESCRIPTION
TRANSCRIPT
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Name: Manufacturer / Designer: Revision: Model #Name: Manufacturer / Designer: Revision: Model #Four-Band EQ PAiA Electronics 9/21/95 9303
12VAC100 mA
330
150
150
1N4001
1N4001
100uf 100uf
100uf 100uf
V+
Pin 8, IC1 - IC4
V-
Pin 4, IC1 - IC4
+
-
10k 10k
10k100k
10k
47k 47k4k7
100k
100k
4k7
+
-
10k 10k
10k
10k
47k 47k4k7
100k
100k
4k7
+
-
10k 10k
10k
10k
47k 47k4k7
100k
100k
4k7
+
-
10k 10k
10k
10k
47k 47k4k7
100k
100k
4k7
100
cut boostcut boost
IC1a
IC1b
cut boost cut boost
IC2b
IC2a IC3a
IC3b IC4b
IC4aInput Output
Freq. 35-680Hz Freq. 150-3kHz Freq. 450-8.5kHz Freq. 750-15kHz
IC1 - IC4 : 5532
0.01uf
0.047uf
0.047uf 0.01uf 0.0039uf 0.0022uf
0.0039uf0.01uf 0.0022uf
Originally designed by Jules Rychkebusch
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- +
IIIAngry Beard
+9v
+9v
+9v
10uf20k
1M20k
10k0.01uf
330 ohms
0.22uf
1M1k 0.22uf
10k10k10uf
0.0056uf
0.022uf
Normal
High
2N44
IN
OUT
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 [email protected]
100k
Name: Manufacturer / Designer: Revision: Model #
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++
+
+
+
10M0.1uf
+4.5v
10M
+9v+9v
+4.5v
+9v
+4.5v+9v
IC1aIC1b
IC2cIC2d
10k
220k
100pf
15pfS1
1uf
1uf
1k
Out
In
10k
10k 10uf
10uf
0.1uf
100k10M
+9v
1uf
10k
10k
4k7
10k
100k5k
0.1uf
10k
10k
D1
IC1c
IC1d
100k
500kIC2a
S2
1uf0.1uf
D2
10k
12k 1ufIC2b
NC
NC NC+4.5v
+9v
13
11
72
8
9
10
11 10
12
1312
14
45
6
1 2
13
7
14
10
6
9
8
NC
3
5
4
S2 is a switch integrated into the 500k pot,and is wired such that rotating the pot fullywill allow you flip the switch and kick in thefull intensity of the distortion.
Axe Grinder PAiA Electronics 10/28/95 5750
IC1 - 4136 Quad Op-ampIC2 - 4066 Quad Switch
S1 - Cancel EffectS2 - Full Intensity5k Pot - Tone Control500k Pot - Distortion Intensity100k Pot (by tone) - Distortion Level100k Pot (by IC2c) - Clean Level
The Axe Grinder has been designed with a couple of key fetures in mind, it not only allowsa wide variety of distortion tones from the clipping part of the effect it also allows the userto 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 cleansignal untouched. The "cancel" switch letsyour guitar signal bypass the effect entirely.
D1, D2 - 1N914 or 1N4148
All polarized caps 16v
R16
27K
C5
0.0018
R14
100K
SQUELCH
R15
3.3M
-V
+V
+V
R1
68K
J1/INPUT
1/4" PHONEJACK
3
2
1
8 4
A2A
RC4558
R2
4.7K
-V
700 HZ LOW PASS FILTER
1
PRE-
AMP
GAIN
R3
10K
R5
13K
C1
0.1
R6
100K LIN
R7
2.2K
C2
0.022
C3
0.0022
R8
3.3K
R9
33K
3
5
6
7
A2B
RC4558
C4
0.47
TANT.
FULL WAVE RECTIFIER
R11
10K
R10
10K
R13
15K
D2
1N914
D1
1N914
R12
7.5K
3
2
1
84A3A
RC4558
-V
+V
R26
820
R27
4.7K
C12
0.47
TANT.
C13
0.082
OCTAVE
R28
100K LIN
5
6
7
A3B
RC4558
D7
1N914
D5
1N914
D6
1N914
D4
1N914
GUITAR
2
R4
470
-V
R19
560
TANT.
R18
27K
SMOOTHING FILTER
R20
3.3K
R21
2.2K
R22
22K
C7
4.7
C8
2.2
C9
1.0
5
6
7
A4B
RC4558
R23
47K
C10
0.1
LOG AMP
R24
1K
R25
22K
3
2
1
84A4A
RC4558
-V
C11
1.0
TANT.
R30
2.2K
4R29
8.2K
TRIGGER
3
2
1
84A7A
RC4558
-V
R31
100K LIN
STOP DETECTOR
NORMALLY LOW
PULSES HIGH
AT END OF
NOTE
-V
+V
R33
330
R32
390K
+V
+V
R44
330K
SQUELCH
3
2
1
8 4
A5A
RC4558
SMALL SIGNAL
DETECTOR
-V
R43
1K
+V
D3
1N914
R42
820K
PEAK FOLLOWER
5
6
7
A5B
RC4558
3
2
1
84A6A
RC4558
C6
1.0
+V
SQUARE WAVE SHAPER
R17
2.7K
SQUARE WAVE
MODULATOR
5
6
7
A6B
RC4558
Q1 2N5087
C16
4.7
R39
120K
R41
220
-V
D8
1N914
-V
D10
1N914
R45
470
ATTACK DETECTOR
NORMALLY -8V
PULSES HIGH ON
ATTACK
5
6
7
A7B
RC4558
7
6HIGH ON SILENCE
D11
1N914
D9
1N914
TO SUB-OCTAVE TRACK & HOLD MODULATOR (A18) & OUTPUT
1
0 TO -7V DEPENDING
ON SIGNAL
R38
22K
R40
6.8K
SQUARE WAVE
R36
100K LIN
+V
3
2
6
5
1
8
7 4
A8
CA3094
R35 10K
C14
1.0
R34
2.7K
C15
0.047
* ALL CAPACITOR VALUES IN MICROFARADS
SQUARE WAVE SHAPER
(or EH1040)
-V
5R37
13K
TO ADAPTIVE SCHMITT TRIGGER
TO VCA SWEEP GENERATOR
TO VCF SWEEP GENERATOR
24
3 6 7
TO VCF (A10)
5
Date:
September 28, 1996
Sheet
1
of
3
Size
Document Number
REV
ADRAWN BY: FABIAN P. HARTERY
1
Title ELECTRO HARMONIX BASS MICRO SYNTHESIZER
REVISION: 12/12/78
DESIGNED BY: D.COCKERELL
ELECTRO HARMONIX
SUB-OCTAVE TRACK &
HOLD MODULATOR
R53
47K
3
2
1
84A15A
RC4558
-V
R49
220
C19
4.7
5
6
7
A15B
RC4558
R48
10K
D12
1N914
D13
1N914
3
ADAPTIVE SCHMIDT TRIGGER
R46
3.3K
R47
3.3K
R50
6.8K
C17
0.0033
+V
+V
TANT.
D 9
Q 13
CLK
11
Q 12
R1 0 S 8
A17B
CD4013
-V
-V
D 5
Q 1
CLK
3
Q 2
R 4S6A17A
CD4013
1
R55
3.9K
R57
27K
R58
470
+V
(OR EH1040)
C22
0.0033
3
2
6 5
1 8
7 4A18CA3094
+V
Q22N4302
C23
1.0
R61
100K LIN
-V
R62
12K
SUB-OCTAVE
R63
10K
-V
R60
27K
-V
R56
47K
R59
470
C21
0.1
-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.
R54
47K
5
6
7
A16B
RC4558
R52
220
C20
4.7
TANT.
-V
R51
10K
D15
1N914
D14
1N914
3
2
1
8 4
A16A
RC4558
C18
0.1
-V
STOP FREQUENCY
R65
100K LIN
R66
3.3KR67
820
+V
3
2
1
8 4
U9A
RC4558
7
D16
1N914
R68
1K
+V
D17
1N5235
6.8V
R69
12K
R70
22M
-V
R73
2.2K
R74
100K LIN
R75
3.3K
-V
-V
SWEEP RATE
-V
R64
10K
R79
3.3K
R80
8.2K
-V
-V
C24
0.082
R83
3.3K
R84
8.2K
3
2
6 5
1 8
74
A12
CA3094
C27
0.0033
/EH1040
R81
47K
R82
1K
C26
0.0033
/EH1040 3
2
6 5
1 8
74A11
CA3094
R76
8.2KR77
47K
R781K
/EH1040
3
2
6
5
1
8
74
A10
CA3094
C25
0.0033
+V
D18
1N5235
3
2
6
5
1
8
7 4
A13
CA3094
C2810
+V
(OR EH1040)
Q3
2N5087
R71
680K
R72
1K
-V
R95
4.7K
START FREQUENCY
R92
100K LIN
R93
3.3K
R94
820
-V J2/OUTPUT
1/4" PHONEJACK
S1
FOOTSWITCH
R104
1K
R105
1K
+V
1
3
2
6
5
1
8
7 4
A14
CA3094
R96
47K
R97
1K
-V
-V
TANT.
TANT.
6.8V
C29
1.0
+V
2 4 5
R87330K
R88
47K
R90
1K
R91
470
R89
4.7K
+V
RESONANCE
R86
100K LIN
+V R85
47K
-V
VCA
(OR EH1040)
R98
47K
Q4
2N5088
Q5
2N5088
D19
1N914
R9947
R101
100K LIN
+V
6Q6
2N5088
R100
22K
R102
8.2K
R103
820
-V
TANT.
* ALL CAPACITOR VALUES IN MICROFARADS
C30
10
ATTACK
DELAY
Date:
September 28, 1996
Sheet
2
of
3
SizeDocument Number
REV
BDRAWN BY: FABIAN P. HARTERY
1
Title
ELECTRO HARMONIX BASS MICRO SYNTHESIZER
REVISION: 12/12/78
DESIGNED BY: D.COCKERELL
ELECTRO HARMONIX
Outboard, a.c. transformer
2N6110 NORMALLY TOO
HOT TO TOUCH
R109
12K
(+9 Vdc RELATIVE TO A1, PIN 2)
+V
D20
LED
R111
680
Q5
2N6110
R108
1K
R110
4.7K
3
2
1
8 4
A1A
RC4558R107
5.6K
D22
1N914
P1
PHONEPLUG
120 Vac Primary
24 Vac Secondary
N.C.
J1/POWER
1/8" PHONEJACK
+
BR1
W02M
-
35V
C31
100
R106
15K
C32
10 25V
25V
C33
10
5
6
7
A1B
RC4558
10V
D21
1N961B
POWER JACK-ISOLATED
(SOME NON-DOMESTIC MODELS)
24 VAC
(-10 Vdc RELEVANT TO A1, PIN 2)
-V
Date:
September 28, 1996
Sheet
3
of
3
Size
Document Number
REV
ADRAWN BY: FABIAN P. HARTERY
1
Title ELECTRO HARMONIX BASS MICRO SYNTHESIZER
REVISION: 12/12/78
DESIGNED BY: D.COCKERELL
ELECTRO HARMONIX
R16
27K
C5
0.0018
R14
100K
SQUELCH
R15
3.3M
-V
+V
+V
R1
68K
J1/INPUT
1/4" PHONEJACK
3
2
1
8 4
A2A
RC4558
R2
4.7K
-V
700 HZ LOW PASS FILTER
1
PRE-
AMP
GAIN
R3
10K
R5
13K
C1
0.1
R6
100K LIN
R7
2.2K
C2
0.022
C3
0.0022
R8
3.3K
R9
33K
3
5
6
7
A2B
RC4558
C4
0.47
TANT.
FULL WAVE RECTIFIER
R11
10K
R10
10K
R13
15K
D2
1N914
D1
1N914
R12
7.5K
3
2
1
84A3A
RC4558
-V
+V
R26
820
R27
4.7K
C12
0.47
TANT.
