Unreleased circuits collection, part I

Original effects with schematics, layouts and instructions, freely contributed by members or found in publications. Cannot be used for commercial purposes without the consent of the owners of the copyright.
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dylan159
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Post by dylan159 »

I try to post here only the circuits I'm most proud of usually, the ones with lengthy explanations, lots of thought put into them and everything else. This leaves me with a host of other circuits, either because they don't depart that much from the original, or because they're too simple or just neat ideas, that keep piling up, known only to my friends on discord at most. I've decided to collect them in one thread so that I can share them without absolutely spamming this forum. Maybe there will be a part II when there's enough new ones.
Notice: some of these are older circuits. I've checked and updated them but there still might be things I'd do differently today, so if you point those out I might agree with you.
Let's start with everyone's favorites: the circuit covers!
  • Violets are Blues. A Bluesbreaker variation with scaled down impedances for lower noise, standard values, added recovery stage for low output impedance, no phase inversion and more output. The original marshall box is a good circuit, except for the shortcomings covered by the added stage, I like it. I wanted to give an alternative to the two most popular derivatives though: with respect to the Morning Glory the added stage uses a MOSFET instead of a JFET, which is cheaper to get. I usually avoid MOSFETS but here it's a good choice since the noise isn't an issue after the "damage" has already been done by the rest. Same gain and bias otherwise, which might add a bit of clipping and justify any difference with the original. The second version is a competitor to the (insert royalty) of Tone, values wise, but again with impedances scaled, only E6 values, and again the added recovery stage, this time adjusted for more headroom so it doesn't clip. If you want something closer to the original Bluesbreaker, build the first but with the MOSFET values of the King's.
    blues.PNG
    bluesking.PNG
    Frequency response vs gain of the two:
    comparison.png
    Tone control reworked to use a 10k pot is very close:
    tone.png
    demo of the first version:
  • 1Q81. The name is inspired by a novel you might know. I wanted to make a 1981 but using just a dual op-amp. The focus was on using few parts and standard values without changing the result. I'm particularly proud of the buffered bypass scheme. the 5088 has been chosen to provide good input impedance while keeping a good bias. My first attempt was to combine the two gain stages into one, but as they are they provide a frequency response that is difficult to match along all the gain pot travel, at least with a single gang.
    1q81.PNG
    demo:
  • Feathers. Same philosophy as the above, applied to the YATS Plumes. I feel compelled to rework circuits when so many people show interest in them, even if I don't find them particularly interesting. And I try to account for, point by point, all the observations about it sounding different than the original. In this case a major one is the beloved headroom, since I decided to remove the charge pump. To complement the observation in the image, headroom depends on gain for an arbitrary output amplitude. Since the contribution to the frequency response of C1 and C3 is minimal at low gain, it's possible to achieve the same headroom (or more) just by lowering the minimum gain, at the expense of output. Diodes are in both cases the limit on headroom, so the supply voltage doesn't even factor in for the first stage. I also made this so that it's just values away from a bufferless TS so you can use any board or layout you like. I did end up making my own layout though.
    feathers.PNG
    feathers.png
  • Plastic Timbre. An optimized version of the Plexitone. As always, focus on using few parts and standard values. The input buffer on an high gain pedal always bothers me, it's free added noise ready to be amplified. The clipping stage has been scaled down to use 4148 instead of red leds, with gain reduced by their ratio of Vf, with the frequency response kept the same, again to cut down on noise. The gain switch has been rewired so that at any moment there's negative feedback. The tone control is interesting I'd say: since the op amp is at virtual ground, the same response (save a bit extra range on the treble side) can be obtained with a passive tone control. This avoids the phase reversal so that I can combine this and the next stage into a noninverting one. Again no charge pump needed. That's another reason for scaling the first stage to 4148: less output and no clipping, actually less than in the original even if for some reason you decide to max both gain and boost :D. The recovery stage gain has been chosen for a good output without clipping.
    plastictimbre.PNG
    The boostless version simplifies the circuit even more, making it a 3 knob distortion with all the same sounds still there, just less stomp switches:
    plastictimbreless.PNG
    plastictimbre.png
    demo:
  • Dual op-amp RAT. This one came out right after the plastic, since at that point I figured I had a template for any hard clipping distortion. The already featured Type C. OD also came out of this batch. The RAT lends itself perfectly, since nobody has time for single op amps, and more importantly this replaces the jfet output buffer that, while I'm glad it's there, is another nuisance in this day. If you are a fan of the LM308, run away from this one! Again, the second stage gives just enough make up gain to have good volume at noon without clipping.
    rat.PNG
  • Quick shave. A much simpler version of the Fairfield Barbershop. A friend of mine, who has tried both, is a big fan of this one. Main focus is reducing parts count, like the stopper resistors and the reverse polarity protection. The output buffer isn't there for the same reason. You can add it, but output impedance in the original was a bit spoiled anyway at low frequencies by the small output cap. I've also made the drain trimmers explicit since the hand-picked resistor values of the trace seem to be taken a bit too literally.
    shave.png
  • Trimmed face. This is nothing surprising, but I like it as collection of "quality of life" Fuzz Face mods, like the trimmable bias (you can make it a pot and it's fun!); the bandwidth limiting caps that work well at suppressing high frequency or ultrasonic oscillation that often haunts this circuit when made with higher bandwidth silicon transistors, and you can maybe hear as a "sizzle" on the note decay; the input series resistor which both tames the sometimes excessive gain of a silicon fuzz face, usually tamed by turning the gain down a bit, but also gives a strong and reliable input RF filter and makes the circuit somewhat more tolerant of low impedance sources if you want. Also I made the volume pot and output cap 100k and 10u because they have very little effect on circuit operation and this gives a decent output impedance which is more than worth it for me.
    trimmedfacenpn.PNG
    And the version that came first, featuring PNP but negative ground, which was the original goal. All the things here actually started as attempts to tame this circuit, that tended to oscillate in certain situations. PNP negative ground is possible, but YMMV, there still might be some oscillation at certain settings like minimum volume on the guitar (not coincidentally the fuzz factory includes a PNP negative ground fuzz face. You can have fun with it!).
    trimmedface.PNG
    demo:
  • Fuzz Facelift. I'm not done with fuzz faces it seems. This one's goal is to keep all the classic cranked gain tones while making the ill-treated gain knob more useful. This is accomplished by moving the gain control to the first stage. When maxed, you have a classic, low input impedance, high gain fuzz face, because the emitter is effectively grounded. At low gain, the input impedance rises to something close to 200k or more, hopefully giving an interesting sound without the usual dulling that happens. Last but not least, this one doesn't need trimming! the emitter resistor assures predictable bias even with widely differing beta. You can still make it adjustable if you like to mess with it. Care has been taken to avoid blocking, since we're adding capacitors. With these values, blocking is roughly the same as with the original.
    fuzzfacelift.PNG
    demo:
  • CryMan. This is when Cry Babies grow up. This is meant as add on to a commercial wah, with the additional parts inside the boxes. The added feature are switchable range between stock, JImi and bass; variable Q with stock at center (I really like the lower Q); a dry blend circuit which exploits the buffer already in the wah, useful with bass but also with guitar for modulation-type sounds; buffered output which prevents oscillation when used in front of a Fuzz Face.
    cryman.PNG
  • Fuzzed Green ringer. This is a simple mod to the green ringer which makes it an unruly fuzz. The mod itself is just bypassing the emitter of the first stage, but the circuit here has compensated gain to match the original gain at minimum and more standard values which you might enjoy using even in a standard green ringer build. You can also just make the gain switchable.
    I take no credit for the name, it was chosen by the person I made this for. For my part, I only know the term can have a broad range of meanings, and this being a derivative work it fits in a way.
    fuzzedringer.PNG
  • Fuzz factory...7? This my collection of useful mods to a fuzz factory, which then I discovered match the control set in the fuzz factory 7, so I feel validated in their addition. The capacitor switch is a known mod, and I'm a fan of the unofficial "thin" position, which makes the pedal something different from a noise machine for once. The other addition is the tone control, which lets you get more normal or smooth sounds without compromising the good output impedance. There are also other optimizations, like the use of a 10ka volume pot instead of 5kb+stopper, which should give a more usable volume control and saves one part and the suggestion of a rev log gain pot.
    fuzzfactory.PNG
Last edited by dylan159 on 02 Sep 2021, 13:37, edited 3 times in total.
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Post by dylan159 »

