Electronic Bena or Musicians a Ree ert Aer eu pean Rea eel hee aang Rene Caen dee es % RTA aoe Beet ete ee Written in ¢lear language, with hundreds of helpful ciagrams ands illustrations and simple.stepsby-step instructions. , Rese Cus ag See ; “—~ 2Contents Preface Chapter One Chapter Two Chapter Three Chapter Four If you don't know what a resistor is, don't know how to read a schematic, and wouldn't know a 1OMF capacitor if you collided with one, Chapter 1 is for you. A Little Theory Resistors Potentiometers Capacitors Semiconductors Wire Mechanical Parts Reading Schematic Diagrams ‘Substituting Parts Table of Electronic Measurements A survey of how and where to find parts at reasonable prices. Finding Mail-Order Parts Sources Finding and Buying from Local Parts Sources Getting the Most out of Mail Order Getting the Best Prices: Stocking Your Lab Parts Kits Before you do any building, you need tools and a knowledge of how to care for them. This chapter covers drills, hacksaws, files, pliers, cutters, strippers, screw- drivers, soldering equipment, plexiglass tools, care of tools, and safety tips. If you have never built anything electronic before, Chapter 4 will help you out considerably. It tells you what you need 10 know to tum a pile of parts into an attractive reliable, smoothly functioning unit. Introduction Soldering Technique Desoldering ‘The Care and Feeding of Printed Circuit Boards Perfboard Construction Loading the Circuit Board Selecting an Enclosure Drilling General Wiring Grounding Wiring the Circuit Board to Outboard Parts Shielded Cable ‘Mounting the Circuit Board in the Enclosure ‘Add the Knobs and Label the Functions Testing and Checking out Performance 10 " 18 24 27 28 29 29 29 30 31 39 39. 40 41 45 47 st 33 54. 35 56Chapter Five Chapter Six We first discuss some important instructions mmon to all projec the complete story on building 27 projects. Format Line Level or Low Level ‘Connecting Power to the Projects Proper Care of the CLM6000 Sumper Wires Transistor Orientation Project No. 1—Preamp Project No. 2~Metronome Project No. 3~Passive Tone Control Project No. 4~Headphone Amp Project No. S—Miniamp Project No. 6~Ultra-Fuzz Project No. 7—Bass Fuzz Project No. 8—Compressor/Lis Project No. 9-Ring Modulator Project No, 10—Dual Filter Voicing Unit Project No. 11—Adding Bypass Switches to Effects Project No. 12-Guitar Rewiring Project No, 13—Bipolar AC Adapter Project No, 14-Treble Booster Project No. 15—Electronic Footswitch Project No. 16—Tuning Standard Project No. 17—Super Tone Control Project No, 18Eight in, One out Mixer Project No. 19-Using a Volt Ohm Milliammeter Project No. 20-Practice Play Along Project No. 21-Phase Shifter Project No. 22—Making Patch Cords Project No, 23~Talk Box Project No. 24—Tube Sound Fuzz Project No. 25—Envelope Follower Project No. 26—Spluffer Project No, 27~Noise Gate iter Now thai uile all the dle use them t advantage Introduction The Different Ways of Connecting Effects Packaging Multiple Effects Systems Distributing Power to the Modules Impedance Matching A Typical Effects System Effects Format Modifications to the Basic System Additional Effects Systems 62 62 63 69 SESE 104 110 113 138 142 149 154 160 168 180Chapter Seven Chapter Eight Chapter Nine Appendixes Glossary of Terms At some point, something you build isn’t going to work right. This chapter is de- signed to help you get it working. Ways 10 learn more about musical electronics. What Does Work? People Magazines Books Libraries Semiconductor Manufacturers’ Data Books “Hands-on” Ways to Learn Electronics Kits Correspondence Questions and answers. About the Soundsheet How the Soundsheet Was Recorded About the Illustrator 201 208 205 205 205 208 208 209 210 215 215 219 220Preface As of this date, tens of thousands of musicians~many with no prior experience in electronics have taken control of their sound, by building electronic modifiers from the first edition of this book, Beginners should be happy to know that the instructional material from the first edition has been left intact, and in some cases has been expanded. Those who have thor. ‘oughly absorbed the information in the first edition will be pleased to find a number of new and improved projects, as well as additional information on creating pedalboards and multi- ple effects systems, explanations on the theory of operation of the various projects, and ways to modify them for customized performance. So, while this new edition was still ex- pressly written with beginners in mind, I believe there is enough additional material to hold ‘the musician's interest even after he or she has passed the introductory stage of learning about this art One of the questions I consistently hear is, “But cen I really build this stuff, even though I know nothing about electronics?” The answer is yes, My files are filled with letters from people who express amazement and delight at having built a high-technology device, by themselves, without