C13
0.082
OCTAVE
R28
100K LIN
5
6
7
A3B
RC4558
D7
1N914
D5
1N914
D6
1N914
D4
1N914
GUITAR
2
R4
470
-V
R19
560
TANT.
R18
27K
SMOOTHING FILTER
R20
3.3K
R21
2.2K
R22
22K
C7
4.7
C9
0.47
C8
1.0
5
6
7
A4B
RC4558
R23
47K
C10
0.056
LOG AMP
R24
1K
R25
22K
3
2
1
84A4A
RC4558
-V
C11
1.0
TANT.
R30
2.2K
4R29
8.2K
TRIGGER
3
2
1
84A7A
RC4558
-V
R31
100K LIN
STOP DETECTOR
NORMALLY LOW
PULSES HIGH
AT END OF
NOTE
-V
+V
R33
330
R32
390K
+V
+V
R44
330K
SQUELCH
3
2
1
8 4
A5A
RC4558
SMALL SIGNAL
DETECTOR
-V
R43
1K
+V
D3
1N914
R42
820K
PEAK FOLLOWER
5
6
7
A5B
RC4558
3
2
1
84A6A
RC4558
C6
1.0
+V
SQUARE WAVE SHAPER
R17
2.7K
SQUARE WAVE
MODULATOR
5
6
7
A6B
RC4558
Q1 2N5087
C16
4.7
R39
120K
R41
220
-V
D8
1N914
-V
D10
1N914
R45
470
ATTACK DETECTOR
NORMALLY -8V
PULSES HIGH ON
ATTACK
5
6
7
A7B
RC4558
7
6HIGH ON SILENCE
D11
1N914
D9
1N914
TO SUB-OCTAVE TRACK & HOLD MODULATOR (A18) & OUTPUT
1
0 TO -7V DEPENDING
ON SIGNAL
R38
22K
R40
6.8K
SQUARE WAVE
R36
100K LIN
+V
3
2
6
5
1
8
7 4
A8
CA3094
R35 10K
C14
1.0
R34
2.7K
C15
0.047
* ALL CAPACITOR VALUES IN MICROFARADS
SQUARE WAVE SHAPER
(or EH1040)
-V
5R37
13K
TO ADAPTIVE SCHMITT TRIGGER
TO VCA SWEEP GENERATOR
TO VCF SWEEP GENERATOR
24
3 6 7
TO VCF (A10)
5
Date:
September 28, 1996
Sheet
1
of
3
Size
Document Number
REV
ADRAWN BY: FABIAN P. HARTERY
1
Title
ELECTRO HARMONIX GUITAR MICRO SYNTHESIZER
REVISION: 12/12/78
DESIGNED BY: D.COCKERELL
ELECTRO HARMONIX
SUB-OCTAVE TRACK &
HOLD MODULATOR
R53
47K
3
2
1
84A15A
RC4558
-V
R49
220
C19
4.7
5
6
7
A15B
RC4558
R48
10K
D12
1N914
D13
1N914
3
ADAPTIVE SCHMIDT TRIGGER
R46
3.3K
R47
3.3K
R50
6.8K
C17
0.0033
+V
+V
TANT.
D 9
Q 13
CLK
11
Q 12
R1 0 S 8
A17B
CD4013
-V
-V
D 5
Q 1
CLK
3
Q 2
R 4S6A17A
CD4013
1
R55
3.9K
R57
27K
R58
470
+V
(OR EH1040)
C22
0.0033
3
2
6 5
1 8
7 4A18CA3094
+V
Q22N4302
C23
1.0
R61
100K LIN
-V
R62
12K
SUB-OCTAVE
R63
10K
-V
R60
27K
-V
R56
47K
R59
470
C21
0.1
-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.
R54
47K
5
6
7
A16B
RC4558
R52
220
C20
4.7
TANT.
-V
R51
10K
D15
1N914
D14
1N914
3
2
1
8 4
A16A
RC4558
C18
0.1
-V
STOP FREQUENCY
R65
100K LIN
R66
3.3KR67
820
+V
3
2
1
8 4
U9A
RC4558
7
D16
1N914
R68
1K
+V
D17
1N5235
6.8V
R70
22M
R69
2.2K
-V
R73
2.2K
R74
100K LIN
R75
3.3K
-V
-V
SWEEP RATE
-V
R64
10K
R79
3.3K
R80
8.2K
-V
-V
C24
0.082
R83
3.3K
R84
8.2K
3
2
6 5
1 8
74
A12
CA3094
C27
0.0033
/EH1040
R81
47K
R82
1K
C26
0.0033
/EH1040 3
2
6 5
1 8
74A11
CA3094
R76
8.2KR77
47K
R781K
/EH1040
3
2
6
5
1
8
74
A10
CA3094
C25
0.0033
+V
D18
1N5235
3
2
6
5
1
8
7 4
A13
CA3094
C2810
+V
(OR EH1040)
Q3
2N5087
R71
680K
R72
1K
-V
R95
4.7K
START FREQUENCY
R92
100K LIN
R93
3.3K
R94
820
-V J2/OUTPUT
1/4" PHONEJACK
S1
FOOTSWITCH
R104
1K
R105
1K
+V
1
3
2
6
5
1
8
7 4
A14
CA3094
R96
47K
R97
1K
-V
-V
TANT.
TANT.
6.8V
C29
1.0
+V
2 4 5
R87330K
R88
47K
R90
1K
R91
470
R89
4.7K
+V
RESONANCE
R86
100K LIN
+V R85
47K
-V
VCA
(OR EH1040)
R98
47K
Q4
2N5088
Q5
2N5088
D19
1N914
R9947
R101
100K LIN
+V
6Q6
2N5088
R100
22K
R102
8.2K
R103
820
-V
TANT.
* ALL CAPACITOR VALUES IN MICROFARADS
C30
10
ATTACK
DELAY
Date:
September 28, 1996
Sheet
2
of
3
SizeDocument Number
REV
BDRAWN BY: FABIAN P. HARTERY
1
Title
ELECTRO HARMONIX GUITAR MICRO SYNTHESIZER
REVISION: 12/12/78
DESIGNED BY: D.COCKERELL
ELECTRO HARMONIX
Outboard, a.c. transformer
2N6110 NORMALLY TOO
HOT TO TOUCH
R109
12K
(+9 Vdc RELATIVE TO A1, PIN 2)
+V
D20
LED
R111
680
Q5
2N6110
R108
1K
R110
4.7K
3
2
1
8 4
A1A
RC4558R107
5.6K
D22
1N914
P1
PHONEPLUG
120 Vac Primary
24 Vac Secondary
N.C.
J1/POWER
1/8" PHONEJACK
+
BR1
W02M
-
35V
C31
100
R106
15K
C32
10 25V
25V
C33
10
5
6
7
A1B
RC4558
10V
D21
1N961B
POWER JACK-ISOLATED
(SOME NON-DOMESTIC MODELS)
24 VAC
(-10 Vdc RELEVANT TO A1, PIN 2)
-V
Date:
September 28, 1996
Sheet
3
of
3
Size
Document Number
REV
ADRAWN BY: FABIAN P. HARTERY
1
Title
ELECTRO HARMONIX GUITAR MICRO SYNTHESIZER
REVISION: 12/12/78
DESIGNED BY: D.COCKERELL
ELECTRO HARMONIX
C++
A
B
0.1uf400v
0.1uf400v
1
2
1
2
20uf600v
20uf600v
20uf600v
20uf600v
0.1uf400v
Fender Bassman 5F6 (Tweed)
250
12AX7 (orig. 12AY7)
4701W
1W470
325VAC
325VAC
1M
68k
68k
820
6v
68k
68k
and pilot lightto all 6.3v heaters3 amp fuse
AC Switch
GZ34
150v8uf
15k
8uf 150v
56k
0.02uf400v 1M Volume
100k
Volume
400v0.02uf
100k 270k
270k820 100k
250kTreb.
0.00025uf
56k
0.02uf 400v1M
Bass
25kMid
0.02uf400v
5k Pres.
12AX7
5881 (6L6)
5881 (6L6)
4k7
0.1uf 200v
0.02uf 400v
47010k
27k
450v8uf
10k
220k
220k
0.05uf600v
Standby
0.05uf
600v
Ground Switch
Bright
Normal
82k 5%
100k5%
A
B
1M
0.0001uf
12AX7
1M
C
47pf
Output
Input
v+
+
.047uf
4.7uf
v+
20k
240k
150k
8.2k
240k
D1 D2
.033uf
10k
50k ?
+D1, D2 -Pick an elementSupply -9v. Battery4.7uf
75
645581/2
Blue Clipper
-
+
++
++
+
+ELECTRO-HARMONIX BIG MUFF PI
INOUT
VolumeTone
39k
1u
100k100
1k
470k
500p
15k
100k8.2k
100k 100
470k
500p
15k
8.2k
100
15k
500p
9V
39k
0.004 100k
0.01
0.1
100k
10k
2.2k
100k
390k
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.
470k
Sustain
The diode and transistor types are unknown. Probably any high gain NPN and 1N914s work.
1u*
1uf*
0.1** 0.1**
1u*
1u*
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 toread).
+
++
+
++
+-
+
+
+
+ +
+4.5V+9V
+4.5V
+9V
+4.5V
+9V
+9V
+
BOSS Slow Gear SG-1 Attack Delay
22k
22k 10
"Cancel"
22
"Check"
1k 1M
1u
47p
47p
56k 56k
56k 56k47p 47p
470k
100k 100k
10
0.047100k
100k
4.7k
4.7k
390k
0.001
1k
10
1M3.9k
1u
220k
0.022
1k
100k "Sensitivity"
IN 1k 0.1
220k
10k
1u
22k 1u
3.3k
47u
470k
1u 1m
1M
1u 1m
10k
0.5u
1k 1u
100k
OUT
47k10ktrimmer, 25k? 20k "Attack"
2SC932
2SC932
= 2SK30A
= 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.
30u
9V
1uf
1uf
1k
+
++
+
IN
OUT
5k0.15uf62k
0.22uf
120k
6.8k 0.47uf
2N3904
1k
+9v
IN
+9v
+9v
2N3904
2N3904
1uf
1uf
1uf
1.8k
10k
100k
1M
47k 100k
0.01uf
22k
0.1uf2.2k
100k
1uf
15k
0.0047uf
0.047uf
1M 47k
4.7k
OUT
Frequency Brighteners
All Signal Brightener
High Frequency Brightener
nc
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.
100k**100k*
R16 27K
C50.0018
R14100KSQUELCH
R15
3.3M
-V
+V
+V
R168K
J1/INPUT1/4" PHONEJACK 3
2 1
8
4
A2A
RC4558
R2
4.7K
-V
700 HZ LOW PASS FILTER1
PRE-AMPGAINR310K
R513K
C10.1
R6100K LIN
R72.2K
C20.022
C30.0022
R83.3K
R933K
3
5
6 7
A2B
RC4558
C4
0.47TANT.
FULL WAVE RECTIFIER
R11
10K
R10
10K
R1315K
D2 1N914D11N914
R12
7.5K 3
2 1
8
4 A3A
RC4558
-V
+V
R26820R27
4.7K
C120.47TANT.C13
0.082OCTAVE
R28100K LIN
5
6 7
A3BRC4558
D7
1N914
D5
1N914
D6
1N914
D4
1N914
GUITAR
2
R4470
-V
R19
560
TANT.
R1827K
SMOOTHING FILTER
R20
3.3K
R21
2.2K
R22
22K
C74.7
C82.2
C91.0
5
6 7
A4B
RC4558R2347K
C100.1
LOG AMP
R24
1KR2522K
3
2 1
8
4A4A
RC4558
-V
C111.0 TANT.