  • Two transistor amplifier guitar tone distortion effect. Rolls off the tongue. A while ago I really got into DC feedback for biasing, around the same time as the Narrowcast V2, and put this thing together. Main features are a very stable and predictable bias, regardless of supply voltage and hfe, thanks to the double DC feedback and the emitter degeneration, feedback gain control that goes from very clean to fuzzy, high input impedance, low output impedance. You can experiment with other tone controls, maybe with a buffer for the lossier ones. The name is a compound word made by a Dutch friend.
    transistorod.PNG
    demo:
  • Jurassic Bark. This the newest one, inspired by the Bronto Boost. I kept the same arrangement of buffer into switchable treble boost into clipping stage, but done my way. Humless bias on the buffer, input cap blend only in the treble booster, treble booster swapped for the Troupple boost, gain stage using my new favorite biasing too, which is both very stable even at different supply voltages and doesn't couple noise from the supply rail. The variable output on the last stage has been swapped for a clipping pot, that lifts the diodes from ground giving a louder, cleaner output.
    jurassic.PNG
  • ODO 2100. Just a simplified version of the DOD 210 with adjustable bias. The main motivations for this were the lack of input capacitor and the large series gate resistor.
    odo2100.PNG
    odo2100.PNG (18.72 KiB) Viewed 9759 times
Somewhat more original circuits:
  • Troupple boost. Gamers might get the reference. This came out from my wish for a simple, clean treble boost that could work from a variety of supply voltages to be even cleaner. The rangemaster's bias varies wildly to the point that barely works at 18v. This one features the same bass cutoff and the same input impedance, resulting in that small resonant peak and treble damping. You can try a 10n cap for a more tube screamer-like response.
    trouppleboost1v1.PNG
    demo:
  • Boot Fuzz. I found this simple old-school microphone preamp, and noticed the similarity with the Fuzz Face, also claimed to be based around a microphone preamp, but in this case the second stage is an emitter follower bootstrapping the load of the first for big gains. So I thought why not fuzzing it up by increasing the gain? This ends up being similar to an Escobedo circuit, but with a different, more stable biasing.
    bootfuzz.PNG
    guitar demo:

    bass demo:
  • Bryophyte Boost. Mosfet boosts are popular, even if I'm not a fan of their noise floor. With respect to the major competitor, this one features 1M input impedance, without larger resistors, not reduced by the MIller effect on the gate-drain resistor, because the AC feedback is shunted. You still get all the bias stability benefit of DC feedback though. Another improvement is the not crackly variable gain, from 7 dB all the way to 36dB. If you're wondering about the first version, it featured a poorer bias scheme.
    mosboost2.PNG
    mosboost2.PNG (22.48 KiB) Viewed 9759 times
  • Bazz Face. An old one. What happens if you put a bazz fuss stage in a fuzz face? This happens! Also, bias is completely predictable now.
    bazzface.png
    demo:
Last edited by dylan159 on 02 Sep 2021, 12:20, edited 3 times in total.
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Post by dylan159 »