any problems. If they can do it, if I can do it (remember I was once @ beginner too!), then you can do it Why do it yourself? Perhaps a better question is why nor do it yourself. While you gen- erally save money compared with buying 2 commercially available device, you also have the satisfaction of creating something with your own two hands, and you leam enough about the project in the process of building it so that you can modify it to suit your exact needs. A less tangible, but perhaps more important, advantage is the increase in self-confidence that comes from knowing that you can make sense out of all those wires and parts, and turn them into a useful, working project. I've known numerous people who thought they'd never understand this stuff; but when they do, they feel a litle better about themselves and their abilities because of it. It took longer to rewrite this book than it did to write it in the first place, mostly because I wanted the projects to be equal to—and, if possible, superior to—other, comparable devices available on the market. This has meant that generally, the projects are somewhat more com- plex than those presented in the first book; however, over the years I've found that anybody who can successfully build a project with one IC and ten other parts can also successfully build a project with two ICs and twenty other parts. There are still a number of introductory projects, essentially unchanged from the first edition, for those who prefer to start off with something really simple, In closing, I'd like to thank several people who otherwise might not get the recognition they deserve. First is Vesta Copestakes, a constant source of inspiration and a very fine illus trator/photographer; Jim Crockett, publisher of Guitar Player magazine, who first recog: nized the need for a book like this; Bill Godbout, for his technical assistance; Bruce Mycroft, for laying out the circuit boards so I could spend all my time writing; and the people at Music Sales (my publisher), who didn’t hassle me or try to speed me up when I kept asking for more time to make this manuscript as good as I could possibly make it. Finally (save the best until last), thanks to all the people who enjoyed the first edition of this book—your support and your comments are the reason why this revised edition exists, May your proj ects always keep working!Chapter One If you don’t know what a resistor is, don’t know how to read a schematic, and wouldn't know a 10jF capacitor if you collided with one, Chapter 1 is for you. es, Aittle Theory - If you really want to get into theory, libraries, book stores, and electronic stores all have books about basic lectronies, But for now, let’s simply take a quick look at four important concepts: volzage, current, resistance, and capacitance, You don’t really have to understand it all just yet; the important thing is to get a feel for the language. Electricity is all about the motion of electrons. Elec- trons are all over the place as component parts of atoms, ‘but when they're located inside the atoms of certain terials known as conductors (like wire, or other metals), you can play games with them, Actually, the motion of electrons in @ conductor is a lot like traffic flow down @ freeway. Wire is sort of a freeway for electrons; electrons, are like little cars. If a bunch of cars are sitting in the middle of a highway out of gas, not much is happening. But give them a little energy, direct them (.e., stay to the right, pass on the left, stop at red lights), and you've got an active freeway. Same with electrons: give them some energy, tell them what to do, and you've got an active conductor, which is the first step toward an active cir- cuit, The opposite of a conductor is called an insulator; rather than encouraging the flow of electrons, it inhibits the flow, much as removing a section of highway guaran- tees that no cars are going to be traveling over that par- ticular section. Curent is analogous to the number of cars going. down the road. Just as bumper-to-bumper cars mean heavy traffic, bumper-to-bumper electron flow is con- sidered heavy current. The measurement unit for current is the ampere (amp or A for short), named after the French scientist André Marie Amptre. Voltage is a somewhat more elusive phenomenon to explain, It relates to the intensity of electron flow, rather than just dealing with the number of electrons ‘going down a conductor. With our automobile analogy, voltage would be equivalent to the speed of the car in mph. A condition in a circuit where there is no voltage present is referred to as ground, or minimum possible intensity (ero volts—the vole, abbreviated V, measures voltage), There are still just as many electrons hanging around; but they have no intensity, and don't do any- thing. A more intense level of activity translates into higher voltage ‘What provides this intensity? Well, in electrical circuits you need an area that lacks