R302.2K
4R298.2K
TRIGGER
3
2 1
8
4A7ARC4558
-V
R31100K LIN
STOP DETECTOR
NORMALLY LOWPULSES HIGH AT END OFNOTE
-V+V
R33330R32
390K
+V
+V
R44330K
SQUELCH
3
2 1
8
4
A5A
RC4558
SMALL SIGNALDETECTOR
-V
R431K
+VD3 1N914
R42820K
PEAK FOLLOWER
5
6 7
A5B
RC4558
3
2 1
8
4 A6A
RC4558
C6
1.0
+V
SQUARE WAVE SHAPER
R17
2.7K
SQUARE WAVEMODULATOR
5
6 7
A6B
RC4558
Q1
2N5087
C164.7
R39
120K
R41220
-V
D8 1N914
-V
D101N914
R45470 ATTACK DETECTOR
NORMALLY -8VPULSES HIGH ONATTACK
5
6 7
A7BRC4558
7
6 HIGH ON SILENCE
D111N914
D9 1N914
TO SUB-OCTAVE TRACK & HOLD MODULATOR (A18) & OUTPUT1
0 TO -7V DEPENDINGON SIGNAL
R3822K R40
6.8K
SQUARE WAVER36100K LIN
+V
3
2 6 5
1 8
7
4
A8
CA3094
R35
10K
C14
1.0
R34
2.7K
C150.047
* ALL CAPACITOR VALUES IN MICROFARADS
SQUARE WAVE SHAPER
(or EH1040)
-V
5R37
13K
TO ADAPTIVE SCHMITT TRIGGER
TO VCA SWEEP GENERATOR
TO VCF SWEEP GENERATOR
2 4
3
6
7
TO VCF (A10)5
Date: September 28, 1996 Sheet 1 of 3
Size Document Number REV
A DRAWN BY: FABIAN P. HARTERY 1
Title
ELECTRO HARMONIX BASS MICRO SYNTHESIZER
REVISION: 12/12/78DESIGNED BY: D.COCKERELL
ELECTRO HARMONIX
SUB-OCTAVE TRACK &HOLD MODULATORR53
47K 3
2 1
8
4 A15ARC4558
-V
R49220
C194.7
5
6 7
A15BRC4558
R4810KD12
1N914
D13
1N914
3
ADAPTIVE SCHMIDT TRIGGER
R46
3.3K
R47
3.3K
R506.8K
C170.0033
+V
+V
TANT.
D 9Q 13CLK 11
Q 12 R
10
S
8
A17BCD4013
-V
-V
D 5 Q 1
CLK 3
Q 2R
4
S
6A17ACD4013
1
R553.9K
R5727K
R58470
+V
(OR EH1040)
C22 0.0033
3
2 6 5
1 8
7
4A18
CA3094
+V
Q22N4302
C23
1.0
R61100K LIN
-V
R6212K
SUB-OCTAVE
R6310K
-V
R60
27K
-V
R56
47K
R59470
C210.1
-VS-R FLIP FLOP
& DIVIDE BY TWOSPECIAL NOTE: PIN 14 IS CONNECTED TOTHE POWER SUPPLY GROUND AND PIN 7 ISCONNECTED TO THE -V SUPPLY.
R54
47K 5
6 7
A16BRC4558
R52220
C204.7TANT.
-V
R5110K
D15
1N914D141N914
3
2 1
8
4
A16ARC4558
C180.1
-V
STOP FREQUENCY
R65100K LIN
R66
3.3KR67820
+V
3
2 1
8
4
U9ARC4558
7
D161N914
R681K
+V
D171N5235
6.8V
R6912K
R7022M
-V
R73
2.2K
R74100K LIN
R753.3K
-V-V
SWEEP RATE
-V
R64
10K
R793.3K
R808.2K
-V-V
C240.082
R833.3K R84
8.2K
3
2 6 5
1 8
7
4
A12CA3094
C270.0033
/EH1040R81
47K R821K
C260.0033
/EH1040
3
2 6 5
1 8
7
4A11CA3094
R768.2K
R77
47K
R781K
/EH1040
3
2 6 5
1 8
7
4
A10CA3094
C250.0033
+V
D181N5235
3
2 6 5
1 8
7
4
A13
CA3094
C2810
+V
(OR EH1040)
Q32N5087 R71
680K
R721K
-V
R95
4.7K
START FREQUENCY
R92100K LIN
R93
3.3KR94820
-V
J2/OUTPUT1/4" PHONEJACK
S1FOOTSWITCH
R1041K
R105
1K +V1
3
2 6 5
1 8
7
4
A14
CA3094
R96
47KR971K
-V
-V
TANT.
TANT.6.8V
C291.0
+V
2
4
5
R87 330K
R88 47K
R901K
R91470
R89 4.7K
+VRESONANCER86 100K LIN +V
R85
47K
-V
VCA
(OR EH1040)
R9847K
Q42N5088Q5
2N5088
D191N914
R9947
R101100K LIN
+V
6 Q6
2N5088
R10022K
R102
8.2K
R103820
-V
TANT.
* ALL CAPACITOR VALUES IN MICROFARADS
C3010 ATTACK
DELAY
Date: September 28, 1996 Sheet 2 of 3
Size Document Number REVB DRAWN BY: FABIAN P. HARTERY 1
TitleELECTRO HARMONIX BASS MICRO SYNTHESIZER
REVISION: 12/12/78DESIGNED BY: D.COCKERELL
ELECTRO HARMONIX
Outboard, a.c. transformer
2N6110 NORMALLY TOOHOT TO TOUCH
R109
12K (+9 Vdc RELATIVE TO A1, PIN 2)
+V
D20LED
R111680
Q5 2N6110
R1081K
R1104.7K
3
2 1
8
4
A1A
RC4558
R107
5.6KD221N914
P1
PHONEPLUG
120 Vac Primary24 Vac Secondary
N.C.
J1/POWER
1/8" PHONEJACK
+
BR1W02M
-
35V
C31100 R106
15K
C321025V
25V
C3310
5
6 7
A1B
RC4558
10V
D211N961B
POWER JACK-ISOLATED(SOME NON-DOMESTIC MODELS)24 VAC
(-10 Vdc RELEVANT TO A1, PIN 2)
-V
Date: September 28, 1996 Sheet 3 of 3
Size Document Number REV
A DRAWN BY: FABIAN P. HARTERY 1
Title
ELECTRO HARMONIX BASS MICRO SYNTHESIZER
REVISION: 12/12/78DESIGNED BY: D.COCKERELL
ELECTRO HARMONIX
+
+
+
vref
Ultra-Clean 9vdc Power Supply Designed by Rick Barker
= 1N4002
25VAC110VAC
1000uf
0.1uf 470uf
0.1uf
10uf 2k 6.81k
274 2k
LM317TVin Vout
Vadj
ladj r1a r1b
r2a r2b
LM317T
R1= r1a || r1b = 241 ohms
274 2k
R2 = r2a || r2b = 1456 ohms
ladj = 50uA
Vout = Vref(1+r2/r1)+ladj*r2 = 9.35VDC
Vref = 1.25V
+9v out
Adj Vin
Vout
+
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.
Gretsch Controfuzz Model No. 7798
100
25pF 25pF
0.47uF1N4001
0.1
uF
9V
+
100K
100K220pF
220K
10uF
10K 0.1uF
1N4001
220K
10K 100K
0.47uF
330K
Distort
Boost10K
IN
OUT
4
5
6
10
312
4
5
6
10
312
To pin 11, V+, on both opamps
S11/2
+S11/2
1k
D1
22k
.01uf68k
1.5k
470
470k
33k
.01uf
470k
.001uf
.001uf
1k
10k
In
Out
?
.0011uf
82k
9v
+
-
-D1 is a 1n4148
-S1 gives true bypass
-Q1 & Q2 are 2n3904
Dunlop Cry Baby Wah Wah
4.7uf
Q1
Q2
660mH
+
+
+
+-
+-
+-
+-
+9V
22k
500k
0.05ufVTL5C2
0.01uf 10k
470k
10uf
100k
0.05 uf
0.05 uf
47 uf
Q1, Q2 = NP4124
Op amps are LM358
220k 220k
4.7k
IN
OUT
DOD Compressor 280A
+9V
+9V
3M
22k
22k
0.05 uf
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
+9V
+9V
3M
22k
22k
0.05 uf
100k
100k
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.
Bypass
+-
+
+-
+
+
+
Battery, 9VDC
22k10uf
0.01uf
1uf
D 100k
100k
220k
100k RL0.1uf
10k
470k
4.7uf
22k
22k
0.05 uf430k
220k
0.02uf
100k
22k
100k10k
1N4148
IN
OUT
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.
DOD Envelope Filter 440
0.02uf
10K
4.7K
NON-POLARIZED
15 UF
5
6 7
U3B
TL022C
10 UF22K
56 UF47 UF
Q1J111
1N4001
22KQ22N5089
100K100K
10K
22K
220K
180K2K
SPEED500K
3
2 1
8
4 U3A
TL022C
VCCWIDTH
100K
220K 1N4148
100K4.7K
1N4148
5K
150K
10UF10K100K
100KP1100K0.0023
27K
330K
150K
9Vdc
JACK CREATES THE CIRCUITGROUND.
(*) PLUGGING INTO THE INPUT
+VCC
470K
62K22K
IN (*)
0.01
10UF
3
2 1
8
4
U1A
TL022C
10K
47K
VCC
47K
0.001 120PF 4.7K
470K
0.047
1
2
3
4 5
6
7
8MN3007
1
2
3
4
MN3101
5
6
7
8
1K33K
Q32N4125
Q4
2N4124
25 PF
0.005
3
2 1
8
4 U2A
TL022C
100K
1N41481N414833K 0.022
62KREGENERATION
500K
100K
1K1 UF
OUT
47K
47K
0.0063
10K
5
6 7
U2B
TL022C
Q5J113
1M0.047
1N4148
1SP 2 1DP 1 1A 31DN 5 1SN 4VDD 14 2DP 13 2A 62DN 8 VSS 73SP 11 3A 103Y 12 3SN 9U6
CD4007
0.047
1M VCC
33K 33K
0.001120PF
33K
MN3007 AUDIO SIGNAL DELAY, 1024 STAGE LOW NOISE BBD (5.12-51.2 msec delay)
PARTS DESCRIPTION:
CD4007 DUAL COMPLEMENTARY PAIR WITH INVERTER; (RCA)
MN3101 CLOCK GENERATOR FOR BUCKET BRIGADE DEVICE /BBD
TL022C LOW POWER DUAL OPAMP; (TEXAS INSTRUMENTS)
1M
100K10K
Q6
2N5089
120PF
5
6 7
U1B
TL022C4.7K1 UF
OUT
100K
47K
120PF
10K
A COMMON POINT (OR JUNCTION) IS ILLUSTRATED BY >>WHEN THIS IS NOT SEEN, WIRES WHICH CROSS OVER EACHOTHER ON THIS SCHEMATIC ARE "NOT" CONNECTED.
0.047
MOMENTARY SWITCHUSED TO ENGAGE EFFECT
MN3101/MN3007 MANF. PANASONIC; THESE ARE EQUIVALENT TO ECG1639/ECG1641 RESPECTFULLY.
Date: November 20, 1994 Sheet 1 of 1
Size Document Number REVB DRAWN BY: FABIAN P. HARTERY 1
TitleDOD FX75 FLANGER (10-15-84)
+- +
+
ReverseLog
500K
IN
OUT
0.05uF 1M
0.01uF10k
1M20K
20K
10uF
10uF
10K
100K
0.001uF7
62
34
741
9V
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.
DOD Overdrive 250
+
4K7
+
+
+
+
+
+
+
+ +
55321/2
55321/2
55321/2
55321/2
This low noise preamp & a/b box was originally designed for switching between different
harmonica mics.