Utility circuits:
  • Passive/active DI/isolation box. I knew the shortcomings of cheap transformers, but I also knew about the dangers of using a transformer passively driven by an high impedance source: even if you do the maths and step up or down the input impedance, you might still end up with an interesting to say the least frequency response due mainly to too low inductance. A possible fix for both is hinted at by ESP and it's using something to drive the transformer, at the same time also assuring a constant input impedance. I then went ahead and added one switch to bypass the buffer and use the transformer passively if desired, and another to switch the secondary output between the primary and the secondary side. The first guarantees isolation between the two outputs, since one of my purposes was to have a guitar splitter without ground loops. In the second mode you have either an XLR or an unbalanced output isolated from the input, for when the ground loop is already there. My gut feeling was that I needed an high drive op amp like the 5532 to get the best performance, but the paralleled 072 turned out to be just as good.
    DI3.PNG
    This is the difference in frequency response between passive and active with a cheap "600 ohms" transformer, driven by a somewhat low impedance source already:
    600transformer.png
    And the distortion with a 1.45vrms 40hz sine. Unbuffered was much higher, some %.
    transformerbuffer.png
    Notice: here the transformer is a 1:1 ratio one. Altough meant for guitar, this circuit works well with line signals, maybe with at least 12v supply, but you should use a balanced line input, not the microphone XLR one on a desk. Usually DIs meant for that have a step-down ratio that prevents clipping and increases input impedance. If that's what you want, use a suitable ratio.
  • Buffoons. This is a collection of buffers and splitters for multiple occasions. Nothing special, but it's what I show when someone needs a buffer somewhere.
    Simple BJT
    buffoonbjt.PNG
    Sziklai pair
    buffoonszik.PNG
    Two paralleled op amps for increased drive capability. I don't bother with single op amps, and the little black buffer doesn't use the second section which is frankly inexcusable, so here you are
    buffoonsuper.PNG
    Using the second op amp for a phase reversal switch with a popular scheme
    buffoonphase.PNG
    Attenuverter: same as above but you have a combo phase/volume pot!
    buffoonattenuv.PNG
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Post by dylan159 »

  • Dry Blender. I like to do bespoke dry blends for each circuit, based on impedances, phase inversion and existing elements. These are general examples that work well in most cases and can be adapted in others. I've collected a bunch of circuits like these and made my own to fix the shortcomings of each.
    The simplest dry blend, with in phase signals. An alternative if the input is high impedance is to put the buffer in parallel with it.
    dryblend_simple.PNG
    Similar to the above but with a more proper virtual earth mixer with constant power and no bleed. Assumes a low impedance output, should be tweaked otherwise.
    dryblend.PNG
    Phase reversal switch when you don't know what you'll be facing.
    dryblend_phase.PNG
    Phase reversal and summing amplifier.
    buffoonblend.PNG
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Post by bmxguitarsbmx »

I don't see why there is licensing info on minor variations of already done circuits.

The only one I haven't seen is the "Cryman". Or is that an error in your schematic?

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Post by dylan159 »

bmxguitarsbmx wrote: 31 Aug 2021, 18:04 I don't see why there is licensing info on minor variations of already done circuits.

The only one I haven't seen is the "Cryman". Or is that an error in your schematic?
Some are minor, some are less, that's why I'm collecting them here. If you want to know the reason for each one, read the details. Sometimes it's just to make a simpler or smaller build to someone interested in a particular circuit, other times there's something else I wanted to address.
From the second post on you can find things that depart more from things already seen or without the goal of sounding like another circuit but with less parts. It's unlikely you've seen those before because I haven't shared them much.
The licensing info is just something I do by default. I made the schematic picture and they're not the exact copy of something else, but in the end I'm sharing them, it's hard for me to stop anyone to do anything with them. Which I encourage, except maybe making them commercial products without letting me know at least.
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Post by 287m »

Wow! I like this already. Bookmarked!

I (hope) can perf-ed all of this. Thanks, you make me stay insane.

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287m wrote: 31 Aug 2021, 19:33 Wow! I like this already. Bookmarked!

I (hope) can perf-ed all of this. Thanks, you make me stay insane.
Thanks! Of course you can perf them! Stay insane [smilie=a_alien.gif]
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Post by 287m »

Actually, that typo. :lol:
But yeah, insane. Too many to do (want), too little time.

:shred:

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Post by Jarno »

Have you built all of these?

Wrt the transformer balanced output, you need to ask yourself what you want to achieve. In the old days, line level really meant 600 ohms, but these days, all equipment has a much higher input impedance. This helps, because then the opamps don't see as have a load with a 1:1 transformer, but do you really need a transformer?
You could also do a balanced impedance output with a single opamp. And also for applications like shown above, you might want to go with a proper output stage, or a different transformer.
Question is, do you really need a transformer?
"It crackles....., but that's ok"

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Post by dylan159 »

Jarno wrote: 01 Sep 2021, 07:56 Have you built all of these?

