I´m just working on a Zendrive clone for a friend who once had the original Hermida pedal, but had to sell it...
I just realized that I only have two BAT41, that I used for D1 and D2. How exactly would it alter the sound, if I take a BAT46 or a 1N34a for D3? AND WHY? I´m sure that it wouldn´t sound much different compared to a BAT41, but I wanna take the chance to learn a bit more about that MOSFET/Schottky combinations... Which values in the datasheets are important to look at and why?...
I have noticed that running my Rotovibe before my Big Muff that it intensifies the fuzz and makes it sound more like a Univox Super Fuzz or even a bit like a Fender Blender. I'm guess that it has something to do with the buffer circuit. After looking at the Schematics I've noticed that the Fender Blender and the Super Fuzz both have an octave stage that used the Emitter of the transistor. In a Buffer the Emitter is what is used instead of the collector.
This is my first build, and I can for the life of me find information about this stage of the wiring. Read plenty about the pros and cons of true bypass etc. - but not how Input and output stages are separated or anything helpful!
So can someone explain where the effect return and send are on the vero layout so that I can wire the 3PDT switch onto the circuit correctly?
Hi everyone. I'm working on something that is not a stompbox but is based on one so I hope you don't mind the question.
I working on designing a circuit to make a pre-amp similar to Tech21's RBI unit. Since the RBI is based on the Bass driver DI, I'm using the Triangular Ear Bass21(Behringer BDI21) schematic to make mine.
I'll leave the details for when I post the design here, for now I want to focus on the EQ section. Both the BDDI and the BDI21 have only bass and treble controls but the RBI...
Sorry for posting another thread but I think it should go to separate one.
1. Please show me input buffers you have done and you are happy with them. I want to place the buffer in wah-wah, tubescreamer, blue box, big muff triangle and some other pedals to protect my tone from input impedance of each pedal.
Hi there, lately I've gotten back into recording, or at least am thinking about it for the first time in a while and pulled out my Shure SM57 mic but was wondering how I could get more out it. A friend suggested a mic preamp but I'm not really committed to shelling out $$$ for a tube preamp etc so I was wondering if anyone had a design for a DIY mic preamp?
If it had any features beyond gain that could be cool. Basically, I'd like it to sound kind of broken up or otherwise kind of fuzzy. How...
I was talking with a local electronics old timer and he said something that got me thinking. all that a bbd chip is a but of opamps ( among other things) right? so, although exhausting would it be possible to recreate say a mn3005 bbd discretely? :hmmm:
I recently rehoused a Boss HM-2 with HUGE amounts of volume on tap. All I use it for is a volume boost to slam the front end of my overdrive.
It's been acting up lately, and I don't want to use the thing anymore, except that I still need that boost. I was thinking of using the amplification section of the circuit and putting in the same box as my overdrive, making a new PCB and using all the same parts...
Basically, I'd build a completely brand new thing, but I'm WAY poor right now and really...
I want to experiment with outboard high pass filters similar to the Ayan slim n smooth. I plan to try the unit in front of the amp and also the effects loop. I m not sure whether to begin with a passive or active design.
do passive high pass filter incur a signal level loss other than the bass being filtered away?
My thinking is to remove any low end below the fundamental of my root, and also experiment with removing everything below the second and possibly third harmonics of my fundamental....
Ok, say I have a schematic that has one control(potentiometer), how could I make it so that I can use an LFO to control the value in that one potentiometer?
I had this idea, some one has probably done it before but I can not find any articles on it.
I have a Fuzz Face Clone that I built. I want to remove the 40 UF cap I have on the emitter of Q2 and replace it with some kind of a filter so I can either select only Lows or mids. so that I can boost the low end or mid-range gain. It's easy to get highs, but to block all the highs that's the problem.
I though maybe a low pass filter but that will not really work either because it still grounds the...
I've just read on Pete's site that the tone control in P-2 is a +14dB at 3kHz when fully counterclokwise and full harmonic content when fully clokwise. So I tried to make a schematic of that mid-boost tone control, and here it is:
I counted already a filter part for it, but still don't know how much gain it should have.
Here is the description of how the tone control knob should work.
recently i was turned on to the Rat style gain filtering in Soulsonic's Hunny Bunny design. it seems like a good way to do some manipulation of frequencies in a different way besides other RC filtering methods.
i was wondering if it is possible to do this with a discrete gain stage, and if so, how. anybody have any examples of circuits that use this in a discrete fashion? attached is the Rat schematic for reference. the parts in question are the 560/4.7uF and 47/2.2uF to ground.
How would I go about splitting and mixing signals. For example I would like to take two Ross compressor circuits, split the input into two signals on travels thru a low pass filter and one thru a high pass. the signals travel thru the circuits exit and then are mixed back together. My goal being multi band compression. lows and highs.
In fact really looking to design something modular so the splitting mixing could be added to any two circuits desired.
In a TS style clipping section, what would be the difference between using 2 or 4 diodes/LEDs? Would one produce more gain than the other? Is there much, if any, difference in the overall tone/feel?
I noticed that in some circuits (e.g. Demeter Compulator) impedance converters based on op-amps use a resistor between out and (-) instead of a straight wire.
From the theoretical viewpoint it shouldn't make any difference. I was wondering if somebody knows if there is any practical reason.
In other words, can you see any reason why some people use circuit (A) instead of circuit (B)?
recently this thread was posted.
in it, an inductor is put forth by AG to be used as a tone control for mids in a DS-1. can we go into this a bit further, and possible show how this can be done with discrete components? is this the same exact technique as in your basic wah pedal, or is there something a bit different going on here? how are frequencies determined in relation to the value of the inductor, and how is the Q determined? i find the possibility of buying cheap inductors, like the one...
I'd like to build a voltage doubler that will allow me to run my Crunch Box at 18 volts instead of 9.
Are there any good schematics / pcbs / layouts that will give me 18v out of a 9v power supply?
I've tried searching and I find skeptical results...one says it's really only putting out 15 volts and the others are so old of posts that I wonder how relevant they are.
As some of you have probably read in another thread, i live in india, and finding good quality parts here in retail quantities is sometimes extremely difficult - e.g., you can NEVER find 1% resistors rated higher than 1/2W.
my big problem currently is the amp i'm building for my dad's 60th - it's based on this build:
now, one thing that is seriously lacking locally is the availability of good quality potentiometers - the best i've seen till now are alpha taiwan, and believe me, i've...
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