+
-
+
-
+
-
+
-
20k
20k
0.1uf
10uf
10k
20k6.8uf
6.8uf 20k
20k
20k6.8uf
6.8uf 10k
10uf 0.1uf10k
100ohms
0.1uf 0.1uf 100uf
10uf
B
A
OUT20k
0.1uf
IN B
IN A
100k
100k2
31
8
6
57
44
5
67
8
13
2
Dual Pre-Amp & A/B BoxDesigned by Rick Barker
50uf
+
+
+
+
+9V
+9V
0.1
820K
1K2
1uF
120K
1uF
1M
1K
0.1
330K
1M
47K
470
0.22
100K150K
33K
0.01
68K
1K5 20K 470K
470K
0.22
1K
0.01
10K
0.5 H
10uF
470K
22K
470K22K
47pF
2K20.01
220K
150K
150K
250pF
0.0068
0.0068
10K
9V Batt
IN OUT
22K
10uF
2SC828
2SC1000
2SC1000
2SC10002SC1000
Fuzz Tone Select
Fuzz Section
Wah Section
Roland Double Beat
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: Revision: Model #
+
+
-
+
+
-
+
-
++
+
-
+
+
+
+
-
+
+
+
6
57+
-
+
-
IC1 - TL082IC2 - 4558Q1, Q4 - 2N5087Q2, Q3 - 2N4859A
0.1uf 1k
150k
IC1a 10uf
10k
67
5
100k
Q11M
Q2
1M
0.047uf
100k
IC1b
s
d
s
d
g
g
Q3
10k LinBlend
100k
10k
100k
10k Lin
Q4
1uf
0.047uf
150
+5v
+5v
1
0.0068uf 47k
47k
IC2b 10uf
1M5
0.47uf12k
47pf10uf
47k
47k 47k
10uf
7
B
A
27k
10uf
IC9b
D1
D2
16
1113
4 14 15
9
1813
2
2
3
5
67
IC9 - 571
D3, D4 - 6.8v ZenerD1, D2 - Signal Diode ?
47p
IC11a ToA/DInput
Input
DirectOutput
Output
B/O
RO
16 Second Digital Delay Electro-Harmonix EH7875-2A
IC11, IC4 - Unmarked Dual Op-Amp, probably a 4558
5
-10v
+10v FCK
28
5 3
7
61
5
-10v
+10v FCK
IC7D3
D4
28
5 3
7
61
0.47uf47k
6
0.033uf
8k28k2 IC4a
10uf 12k
2M7
tant
tant
47pf
10ufIC4b
IC9a AIC8
47pf
10k 0.0068uf
680pf
10k
13
2
3
7
1
5
8FromD/AOut
IC7, IC8 - Unmarked ?
67
5
IC2a
10k
1 /
3k9
3k910
0k
12/9/95
Name: Manufacturer / Designer: Revision: Model #
+
+ +
+- +
- ++ + +
+
B
+
-
+
+ + +
++
C
C
31
2
+
-
16 Second Digital Delay Electro-Harmonix EH7875-2A
2 /
Red
Black
White100V
120V
0V
Y
Y
R
R
W
+10v
7805
7815
7812
+12v
4
2
1
8
11
-15v
-15v
+5v
33uf100uf35v
100uf35v
10uf
5.1vA
470uf10v
470uf 10uf
33uf47
XA0140
D
10k lin
CLIX
ClickSelect
100k
100k 100k 0.068uf 2N5088
100k
22k
22k
0.0022uf 10M
4k7
12k
ClickOut
12IC10a
+5v
RO
+5v
Slow
Reciac
Rev
30k
15k
7k5
3k74#
#
#
#
Bypass
#
#
B/O10k
14
10 9
3
13F/S
REV
22uf22uf 22uf IC12c
1k IC12d
680
FootSwitch
1k87
1k3782k
0.01uf
IC10b
1uf
680
+5v
1uf
10k
1uf
A2SCK
20 32
1
1615
11
6 clk rdcs
10D.gnd
wrvccin+
vnff/2
in-
3 11 10 86
6
5
7
ADC0804
1312 14
4
8
7
9
+5v
+5v
+5v
4k7
1k
IC12b
msbA.gnd
10v
REC
IC12a
7
13
Resistors marked # are 1% types.IC10 - LM358IC12 - 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
on IC42-10v to pins 1 & 6 on IC7, & IC8
-15v to pin 4 on IC1 through IC4, IC10, IC11, IC20, IC43, & IC44 pin 17
All diodes were unmarked.
12/9/95
+- +
-
+++
+
0.22uF 0.02uF 2200pf
+9V
+9V
+9V
Out
0.1uFIn220k
220k
100k
0.022uF
22k
5uF
10k 100k 1M
0.22uF 0.02uF 2200pf
10k 100k 1M
27k
270k
100k
10uF
27k
2N5087
1uF
100k
9V
+9V
Hog’s Foot (new)
+
430k 10k
43k 390 100k
0.1uF
0.1uF
2N5133
In
Out
+
+
+
10k
100k
0.1uF
2N51330.1uF
In
Out
100k
100k
100k 2.7k
50uF
9V
Muff Fuzz / Little Muff Pi (early)
+
+
+
430k 10k
390
2N5133
In
10k
27k
3.3uF 43k
0.1uF
0.1uF
3.3uF
Out
Mole/ Hog’s Foot (Old Version)
+
430k 10k
43k 390 100k
2N5133
In
Out
0.002uF
0.002uF
Screaming Bird/Tree
ELECTRO HARMONIX BOOSTERS
LPB-1, LPB-2, EGO
Other variations on the LPB-1 include a BC239
with a 100k resistor from base to ground and a
1M resistor between base and collector.
+
+
In
9v
+
-
+
-
+
-
Out
1458
1458
500mh
100k
S3
100k
.022uf
470k
S1 S1
10uf 680k
680k
10k
D1
D2
.1uf
100k
S2
100k
S5
S5
68k
.022uf
1.5k470k10uf
33k
1k
Q2Q1
.22uf .22uf
470k
10k
.0022uf
.1uf
.047
.01uf
.0033uf
S4
1/2
1/2
1/2 1/2
1/2
1/2
Model 3006
-Q1 & Q2 are 2n3565
been improved to
provide true bypass
-S3 chooses volume
or wah-wah
sweep reverse
-S5 provides for
-Fuzz bypass S1 has
-S2 gives just fuzz, just
wah-wah / volume, or
fuzz into wah-wah /
volume
-S4 sets tone of filter
-D1 & D2 can be any
signal diode
(Actually Fuzz-Wah/Volume )Electro Harmonix Fuzz-Wah
57
4
8
1
3
6
2
470 ohms
22k
0.1uF
0.1uF
4.7K
2.3M
470Ge Ge
IN
OUT
2N3904
+9 V
This distortion was posted to the net by Bruce E. (?), [email protected] 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.
ELECTRA DISTORTION
Date: February 16, 1995 Sheet 1 of 1
Size Document Number REV
A DRAWN BY: FABIAN P. HARTERY 1
Title
TEN BAND GRAPHIC EQUALIZER
ELECTRONICS TODAY INTERNATIONALDESIGN FIRST PUBLISHED IN
FROM ENCYL. OF ELECTRONIC CIRCUITS (VOL. 2)
THE TABLE GIVEN BELOW SPECIFIES COMPONENTREPEAT CIRCUIT IN BOX FOR ALL FREQUENCIES.
VALUES FOR C1 AND C2.
C1
100K 10K
1MC2
10K
1M
Vin
2.4K
+V
-V
100K
3.3 UF
THIS OPAMP IS COMMON TO ALL OUTPUTS+V
Vout
-V
* A SUGGESTED OPAMP WOULD BE A TL082 OR SIMILIAR LOW NOISE OPAMP
CHANNELCENTREFREQ.(IN Hz.)
1000
C1
3264
125250500
180nF100nF47nF22nF12nF
5.6nF
C2
18nF10nF
4.7nF2.2nF1.2nF560pF270pF150pF68pF36pF
2.7nF1.5nF680pF360pF
200040008000
16000
Name: Manufacturer / Designer: Revision: Model #
+
++
+
+ +
+
+
+
+
+
Fender Blender Fender
+9v
9v
Out
In0.1uf
100k
0.1uf
Sustain
0.1uf10uf
10uf
10uf 10uf 0.003uf
3k9
10uf
D1
D2
D3
3k9
100k
10uf
Q5
Q4
Q3
Q2
Q1
D4
0.1uf
10uf
820
150k
150k
560k
0.05
uf
1k5
15k
47k
120k
68010
k10
k
220k
8k2
27k
8k2
27k
10uf
100k
10k
47k
27k
125k
10k
10uf
18k
820
10uf
150k
10k
0.001uf
50k
Blend
Tone
All capacitors minimum 25VAll resistors 5% (many of the orginals were actually 10%) 1/2W
Q1 & Q2 - 2N3391AQ3 to Q5 - 2N3391D1 to D4 - 1N276Original 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.
11/18/95
+9V +9V
+
+
+
+
+
+
+
+
+9V +9V +9V+9V +9V
+
+9V+9V
VOLUMEFUZZ
++9V
FOXX FUZZ-WAH
"5103 TDK".
47k4.7k
15k
1k
22k 4.7k
0.047uf
3300pf
TONE
47k 1.5k
100k
OCTAVE
1000pf
1k
100k
0.1film47k
100k
220
100k
4.7k100k
150k10k
10k0.1 film
22k0.22
0.0168k
220
1.5k
470k
470k
100k
0.5H
0.22
1k100k
log
FUZZ
50k 50k
50k
0.0047
.0.0033
0.047
0.01
0.047
0.1
WAH
WAH TONE SELECT
DRIVE
BYPASS
WAH BYPASS
470k
33k10k
The box, by the way, is covered in blue or red no-fooling stiff plastic fuzz. The wah has four different resonant frequencies
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.
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.
OUT
IN
+
-
4558
+
-
4558
+
+
Fuzz 001 - Unknown Commerical Source
86
75
3
2
4
10uf9v
100k
100k
+9v
10k 100k0.1uf0.1uf
47kLog1M 1M
0.1uf
470pf
1n42
+9v
1
+
+9v
+9v
0.01uf
0.1uf
Q1 Q2
3k3
10k
100k100k
100k
D2D1
In
Out
Q1 and Q2 are BC108
D1 and D2 are silicon or germanium (pick your favorite flavor) signal diodes.
Distortion Booster
-make unknown...
+
+
1/2 S1
1/2 S1
IN OUT
2.2uf
Q1
Q2
9v
20uf
+
-
33k 8.2k
470*
0.1uf
500k
1k
100k
Fuzz FaceDallas Arbiter
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
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
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.
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
+
+
+
-
++On
Off
Q1
1M
9v 9vS1
S2
S3
IN
OUT
820ohms
8.2k
270ohms
1.0uf
680k560pf
1.0uf
6.8k
10k
100k
10k
D1 D2
10k
10k
10k
39k
ab
+
-
1k
1k
-9v
+9v
+9v
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.
Fuzz Struzz
Guitar Effects Unit(Octaver-Fuzz)
extracted from ETI-Canada, January 1980
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.
-9v +9v
Q1 is MPS6515
Name: Manufacturer / Designer: Revision: Model #
+
+
+
Output
Green Ringer Dan Armstrong 9/23/95
Input2SA666
2SA66666k
66k
0.047uf
560k 6k2 10k 0.047uf
2SC828
18k
*100uf
22k
22k 10k
0.1uf
10k160k 47k0.047uf
+9v
+9vdc
Tantalum
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 baseof the final transistor. The continuity test on the device shows no conductivity except that the topmost pinconducts when it is positive of the pins in the middle and other side; otherwise, no conduction. This is whatwould be expected if it were an NPN with the same pinout (base, collector, emitter) as the other transistors.