electrons and wants to a ‘quire some, and an area that has a surplus of electrons. (The best example of this is a battery: one terminal is loaded with electrons just waiting to get out and do their number, whereas the other terminal is begging to hhave electrons come in.) The intensity with which the electrons want to get from one end to the other is the voltage. The medium through which the electrons make their joumey from one area to another isthe conductor. This brings us to resistance. The reason for resistance is that when the electrons try to get from one area to the other through the conductor, they are always trying to move as quickly as they can, and you have to control them in some way. All conductors represent a certain amount of resistance, since no conductor is 100 percent efficient. To control electron flow in a predictable man- ner, You use resistors; these are electrical parts similar (0 conductors, but which resist toa greater or lesser extent the flow of current. Putting one in line with a conductor is like putting up a 5Omph zone in the middle of a high- way: the energy level decreases, yielding 2 more con- trolled flow. The resisting ability ofa resistor is expressed in ohms (named after Georg Simon Ohm, a German physi- cist of the 1800s and abbreviated by the Greek letter ‘omega, 9), and can cover a wide range. Ten million 9‘ohms will tum an electrical stream into a trickle, where as 4 Qwon’t slow things down much at all (that’s why speakers have a low resistance value; you want as many electrons as possible to go through the speaker and move the paper cone back and forth to make things loud). A close relative of resistance is impedance. Impedance isa measurement that’s useful in analyzing the perform- ance of audio circuits; just as resistance tells you some- thing about how electrical current flows through a cir cuit, impedance tells you how audio signals flow through circuit. To completely understand impedance takes some doing, since we're dealing with a pretty complex subject; so, aside from some additional information on impedance in the section, “Understanding Specifications: Glossary of Terms” at the end of this book, we won't delve into this any further. ‘There's one other word that needs examination while we're talking about theory: capacitance. Capacitors store energy as their primary talent; they are made of two metal plates, separated by a thin insulator. Connecting a voltage source to these plates createsan electric field bet- ween them. Storing energy in this field is called charging a capacitor, whereas drawing the energy out (say, through a conductor or resistor) is called discharging. This charge- discharge action allows a current to flow, even though the plates are insulated. Due to this property of a capaci tor to react to alternating (charging and discharging) cur- rent, or AC, capacitors are frequently used to block di- rect current (DC, the kind that stays steady, like from a battery) but let alternating audio-type signals through. More capacitance indicates more energy storage capabi Titw Resistors. By far, the most common resistor you'll encounter is the carbon-composition type (so called because it's mostly made up of carbon materials), shown in Figure 11, They are small (6-12 mm (1/4 -1/2") long, by 3.6 mm (1/8 -1/4") wide], brown or tan cylinders with ‘colored bands going around them. If you take a look in- side any electronic equipment, you'll see a whole bunch of resistors. In some cases, you'll see metabfilm resistors ‘as opposed to the standard carbon composition type. ‘These are usually somewhat smaller than carbon types, and are lighter in color. The most striking feature of a resistor is the four color bands. These bands form a code which indicates the approximate value of the resistor. The reason I say “approximate value” is because precise resistance values are generally not that critical in electronic circuits (re- ‘member the speed zone analogy given earlier: very rarely do you sce a 33.7-mph speed limit, since 35 mph is close enough). One of the bands will be either gold or silvers, this one, called the fourth band, indicates the tolerance 10 (or, how much it can vary from its stated value) of the resistor. A silver band indicates 10% accuracy; a gold bband, 5%. The other three bands represent the value, in ‘ohms. of the resistor. Each number from zero to nine is assigned a color: 0 = black, 1 = brown, 2 = red, 3 = orange, 4 = yellow, 5 = green, 6 = blue, 7 = violet, 8= gray, 9 = white, Now, the first band is the fist digit of the resistor value, the sec- ond band is the second digit of the resistor value, and the third band is the number of zeros that follow the frst two digits. So, if you have a resistor that reads “blue-gray-red- silver,” that means the first digit is blue, or 6; the sec- cond digit is gray, or 8; and the red band means that two zeros follow the frst two digits. Putting it all to- gether, you get 68-00, or 