Wrt the transformer balanced output, you need to ask yourself what you want to achieve. In the old days, line level really meant 600 ohms, but these days, all equipment has a much higher input impedance. This helps, because then the opamps don't see as have a load with a 1:1 transformer, but do you really need a transformer?
You could also do a balanced impedance output with a single opamp. And also for applications like shown above, you might want to go with a proper output stage, or a different transformer.
Question is, do you really need a transformer?
I put 600 ohms in quotes before because that's how they call it. In practice it usually means lower inductance. Indeed a "10k" one performed better unbuffered.
Do I need a transformer? Yes, because the main purpose is isolation to break ground loops, either between input and output, or between the two outputs. I also had built another splitter without it.
As you can see, the performance is greatly improved over the passive transformer. I even made some clips of guitar whose low end gets completely destroyed, whether I went into an high or low impedance input. This goes away with the buffer, even if you'd think you already had a good input impedance at all frequencies with a 1M input and 1:1 ratio.
Otherwise you're right that if balanced output is what you need, a dual op amp is enough, I made that point myself many times.
Not sure what you mean by more proper stage. Something like in the linked article? They have drawbacks and I found this adequate.
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Post by andy-h-h »

Awesome - thanks for sharing. Might give some a try. :thumbsup

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Post by dylan159 »

andy-h-h wrote: 01 Sep 2021, 09:41 Awesome - thanks for sharing. Might give some a try. :thumbsup
Always excited to have something of mine on your blog. Be sure to check my other recent posts too!
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Post by andy-h-h »

dylan159 wrote: 01 Sep 2021, 09:47
andy-h-h wrote: 01 Sep 2021, 09:41 Awesome - thanks for sharing. Might give some a try. :thumbsup
Always excited to have something of mine on your blog. Be sure to check my other recent posts too!
Why thank you. I’ll have a look. Any favourites from you perspective?

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Post by dylan159 »

andy-h-h wrote: 01 Sep 2021, 20:04 Why thank you. I’ll have a look. Any favourites from you perspective?
I think the ones in their dedicated thread have more thought and testing put into them, not to say some of these are bad at all! Most of those of the first post, except the cryman, plus the troupple are all deserving. You're free to share the layouts I've already made if you like them too, as long as you give credit :wink:
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Post by MGaburriJazzDude »

This is the best compilation ever.
Compared to anything.

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Post by dylan159 »

Added Violets are Blues and Two transistor distortion to the original posts.
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Post by bmxguitarsbmx »

Thank you for the response on the copyright Dylan. Many of these circuits are building block circuits in nature. I wouldn't want anyone to feel they couldn't use building blocks to further their own goals, including commercial products. I would also be bummed to see direct copies of your work show up on the market. Something that is sadly common and sadly likely. Cheers to you and Bajaman (and the many others) for sharing your work despite this very glaring fact.

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Post by dylan159 »

bmxguitarsbmx wrote: 03 Sep 2021, 17:39 Thank you for the response on the copyright Dylan. Many of these circuits are building block circuits in nature. I wouldn't want anyone to feel they couldn't use building blocks to further their own goals, including commercial products. I would also be bummed to see direct copies of your work show up on the market. Something that is sadly common and sadly likely. Cheers to you and Bajaman (and the many others) for sharing your work despite this very glaring fact.
that's right. i chose this specific license, for all the good it can do, exactly to convey this message. you get these for free, and I'd love for people to take them and make them their own. Nothing i post is set in stone, and especially this time some of these are just building blocks and ideas to build upon. With the simple request of the SA part: if you make a derivative work, and please let me know because it makes me happy, please use the same license so that these circuit don't get out of our hands. So it comes the non commercial part, to try and strike a balance between free sharing and preventing straight up commercial clones. I can only license the schematic images, so there's not actually much I can do, but I let it known that commercial use without permission is discouraged. Just ask and I'll probably agree to it, I just want to know about it.
This is in general, of course as you pointed out it makes more sense on some more than others here, but I just put it there by default to err on the side of caution since I think it's my right to put them on schematic art I personally made with at least a few significant differences from the comparable circuit
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Post by dylan159 »

Note on the Bark: output capacitor goes before the diodes! Such a stupid mistake :slap:
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