R16 27K
C50.0018
R14100KSQUELCH
R15
3.3M
-V
+V
+V
R168K
J1/INPUT1/4" PHONEJACK 3
2 1
8
4
A2A
RC4558
R2
4.7K
-V
700 HZ LOW PASS FILTER1
PRE-AMPGAINR310K
R513K
C10.1
R6100K LIN
R72.2K
C20.022
C30.0022
R83.3K
R933K
3
5
6 7
A2B
RC4558
C4
0.47TANT.
FULL WAVE RECTIFIER
R11
10K
R10
10K
R1315K
D2 1N914D11N914
R12
7.5K 3
2 1
8
4 A3A
RC4558
-V
+V
R26820R27
4.7K
C120.47TANT.C13
0.082OCTAVE
R28100K LIN
5
6 7
A3BRC4558
D7
1N914
D5
1N914
D6
1N914
D4
1N914
GUITAR
2
R4470
-V
R19
560
TANT.
R1827K
SMOOTHING FILTER
R20
3.3K
R21
2.2K
R22
22K
C74.7
C90.47
C81.0
5
6 7
A4B
RC4558R2347K
C100.056
LOG AMP
R24
1KR2522K
3
2 1
8
4A4A
RC4558
-V
C111.0 TANT.
R302.2K
4R298.2K
TRIGGER
3
2 1
8
4A7ARC4558
-V
R31100K LIN
STOP DETECTOR
NORMALLY LOWPULSES HIGH AT END OFNOTE
-V+V
R33330R32
390K
+V
+V
R44330K
SQUELCH
3
2 1
8
4
A5A
RC4558
SMALL SIGNALDETECTOR
-V
R431K
+VD3 1N914
R42820K
PEAK FOLLOWER
5
6 7
A5B
RC4558
3
2 1
8
4 A6A
RC4558
C6
1.0
+V
SQUARE WAVE SHAPER
R17
2.7K
SQUARE WAVEMODULATOR
5
6 7
A6B
RC4558
Q1
2N5087
C164.7
R39
120K
R41220
-V
D8 1N914
-V
D101N914
R45470 ATTACK DETECTOR
NORMALLY -8VPULSES HIGH ONATTACK
5
6 7
A7BRC4558
7
6 HIGH ON SILENCE
D111N914
D9 1N914
TO SUB-OCTAVE TRACK & HOLD MODULATOR (A18) & OUTPUT1
0 TO -7V DEPENDINGON SIGNAL
R3822K R40
6.8K
SQUARE WAVER36100K LIN
+V
3
2 6 5
1 8
7
4
A8
CA3094
R35
10K
C14
1.0
R34
2.7K
C150.047
* ALL CAPACITOR VALUES IN MICROFARADS
SQUARE WAVE SHAPER
(or EH1040)
-V
5R37
13K
TO ADAPTIVE SCHMITT TRIGGER
TO VCA SWEEP GENERATOR
TO VCF SWEEP GENERATOR
2 4
3
6
7
TO VCF (A10)5
Date: September 28, 1996 Sheet 1 of 3
Size Document Number REV
A DRAWN BY: FABIAN P. HARTERY 1
Title
ELECTRO HARMONIX GUITAR MICRO SYNTHESIZER
REVISION: 12/12/78DESIGNED BY: D.COCKERELL
ELECTRO HARMONIX
SUB-OCTAVE TRACK &HOLD MODULATORR53
47K 3
2 1
8
4 A15ARC4558
-V
R49220
C194.7
5
6 7
A15BRC4558
R4810KD12
1N914
D13
1N914
3
ADAPTIVE SCHMIDT TRIGGER
R46
3.3K
R47
3.3K
R506.8K
C170.0033
+V
+V
TANT.
D 9Q 13CLK 11
Q 12 R
10
S
8
A17BCD4013
-V
-V
D 5 Q 1
CLK 3
Q 2R
4
S
6A17ACD4013
1
R553.9K
R5727K
R58470
+V
(OR EH1040)
C22 0.0033
3
2 6 5
1 8
7
4A18
CA3094
+V
Q22N4302
C23
1.0
R61100K LIN
-V
R6212K
SUB-OCTAVE
R6310K
-V
R60
27K
-V
R56
47K
R59470
C210.1
-VS-R FLIP FLOP
& DIVIDE BY TWOSPECIAL NOTE: PIN 14 IS CONNECTED TOTHE POWER SUPPLY GROUND AND PIN 7 ISCONNECTED TO THE -V SUPPLY.
R54
47K 5
6 7
A16BRC4558
R52220
C204.7TANT.
-V
R5110K
D15
1N914D141N914
3
2 1
8
4
A16ARC4558
C180.1
-V
STOP FREQUENCY
R65100K LIN
R66
3.3KR67820
+V
3
2 1
8
4
U9ARC4558
7
D161N914
R681K
+V
D171N5235
6.8V R7022M
R692.2K
-V
R73
2.2K
R74100K LIN
R753.3K
-V-V
SWEEP RATE
-V
R64
10K
R793.3K
R808.2K
-V-V
C240.082
R833.3K R84
8.2K
3
2 6 5
1 8
7
4
A12CA3094
C270.0033
/EH1040R81
47K R821K
C260.0033
/EH1040
3
2 6 5
1 8
7
4A11CA3094
R768.2K
R77
47K
R781K
/EH1040
3
2 6 5
1 8
7
4
A10CA3094
C250.0033
+V
D181N5235
3
2 6 5
1 8
7
4
A13
CA3094
C2810
+V
(OR EH1040)
Q32N5087 R71
680K
R721K
-V
R95
4.7K
START FREQUENCY
R92100K LIN
R93
3.3KR94820
-V
J2/OUTPUT1/4" PHONEJACK
S1FOOTSWITCH
R1041K
R105
1K +V1
3
2 6 5
1 8
7
4
A14
CA3094
R96
47KR971K
-V
-V
TANT.
TANT.6.8V
C291.0
+V
2
4
5
R87 330K
R88 47K
R901K
R91470
R89 4.7K
+VRESONANCER86 100K LIN +V
R85
47K
-V
VCA
(OR EH1040)
R9847K
Q42N5088Q5
2N5088
D191N914
R9947
R101100K LIN
+V
6 Q6
2N5088
R10022K
R102
8.2K
R103820
-V
TANT.
* ALL CAPACITOR VALUES IN MICROFARADS
C3010 ATTACK
DELAY
Date: September 28, 1996 Sheet 2 of 3
Size Document Number REVB DRAWN BY: FABIAN P. HARTERY 1
TitleELECTRO HARMONIX GUITAR MICRO SYNTHESIZER
REVISION: 12/12/78DESIGNED BY: D.COCKERELL
ELECTRO HARMONIX
Outboard, a.c. transformer
2N6110 NORMALLY TOOHOT TO TOUCH
R109
12K (+9 Vdc RELATIVE TO A1, PIN 2)
+V
D20LED
R111680
Q5 2N6110
R1081K
R1104.7K
3
2 1
8
4
A1A
RC4558
R107
5.6KD221N914
P1
PHONEPLUG
120 Vac Primary24 Vac Secondary
N.C.
J1/POWER
1/8" PHONEJACK
+
BR1W02M
-
35V
C31100 R106
15K
C321025V
25V
C3310
5
6 7
A1B
RC4558
10V
D211N961B
POWER JACK-ISOLATED(SOME NON-DOMESTIC MODELS)24 VAC
(-10 Vdc RELEVANT TO A1, PIN 2)
-V
Date: September 28, 1996 Sheet 3 of 3
Size Document Number REV
A DRAWN BY: FABIAN P. HARTERY 1
Title
ELECTRO HARMONIX GUITAR MICRO SYNTHESIZER
REVISION: 12/12/78DESIGNED BY: D.COCKERELL
ELECTRO HARMONIX
+
+
+
+
In
Out
100k
100k1uf
1M +
-
+
-
+
-+
-
+
-+
-
12
313
1214
10k
10k
1M**
10k
10k
100
100
10uf
10uf
2k2
4k7
22k
22k15k 4k7
10k
10pf10k
10k
10k
10uf
1M
+15v
-15v
+ to chips (4)
- to chips (11)
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.
4k7*
4k7*
67 3
1
8
910 13
1214
2
5
4n7 4n7
4n7 4n7
Harmonic Sweetener
+-
++-
+
+4.5V
+4.5V
+9V +4.5V
+4.5V
+4.5V
+9V
+
+9V
+4.5V
+
+ +
+4.5V
+9V
100
TS-9 Tube Screamer
.02u
510k10k 0.1
10k
.047u 51k
51p
10k
tant20k
"Tone"
tant
100k
"Level"
510k 510k
2SK30A 2SK30A
"Drive"
62k
1M
3.6k
3V
510k
10u
In/Out 22
100k
10k
47 100
9V
0.1
IN
OUT
Opamps are in a dual 8 pin dip, 4558. All transistors 2SC1815. All diodes silicon signal diodes, 1n914 or similar.
1uf/50vnp*
1uf/50vnp*
0.221k
4.7k 0.22500k
1k1k1k
470ohms10k
220ohms
22k
1000p
1M
.047
.047
cr2 cr1
56k56k
1000p
1M* 1M*
56k*56k*
might be 10k. crf1 and cr2 are a special cap and resistor in parallel, the cap is 51p the resistor is 56k.
np* = nonpolorized resistors denoted by * marked as 1M on original might be 22k and those marked as 56K
+
+
+
+
9v
100uf1N5239B9.1v 6v
470
330
43k 10k
0.01uf
500k "level"
47pf "fuzz"
1k
1002.2uf
Q1Q2
InOut
22uf
1n68k
180k
Q1 & Q2 are MPSA18 Model JH-2
Jimi Hendrix Fuzz Faceby Jim Dunlop
2N2222
-or-
2N4124
-or-
similar
18K
100K
Input0.022uF
150K
0.022uF
18K47pF
0.022uF
1N914/1N4148
10K
Output
560K
560K
+9VDC
Jordan Boss-Tone
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.
+
+
Q3Q1Q2
*pretty much any silicon signal diode can be used here
22uf
22
Si*
1n2
IN OUT
0.1uf
0.1uf
0.1uf1M
10k
4.7k
33k
6.8k
50k Log
1k
9v
Q1 - BC238B
Q2, Q3 - BC239CModel FZIII
JSH Fuzz
150k
+
++
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.
1K
1K2
68K100K 0.01uF
0.22uF
43K
0.1uF 33K
9VDC
INPUTOUTPUT
2SC828P3X
2SC828R
4.7uF
33
4.7uF
10uF
10K 10K
33K
33K
4K7 470K
100K 47K
+
+
+
+
+
INOUT
Volume
470k
100k
470k
15k
9V
0.1100k
470k
The diode and transistor types are unknown. Probably any high gain NPN and 1N914s work.
Electro-Harmonix Little Big Muff
560p
8.2k
43k
10k
150
10u
33k
0.1u
10k
0.1u
8.2k
150
430k
6.8k
15k
0.1
39k
0.004 22k
100k
0.01
Tone
470u
100k
This is the original schematic.
The EH Little Big Muff could probably be improved with modern input jack power switching and a DPDT bypass.
560p560p
100k
100
0.1u* 0.1u*
The caps marked with a * have been reported to work great at 1.0uf.
+
Maestro Fuzz
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.
0.001uF
100k
3.3M
18k
0.0047uF
50k
33k
33k
50k
50k
330k
470k
0.1uF470k
100k0.047uF
47k
470k
0.002uF 3.3k
0.1uF8.2k
33k
Impedance Matcher Fuzz Preamp
Fuzz Amp
Squelcher
Out
In
0.1uF
0.01uF
S11/2
+
-
+
10k1uf
9v
+
+
S11/2
1uf
Q2
820k
8.2k
.047uf
120
500mh
47k
Q1In
-Transistors Q1 and Q2 were
48k
designated 991-002873
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).
1.5M
6uf
25k
56k.1uf
10kS2
.01uf
This was undoubtably an
Out
Model EG-2
Maestro Boomer 2(Wah-Wah / Volume)
1k
+
+
+
S11/2
S11/2
-
+
10k1uf
.01uf
8.2k
1uf
9v
.047uf
4.7k120
500mh
47k
6uf
25k1.5M
Q1
Q2
620k
In
Out
Maestro Boomerang(Wah-Wah)
-Transistors Q1 and Q2 were
designated P-2356
Model EG-1
48k
Mosrite Fuzz-Rite
.002uf
33k
.002uf
.05uf
.05uf
470k
470k
470k470k
TZ82TZ82
OutputInput
- +
9v
350k
Name: Manufacturer / Designer: Revision: Model #
+ +
-
+
+
+
+
-
+
+
+A
A
+
-
+
-
Motion Filter / Follower PAiA Electronics 10/29/95 5720
+V
IC1a 0.1uf
500k
IC1c
IC1b
IC1d
100uf1N4001
9v
100
500k1M
0.05uf
+Vr
+V
1M
+V
500k
100pf
3M9150 1uf D1
D2 1uf47k
1M
2N4124
101uf
10k
10k
+Vr
1M
0.01uf 0.01uf
1uf
1M
100k
1k
S1
In
Out
1M1uf
+V
+Vr
+Vr
5
64
11
7
8
910
1
23
1214
13
100k
105
12132
3
7 11
4
114
IC2
Offset
Sensitivity
Initial Frequency
IC1 - 4136 Quad Op-ampIC2 - 4066 Quad SwitchD1, D2 - 1N4148 or 1N914Connect 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.
+
+
+
-
+
-
In
Out
1500pf*
100k
390pf*
100k100k 100k 3k9
v+v+v-
v-0.1uf
470k 10k
100k
0.1uf
390pf*
510pf*
2k210uf
47k
3k9
4700pf
4700pf
10k
10uf
Bright
Dual-ganged Tone
Modified Tube Sound Fuzzby M. Hammer
ICs are any low noise
dual op-amp and a
CD4049.
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%.
45581/2
45581/2
+
S11/2S11/2
Muff FuzzElectro Harmonix
-
-
+
9v
+
-
100k.01uf
470k
10k
D1
D2
.1uf
100k Audio
6
5
7
4
2
3
1
8
+
680k
680k10uf
OutIn
D1, D2 - Select an element to taste
+
-
+
+
MXR Distortion +
-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.
For subtly different sounds try replacing D1 + D2 with 1n34’s
for fuzzy sounds, 1n4148 for more buzz, LEDs for more crunch,
or a 1n34 array like this:
+
-
9v
ACAdaptor
V+
1uf
10k1M
.047uf
1M
1M
1M
10k
35v Tant.
8-10pf
V+
1M
.001uf
.01uf 10k
25v1uf
741
S1
S1
1/2
1/2
2.2k
Out
In
D2.001uf
D1
1M
The original diodes were germanium 1N270 types.
4.7k
+
+- +
-
+
+
+
+
+-
The MXR Hot Tubes is a commercial cousin of Craig Anderton’s "Tube Sound Fuzz". It differs in that it uses a dual
= 1/6 of CD 4049 CMOS inverter. Vdd on pin 1, Vss on pin 8
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.
1M 120k
20k
20k1uf
75k
8k2
1m5
150k
2m2
470k
15k
1m
220k
220k
+9v
220k
IN OUT
unknown valueunknown value
10K?100k?
= 1/2 of dual 741 or 4558 opamp; +v on pin 8, -v on pin 4
MXR Hot Tubes Distortion
47pf
22pf
0.1uf
30uf
1uf
0.1uf 0.015uf 0.22uf
4.7uf
22pf
+-
+-
+
+
+15
-15
-15 +15
+15
-15220K
1M 1M
150K
10K
10K
0.33uF
10K
33K10K
10K
FET Bias
2
3
1
6
57
8
Medium
Phase
Fast
Phase
1M4.7K100K
10K
220uF 4.7K
10K
33K
4
Ampl.
Osc.
33K
10K
4.7uF
150K
+-
+-
100k
100k
0.01uF
100k
100k
100k
0.01uF
100k
6
57
2
31
+158
4-15
+-
+-
100k
100k
0.01uF
100k
100k
100k
0.01uF
100k
6
57
2
31
+158
4-15
+-
+-
100k
100k
0.01uF
100k
100k
100k
0.01uF
100k
6
57
2
31
+158
4-15
-15
+15
+15 +15+15
-15
33K
10K0.33uF
10K
10K 10K
100K
10K
100K
1M
1M10K
4.7K
4.7K
4.7K
+
+AC Switch,Power
Ind, Fuse
115 VAC
470uF
25v
270
1N965
+15
-15
270
1N965470uF25v
(Pin 8
0f IC’s)
(Pin 7
Of IC’s)
1N4002 (4X)
Red
Wht
Grn
Blk
Blk
All IC’s are 1458 dual op amp. All bipolars are 2N3638A.
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.
1M
10K-15 +15
DC offset
IN OUT
selected
2N4302
2N4302
2N4302P1069C
-15
Oberheim PS-1 Phase Shifter
4.7K
+
= 2SB175
Battery polartiy?
No bias?Leakage bias?
10k0.003uf
1M 10k
1uf 100k 1M
15k 5k
1uf
47k
0.003uf10k
1.5v
Olson New Sound
Runs on one 1.5v battery!
In
Out
Volume
1M - log
+
100k
100k
470
220k
220k
22k
15k
1M
1M2.2k
100560
560
68n
68n
680p
68n
10n
10µ
-100v
-40v
+454v
+ 10µ
+454v
Out to Power stage
Out to Power stage
Feedback from Power stage
Ground
ECC83
47µ
100n
47n
2.2k
68n
330p
Volume
Trebble BassGuitar In
ECC83
1.8v 1.8v
250k - log
1M - log
++
68k
220k100k 220k
1M 2.2k
250k - log
47µ
220k220k
++
+
47µ
47n
100n
2.2k
68n
330p
Volume
Trebble
Bass
Guitar In
ECC83
1.8v 1.8v
250k - log
1M - log
++
68k
220k100k
1M 2.2k
250k - log
47µ
220k220k
+
+
Orange Preamp Section - Channel II
330p
Middle
10k - log
+
+
+392v
+392v
To Mixer
To Reverb
1k
1k
1k
1k
2.2k
2.2k
2.2k
2.2k
Mains
6.3v
+
+
Red Red Gray
Gray
Black
Purple Blue
Orange
Brown
Black
Yellow
Gray
Blue
Black
Black
Brown
SpeakerOutput
Main
Aux
Ground
Blue
To Printed Board Rectifiers
To Printed Board, Power Amp Drive
To Printed Board, High Voltage
4x EL34
Orange 125mk3 Power Section
2.2k100k
100k
68n
1M 1k
1k
10n 470n
68n
1M
Out toReverb
100k
ReberbReturn
20n
68n
Reverb Level
100k
470k
100k
100k 1k68n+
47
+472.2k
220k
+47
100k
100n 47n
2.2k
220k
220k
68n
+47 2.2k
220k
+47
100k
100n 47n330p
2.2k
68n
680p
33M
330p
220k
220k
680p
Slave Out
1M
2.2k
100
470
100n560
560
68n1M
To Power Stage
68n
68n
100k
220k
220k
100k
15k
+10
Foot Switch
92M
1k
10k
+16
+16
+1022k
620
+
+
32
32
100k
100k
3xBA127
3xBA127
100
100
6.3V
+ High Voltage
Ground
2.2k +
2.2k +2x1M
470k
22n
10n
10n
68n
220k
92M
100k
220k
Black
VolumeTrebble Bass
68k
1M
220kRed
Guitar In
Red
OrangeBrown
YellowBlack
VolumeTrebble Bass
68k
Red
Guitar In
Red Brown
Middle
Orange
Speed
Purple Pink
Yellow
DepthMaster
220k
Red1
Blue1
Red2
Blue2
Orange 125mk3 Guitar Preamplifier
ECC83
ECC83ECC83
ECC83
ECC83
ECC82
Reverb Driver
Chan I
Chan II
Tremolo
Reverb Return
Power Amp Driver
47
2.3v1.8v1.8v
1.8v
1.8v
1.8v
392v
454v
-100v-40v
Red
Purple BlueRed Purple
Blue
Blue PurpleBrown Black
Blue
Yellow
Yellow
Gray
Red
Gray
Red
100k - lin
250k - log 250k - log 1M - log 250k - log 250k - log 1M - log10k - log 1M - log 100k - lin 2M - lin
10KAud
10K
10K
10K 10K
330 330
0.01uF
1.0uFNon Polar
V+
Output
GainControlInput
5.0uFNon Polar
Input
Duplicate this circuitfor the second channel
2N3904 * 2N3904 *
To the 10K resistor onthe second channel
10K
10K
100pF
V+
V−
NE55321/2
4
8
1(7)
2(6)
3(5)
InputLevel
V+
V−
4
8
1/2LM1458
0.01uF
5.6K
2.2K
4.7K0−10V
PannerControlVoltageInput
2
31
4.7K
1/2LM1458
4.7K
Left GainControl
Right GainControl
V−
10K TrimmerLeft ChannelZero Adjust
control voltage ampand inverter
V+
V−
0.1uF
0.1uF
power supplyfilter
Voltage Controlled Panner
One Channel’s Variable Gain Stage
C
The power supplyis +/− 15 VDC
* The transistors shouldbe a matched pair, i.e. withthe gain control at full negativeand no input signal, the collectorsshould be at the same voltage, +/−epsilon where epsilon < 0.1 Volt.
G. Forrest Cook [email protected]
6
57
-
+
+
+ +
+
+
+
+
+
1N4001
30pf
100pf
560
4.7uf
47
4.5v
100k Log
0.0033uf
1.5k
0.001uf
46
2 8 1
4.5v
9v & pin 7
3
0.022uf
+9v
IC = LM308
Diodes = 1N4148
33k
33k
150k Log
0.022uf 1k
100k
1nf
9v Adpt.
Output
Input
9v
47
100uf
1M
1M
2.2uf
47uf
4.7uf35v
1k
100k Log
10uf
10k 1k
+9v
1k1uf
BF245A
BF245A
ProCo Rat Distortion
-
+
+
+
+
+
+
+ +
9v Adpt.
Output
4.7uf
100uf16v
100
1N4001100k Log
30pf
100pf
560
4.7uf35v 35v
47
1k
4.7uf35v
Input 0.022uf
4.5v
1M1k
0.001uf
100k Log
0.0033uf
1.5k
1uf50v
100k
100k
0.001uf
46
2 8 1
4.5v
9v & pin 7
3
0.022uf
1M
100k Log1uf
50v10k
2N5458
+9v +4.5v
Type B Rev 7-81
Current Drain @ 9v
~ .6ma, no Input (idle)
~ 1.6ma, full output
ProCo Rat Distortion
IC = LM308
Diodes = 1N4148
9v
BOMBTHE
amp2
Crystal Mic
OUT
PVC Tube X long by Y diameter
amp1
Telephone Speaker
IN
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
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
tone, I almost used a bit of gutter piping when I first built this, now I wonder what it would’ve sounded like.
an old carpet tube would add better characteristics for clean tones. Try changing the tube matierial also for a different
Jamie Heilman 11/93
the battery on the outside, with one control for the gain of the speaker (mic was at fixed gain). Note, if you place
the cable capacitance. It is possible to add gain to this circuit by modifying the
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
+-
250k
1M 1M
50
0.1uF
1uFpickup switch
from
to outputjack
to +9Vto 9V-
terminal
+ +- +
+
switch
from pickup
to +9V
220k
100k
220k
100k
1uF15uF
22uF
jackoutputto
Gain set
to 9V battery -
to 9V battery +
from pickup selector
signalground
10M 2.2K
5uF6.8K
2N5457
jack
to output
51K10uF
For people who don’t like op amps, here is a discrete JFET preamp design. It has
low distortion, low noise, low feedback, overloads gracefully, is small, etc, etc.
Overall gain is 3db (2X) or so. It uses about 1/2 ma, so a 9V battery will
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 protected]
customize the gain. As shown, it is 2. Lowering the Gain Set
resistor lets you raise the gain. You get distortion at high gains.
A preamp from a TL071 op amp. The gain set resistor lets you
+
+
+
+
+
-
+
-
+
-
+
-
Stage Center Reverb Unitfrom Guitar Player 1976 by Craig Anderton
Output
From Reverb
To Reverb
Input10k
220pf
1N4001
0.22uf
9v
1M
C1
0.02uf0.22uf
22k
0.02uf
50k
4.7k
4.7k2.2M
47k
470k*
50k
Cancel
0.01uf C21N4001 9v
0.22uf
33k
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.
6
54
11
3
1
2
1512
14
8
97
10
+-
+-
++
+
+
100K
100K
100K
100K
100K
100K
100K
100K100K
0.1uF
0.1uF
0.1uF
0.1uF
10K
10K
10K
10K
1M
22uF 2.2uF
9V
9V
9V9V
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.
Simple Mixer
Gain changing resistor
+
Vbias
V+
+-
LFO
2
3
Vbias
V+
4
7 5 1
6
8
10k27k
1k
+4
1
6
3
2
5
+-
LFO
2
3
Vbias
V+
4
751
6
8
10k27k
1k
+
+
+-
LFO
+-
LFO
V+
V+
0.0068
27k
0.0068
0.00680.0068
27k27k
10k
4.7k
4.7k
10uF
V+
30k
270k
30k
27k
3.3k
4.7k
27k
0.1
V+
470k
0.1
4.7k
22k15k
1k
1.8k
0.1
27k
2N5087
1M
27k 7.5k
10033uf
0.0068
100k
470k33uF 10k
15k
COLOR
SWITCH
ON
ON
OUT
IN
9V
V+
EFFECT
BYPASS
Vbias
EH Small Stone Phaser
Issue J
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.
2
3
Vbias
V+
4
7 5 1
6
8
10k27k
1k
2
3
Vbias
V+
4
751
6
8
10k27k
1k
2N5087
2N5088
Name: Manufacturer / Designer: Revision: Model #Name: Manufacturer / Designer: Revision: Model #
+
+
-
+
+
+
+
+
-
+
+
+
+
-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
Soul Preacher Electro-Harmonix 10/13/95
+9V
J1
47k 1N3666
10uf16V
S1
S2
AC +9V
+4.5V
0.1uf220k
4k7680k
9V
InOut
Adaptor
100k 270k
+4.5V
10k
10k
4M71uf35V
tantalum
1M
tantalum 1k
25V10uf
330pf
10k
100kLinear
IC1a
20k
Q2
0.1uf
270k
270k
1uf 25V
3k9
0.1uf
Q3
100uf25V
220
15k
1uf25V
Q1
+9V
0.1uf
10k10uf25V
tantalum
10kLog
0.15uf
1N3666
10uf 16V
Q4
4k74k7
10k
IC1b
4
182
3
76
5
++
+
+
to pin 8 IC1
and IC2
Right In
Left In
Left Out
Right Out
10ohm 1/2W10ohm 1/2W
33uf33uf
and IC2
to pin 4 IC1V+ V-
100k
100k
100k
100k
10k
10k
10k
10k
10k
10k
1k
1k
100k dual linear
potentiometer
10uf
10uf
88
4
4+
-
+
-
+
-
+
-
IC1a
IC1b
IC2a
IC2b
EM Stereo Spreader
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.
2
3
11
2
3
6
5
7
6
5
7
1
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 ownand enjoy what is perhaps one of the most versatile of all musical instruments: the uniqueand amazing theremin. Named after its Russian-born inventor, Leon Theremin, its frequencyrange exceeds that of all other instruments, including theater pipe organs, while its dynamicrange is limited only by he power capabilities of the amplifier and speaker system with whichit is used. Above all, it is a true electronic instrument, not just an “electronic version” of afamiliar string, reed, or percussion instrument. Its tone is unlike that of any conventionalinstrument.
A musician playing a theremin seems almost like a magician, for he can play a musicalselection without actually touching the instrument itself! As he moves his hands back andforth 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 vibratoeffects at will, and can even sound notes which fall outside the standard musical scale. He canplay tunes or melodies, produce unusual sound effects, or can accompany a singer or anotherinstrument-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 homerecreation room, and can be used equally well by rock’n’ roll groups or larger bands. Theatricalgroups find it just the thing for producing eerie and spine-tingling background effects toaccompany mystery or horror plays, and for the budding scientist or engineer, it is anexcellent 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,” theoscillators are preset to “zero beat” at the same frequency. The frequency of the variableoscillator is controlled by an external tuning capacity--the “antenna”—which is a “whip” orsimple metallic plate.
As the musician’s hand is moved near this antenna, the variable oscillator shifts frequencyand a beat note is set up between the two oscillators. The pitch is proportional to thedifference in frequency between the two oscillators. This beat note, amplified, is the theremin’soutput signal. The more advanced theremin designs—such as the version presented here—usea third oscillator to control output volume and two antennas. This theremin also uses aunique FET volume, and a FET output stage. See Fig. 1.
ConstructionExcept for the two control antennas, power switch S1, and battery B1, all components areassembled on a printed circuit board as shown full-size in Fig. 2(B). An insulated jumper isrequired between C15 and R20 as shown in Fig. 2(B) and Fig. 3. Mount the PC board in asuitable cabinet with four spacers (see Fig. 3), making sure that suitable holes are drilled inthe cabinet or though a dialplate to accept the tuning-slug screws of L2 and L4. Coils L1 andL3 are mounted on small L-brackets; initially, these brackets should be adjusted so that L1 isat 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 heardmusic and background effects produced by a theremin, yet relatively few could recognize theinstrument, and fewer still have had the chance to own or play one. With its astounding tonaland dynamic ranges, it has been used to produce background music and special effects inscores of science-fiction, fantasy, horror, and mystery shows.
2
dialplate, in the area of the L2 and L4 slug screws, while the battery is secured to the cabinetwall.
Ordinary copper-clad circuit board can be used to make up the pitch and volume controlantennas. 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 theantennas may be covered with a colorful material (see cover photo).
The antennas are mechanically mounted on an electrically conducting support. The ones usedby the author, (see Fig. 4) were six-inch lengths of 3/4” aluminum pipe with appropriatemounting flanges. The antennas were attached to the pipe with conduit plug buttons solderedto the bottom of each antenna. The flanges of the buttons should make a good friction fit tothe pipe. A solder lug for connection to the PC board is placed under one of the pipe supportmounting screws as shown in Fig. 3.
Connect the negative lead of the battery to terminal B on the PC Board; then connect thepositive battery lead, via S1, to terminal A. The center lead of the audio output coaxial cable isconnected to terminal C on the PC board, while the associated braid is soldered to the groundfoil. 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 thehole on the PC board. The other ends of both coils are soldered to the ground foil of the PCboard.
TuningAlthough the theremin is used with an external audio amplifier and speaker, no special testequipment 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 thebody 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 isheard 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, finallydisappearing as “zero beat” is reached.
With the coils properly adjusted, no output signal will be obtained unless the operator’s handsare moved near the pitch and volume control plates simultaneously. As the operatorapproaches the pitch control plate, a low-frequency note should be heard increasing in pitchas the hand moves nearer and, finally, going higher and higher and beyond audibility as thehand almost touches the plate. As the operator puts his hand near the volume control, a lowlevel signal should be heard, increasing in amplitude until maximum volume is attained justbefore the plate is touched.
After the initial adjustments, L2 and L4 can be readjusted from time to time (using the frontpanel knobs) as needed to correct for minor frequency drift. In any case, a preliminary check ofadjustment 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, tosome extent, the shape of the output waveform and, hence, its harmonic content. Themounting bracket supporting L1 can be adjusted to reduce the mutual coil orientation to less
3
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.
InstallationA guitar or instrument amplifier is an ideal companion unit for the theremin; either one allowsbass or treble boost, as desired, and fuzz (distortion) or reverberation (if these features areincorporated in the amplifier’s circuit). Simply provide a suitable cable plug and connect thetheremin’s output cable to the amplifier’s input jack.
It is not necessary to purchase a special amplifier. The theremin’s output signal level issufficient to drive most power amplifiers to full output without additional preamp stages. Theinstrument can be used, for example, with a monaural version of the “Brute-70” amplifierdescribed 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-ingain (or volume) control, a “volume level” control should be added to its basic circuit toprevent accidental overdrive. This can be accomplished quite easily by replacing source loadresistor R16 (Fig. 1) with a 10,000-ohm potentiometer.
OperationThe results obtained depend more on the ability of the operator than on built-in limitationswithin the unit itself. A good “ear” for music is a must, of course, but, in addition, a moderateamount of skill is required, particularly in finger or hand dexterity and movement. The latter islearned 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 thepitch 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 thedesired 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 bymoving the “volume control” hand slowly nearer the volume antenna, reduced by moving itslowly 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 handsback 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]======================
4
How It WorksTransistors Q1 and Q2 are the variable and fixed “pitch” oscillators respectively, while Q4serves 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 R1and 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 thecombination of C1 and C2.
In the case of Q1 and Q4, their tuned circuits are also connected to external “antennas.” Whenthese antennas are “loaded” due to body capacitance (the presence of a hand near theantenna), 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 frequencyremains constant at all times.
In operation, Q1’s r.f. output signal is coupled to mixer/amplifier Q3 via coupling capacitorC5—while Q2’s signal is coupled to Q3 via C10. If these two oscillators (Q1 and Q2 ) are at thesame 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 tobypass the r.f. components and prevent them from appearing at the collector of Q3. Theresultant 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 ofoscillation determined by the amount of hand capacitance near its “antenna.” The r.f. signal atthe 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 theamount of r.f. present on L4-C22. This level is at its maximum when the L4-C22 tuned circuitis 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 theL4-C22 frequency. As a result, very little d.c. signal is passed to the base of Q5. This meansthat the voltage at the collector of Q5 is at a maximum. If the frequency of Q4’s tuned circuit isreduced, when a hand is placed near the “volume” antenna, the base current applied to Q5increases, 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 alsoisolated (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 R13and ground, greatly reducing the signal level allowed to pass to Q7. As the gate of Q6 gods lesspositive, 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 voltagelevel is determined by the frequency of Q4, the operator can readily adjust the output volumeby changing his hand capacitance to the “volume” antenna. The variable pitch variable-volumeaudio signal is coupled to an external audio amplifier via FET Q7. A FET is used for Q7because its very high input-impedance (a couple of megohms) will not affect operation of FETQ6. If desired, the source resistor of Q7 can be changed to a similar valued potentiometer.
-[30]-
VOLUME ANT.
L3
R17
R18 R19
R20
R6 R7
R8
R4 R16
R15
R14
AUDIO OUT
R13
R12 R10
R11 R9
R3 R2
R1
R7
L2
C18
C22
C19
C17
D1
L4
C20 C21
C8 C3
C16
+9 VOLTS
GROUND
JUMPER WIRE
PITCH ANT
C15
C14 L1
C12
C11
C5
C2
C1
C13C10
C6
C7
C9 C4
Q4
Q5
Q2 Q1
Q6 Q3Q7
1N34A DIODE
9-VOLT BATTERY
4.7MEG 1/2W 10% RESISTOR
0.001uF POLYSTYRENE CAPACITOR
60pF POLYSTYRENE CAPACITOR 200uF, 15V ELECTOLYTIC CAPACITOR 0.001uF DISC CERAMIC CAPACITOR
MPS3638 TRANSISTOR (MOTOROLA) 50-300uH ADJUSTABLE COIL
4.7pF POLYSTYRENE CAPACITOR 0.01uF POLYSTYRENE CAPACITOR 5uF, 15V ELECTOLYTIC CAPACITOR 0.01uF DISC CERAMIC CAPACITOR
1K 1/2W 10% RESISTOR
33K 1/2W 10% RESISTOR 47K 1/2W 10% RESISTOR TIS-59 N-CHANNEL FET (TEXAS INST) MPS3708 TRANSISTOR (MOTOROLA)
10K 1/2W 10% RESISTOR 100K 1/2W 10% RESISTOR
10uF, 15V ELECTOLYTIC CAPACITOR 0.1uF DISC CERAMIC CAPACITOR
390pF POLYSTYRENE CAPACITOR
R14,R15 R10,R13 R9,R12,R16,R20 AND R11,R19 R3,R6,R7,R8,R2,R5,R18 R1,R4,R17 Q6,Q7 Q3,Q5 Q1,Q2,Q4 L1,L2,L3,L4 D1 C20,C21 C18 C16 C13 C12,C14,C15 C11 C5,C10 C4,C9 C3,C8,C19 C2,C7,C17,C22 C1,C6 B1
OUTAUDIO
BE
CE
C B
BC
E
B
E
C
GD
S
S
DG
E
C
B
POWER9V DC
ANTENNAPITCH ANTENNA
VOLUME
C22
R18
R20
R7
C21
C20
Q4
Q2
C16
Q7
C14
Q6Q3
C13R12
L4
C19
R17C18
C17Q5Q1
C11
L3
C12
C4
C9
C3
C15
R14 R16
R19
D1L1 R1
C5
R2R3
C1C2
R15
R10R5
R6
R13
R11R9
C8
R4L2
C6
R8
C10
C7
+
+
Q1 - ztx384
Q2 - BC415p
+9v
150uf
330k
0.1uf
820k
+9v
2k2 2k2 4k7
22000p100p 0.1uf
4k7
0.1uf
Tone Booster
Q1
Q2
InOut
peaks frequencies at 5000 Hz for a "cleaner and more penetrating" sound
from Everyday Electronics Sept. 1978
+
+
- +
IN
20uf 600ohms
20uf
OUT
0.0015uf
39k 10k
1M 39kBass
250kTreble
709
0.005uf
+V
0.005uf
+
+
+
+
+
ControlBass & Treble
Preamp w/
Tone Control circuit with signal isolation and impedance-matching stages.
Unlabeled ???
HEP 51
10pf
+15v
OUT
IN
500k
100k
4.7uf
100k220ohms
1.0uf
6800pf
22k 250k 22k
25k2k2 2k2
6800pf 6800pf
6800pf
470k 3k3
0.5uf
470k 56k 20uf
10k
1N914
1N914
220 ohms
2k220uf
1k20uf
10k
47k
= HEP 50
Tone Control Circuits
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.
+
+
+
+
+
This tremolo circuit is not a "plug and play" ready guitar effect, however it could be converted to one
switching.
with relative ease. It just needs some buffering on the input and ouput and perhaps some bypass
25kRate
2uf
1uf
47k47k 1uf
2k2
1k
HEP 251
4k71uf 10k 100k
Depth0.1uf
5k6
+18v
0.5uf
HEP 801
1uf47k
OUT
IN
1M
Controllable Tremolo Circuit
Name: Manufacturer / Designer: Revision: Model #
+ ++
+
-
-
+
Ron BlackTube Distortion 10/13/95
Circuit from Guitar Player : October 1981
-120VAC IC2
IC1 - 747 dual op-amp, others may be substitued but pinout will differ
All resistors 1/2 W, 10% prefered
Bridge Rectifier - Full wave bridge recitifier, 50 Volts, 500 mA minimum
IC2 - LM340K-12V Voltage Regulator
12V
22k
1M
500k
0.1uf
10k
12VAC200mA minimum
RectifierBridge 1N3600
470uf50V
1000uf12V
6V100uf
10k
6V
12V
0.01uf180k180k
0.01uf 0.01uf
1M470k
100k
0.1uf
6V
12V
Out
In
Filament of12AU7A
1
2
3
6
7
1
3
2
12
132
1
IC1a
8
7
6
910
4
54
IC1b
Name: Manufacturer / Designer: Revision: Model #
+
+
+
++
+
+
+
+
+
+
+
- +
+
+
+
- +
IC4a
1-
+3
2
TubeHead PAiA Electronics 11/4/95 9305
+42v
D3 D4 D5 D6 D7
33ufIC1e
IC1d
IC1b
33k 33k
220pf
IC1f IC1a
IC1c
33uf
33uf 33uf 33uf
10
9
11 12 14 15 3 2
45
7 6
S1
330
D2 100
100uf 1000uf16v
100uf25v
1000uf16v
100
Vcc
+12v
-12v
D1
0.05uf
0.5A12VAC
25v1k 10k
Vref
+12v Vcc - Pin 1 IC1+12v - Pin 8 IC2, IC3, & IC4-12v - Pin 4 IC2, IC3, & IC4
- Pin 8 IC1
IC1 - 4049 CMOS Hex Inverting BufferIC2, 3, & 4 - 5532 Dual Low-Noise OpAmpD1, 2 - 1N4001D3, 4, 5, 6, & 7 - 1N4148All 1uf caps 50v all others 25v unless marked otherwise.All resistors 1/4W, 5%
Original circuit from December 1993 Electronic Musician
82k
8k2
2k72k7
150k
47k
10k Drive22k
Vref
10k Output
Out
Channel 1
+42v
0.01uf 1uf270k 270k
100k 1uf
1uf
10k 470k
470k
10k
220
82k
5pf
IC2b
330 33uf
100k
100
IC2a
20pf
220
2.2uf
In2
1 6
7
100kTrim
86943
2
31
6
57
10k
12AX7Pre/
100k Trim Pot controls Symmetry12VAC
Clip
47k*
47k"
BlendPost
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
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 about20k 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*
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.
1uf
Name: Manufacturer / Designer: Revision: Model #
+
+
+
+
-
+
-+
-
+
++
++
+
+
+
+
+
+
-
+
+
+
+
+
+
PAiA Electronics
Original circuit from Recording Magazine January 1995
Tube Mic Pre 9407
S1
330
D2 100
25v
100
Vcc
D1
0.05uf
0.5A12VAC
25v
470uf
470uf
220uf
220uf
25v
25v
+15v
-15v
Mic In
Output
Bal Out
4.7uf
4.7uf
IC1f
10010k
IC2b
47k
2k7
220
82k
470
10k
IC3b
IC3a
10k
2201k
10k D10
10k
DriveTube
12VAC2k7
22k
0.01uf 1uf 270k 270k
1uf
100k
1uf
Blend10k
100k33k1k
D8
D9 270k
270100k 1uf
1uf
82k
470k4k7
PolarityIC2a
10k
D11
D13
D12
150k
10k
47uf
#
5pf
PP On
+48v
Drive
Power
Phant.
10k
470 33uf
33uf
10kOutput
D3 D4 D5 D6 D7
33uf
33k 33k
220pf
33uf
33uf 33uf 33uf
Vcc - Pin 1 IC1
- Pin 8 IC1
IC1 - 4049 CMOS Hex Inverting Buffer
+15v - Pin 8 IC2, & IC3-15v - Pin 4 IC2, & IC3
IC2, & 3 - 5532 Dual Low-Noise OpAmp
+48v
IC1c
IC1b IC1d
IC1e
IC1a
D1, D2 - 1N4001D3 to D8 - 1N4148
12AX7
470k
470k
#
# #
#
#
##
# 33k
#
D10 to D13 - 6.8v Zener DiodeD9 - 51v Zener Diode
6k81
6k81
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
6
8 394 5
1
27
75
6
3
21
75
6
100k
2
31
1415
7
6
5 4 3 2 9 10
1211
Symmetry
should be connected to point A.
A
G
231
231
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
1 / 2
11/11/95
Name: Manufacturer / Designer: Revision: Model #
231
This mod converts the XLR jacks to 1/4" balanced stereo jacks. However, when a mono plug is used with this new jack the 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 notturned 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 STERO PHONE JACKS FOR INPUT
Mic In
31
2
47k
47k
#
#
Low / Line Level
USING THE TMP WITH LINE LEVEL SIGNALSThere are two options for line level signals. First if you know that you’ll be using line level signals all the time with theTMP then you can change the two 33k 1% resistors to 1k 1% types and your done. Alternatively if you want the optionof 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.
+
+
+
+
+
S1
330
D2 100
25v
100
Vcc
D1
0.05uf
0.5A12VAC
25v
470uf
470uf
220uf
220uf
25v
25v
+15v
-15v
Power1000uf25v
1W
15
Pin 5 12AX7
Pin 4 12AX7
USING DC TO POWER THE HEATER FILAMENTSThis 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 the12AX7 connects to the ground point shown.
PAiA Electronics
2 / 2
Tube Mic Pre (Mods) 11/11/95
+ +
+
+
+++
+
+
+ +
+
+
B+
B+
+
+
+
+ +
++ +
B+
24vac
1000
Uf
6.3vac
3.3k
4.7k
2.2M220k
220k 4.7k 50k
10u 10u 47k
100k
47k
1k
470 470
Cancel250k
250k
1u
1u
4.7k
4.7k1u
115vac
220 220
The UniVibe is famous from Jimi’s use of it.
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.
in the pedal assembly to control speed. A modern version would substitute an LED/photocell optocoupler for the
The LFO is a phase shift oscillator, with the dual 250K pots
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.
100k
4k7
100k
1u
4k7100k
4k7
1u
47k4k710
0k
1u
1u
47k4k7
68k
22k
100k
4k7100k
4k7
1u
47k4k7
100k
1u
470N4k7
4k7
1u
47k
47k
1u
1.2M
1.2M
100K
47K 4.7K
3.3K
1.2K1u
1u
1u
1uVibrato
100k
220k47k100k
Chorus
100k
1uIN
OUT2SC539
= 2SC828 except input transistor
CDS
MXY-7BX4
6.8k
4N7uF220NF
330p
22K
22K
UniVibe (model 905, by Unicord, circa 1968)
15NF
= 10 uF electrolytic cap, positive at straight bar
= high gain NPN; 2N2222, 2N3391
+
IN
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
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.
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
Univox Super-Fuzz
1k8 10k 50k
Drive
100k
100k 470k
47k
10k
10k
10k 22k
1k
100k
LevelNotch
Normal
100uf/10v
470
1k8 100k
10k
10k 100k
470
22k
220k
270k
47k
22k
10k
47k
50k15k
100k
OUT
0.1uf
0.001uf
0.1uf
22k
+ OUT
2N2924
+9V
100K 2K2
2K2
0.1uF
10uF1K22K
0.022uF to
0.01uF500K
IN
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.
+IN OUT
2N2924
+9V
100K 2K2
2K2
0.1uF
10uF1K22K
500pF
Modified to be used as an overdrive/distortion unit
Original Circuit
VOX Treble Booster
+
1k
10k8.2k
47k
1k
50k - 100k
25uf
-
+
8.2k
Q1
Q2
9v
InOut
Vox Tone Bender
S1
S1
1/2
1/2
.022uf
.032uf
-Transistor Q1 is a SFT 363
-Transistor Q2 is a SFT 337
-Circuit is very similar to "Fuzz Face"
Q1 and Q2, however originals were
probably germanium.
-The 2n3906 may be used as a replacement for
+
- +
+
- +
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.
10uf
R1
1uf 11k
0.05uf
100k 11k
3.6k 3.6k
R2
0.005uf
100k
1.8k 500k 1.8k
0.022uf
0.005uf10k
Simple 3 Band Tone Controlfrom Graff’s Encylcopedia of Electronic Circuits / Popular Electronics