6800 S2 The silver band indi- cates that the real-world value is within 10% of 6800 2. ‘Another example: brown-black-green-gold. This de codes to first digit 1, second digit 0, and five zeros. So you have 1-0-00000, or 1,000,008 The’ gold band in- dicates that the real value is within 5% of 1,000,000 2 To simplify matters, there ae certain standard resis tor values. The first vo digits of any 10% tolerance re- sistor will be one of the following combinations: 10, 12, 15, 18, 22, 27,33, 39, 47, 56, 68, 82. For example, you Won't run across a 19,000 2, 10% resistor, nor will you see a 350 Qone, because the frst two digits are not standard 10% values. So that electronics people don't spend a large portion of their time drawing zeros in resistor values, there are two commonly used abbreviations: k and M. k stands for a thousand, and M a million~a 22,000 &2 resistor, for example, is commonly called 8 22k resistor. A 1,000,000 Q resistor is called a IM resistor, @ 2,200,000 82 resis- tor is called a 2.2M resistor. The abbreviation k was de- wed from the somewhat longer kilohm, which you'll sometimes see in print; you'l also sometimes see meg: cohm or Meg instead of the simpler M Schematics from Europe, and most other parts of the world, abbreviate resistors values a litle differently fromAmerican schematics; when a resistor value includes a decimal point (ie., 2.7k, 1.2M), the k or M is inserted where the decimal point would normally appear. Here are some examples of American nomenclature and the metric equivalents: ‘American Metric 2.7K 2k7 4.7% 4k7 22M 2M2 5M SM6 If there is no decimal point in the resistor value, then the metric and American designations are the same (2 is used in both American and metric systems), In addition to the stated value in ohms, another con- cem of resistors is how much heat they can handle, In the process of slowing down electrical energy, the dis- sipated energy has to go somewhere—it generally tums into heat. Resistors are rated in watts (abbreviated W), the unit of power, in regard to their ability to handle heat. For example, a 2W resistor can handle more power than a IW type, However, the projects in this book aren’t involved with heavy currents, so we'll mostly be using 1/4W resistors. These have the advantage of being Physically smaller than 1/2W resistors, the other most popular type. You can always use a larger wattage resis- tor than the one specified if there’s room, but never use 4 smaller resistor. An underrated resistor can overheat, thus changing its value and possibly damaging the circuit to which it connects. Figure 1-2 shows some other types of resistors you ‘may run across in electronic devices from time to time, such a5 power resistors (not just 1W — sometimes 10- or 20W in hefty power supplies); precision resistors (where you need an exact resistance value, and 5% tolerance isn’t good enough); and metal film (low noise) resistors. Metal film resistors are great for audio projects, but they can cost plenty. Sometimes you can pick up metal film resistors surplus for a fraction of the original cost; which is worth it. Otherwise, stick to the common carbon com- position type. Potentiometers — Potentiometers (or pots, as they're commonly called) are members of the resistor family, except that they are variable resistors. As you can see in Figure 1-3, a poten- tiometer is just a circular resistance element with a sli ing conductor called a wiper going across it. A pot serves the same function in electrical circuits that a faucet does in plumbing, namely, to regulate current flow. The most ‘common example of a pot is the volume control on your amp ot radio. —Ce— Figure 1-2 =e 1/AW resistor —ae— 1/2W resistor 1W resistor fo metal film, precision resistor 10W power resistor Figure 1 terminal 2 terminal 3 wiperYou'l note that there are actually two variable resis tors in a pot;as the resistance between terminals 1 and 2 gets smaller due to moving the sliding conductor toward terminal 1, the resistance between terminals 2 and 3 gets larger. Moving the wiper in the opposite direction pro- duces opposite results. Sometimes you need to use both resistance elements, but many times you'll ony use one. If you connect up terminals 2 and 3 or 1 and 2 only, you have what is called a rheostat. However, to simplify ‘matters we'll refer to anything that’s a variable resistance control a8 a pot. ‘One other characteristic of pots, taper, might cause some confusion. The taper of a pot is another word for the rate at which the resistance element changes. The most common taper is linear, which means that ther i 2 linear change in resistance that occurs when you move the pot — turning it halfway gives half the resistance, a quarter of the way gives a quarter of the resistance, two- thirds of the way gives two-thirds the resistance, and so on. A log taper pot, however, has is resistance increase logarithmically from one end to the other. This means that turning the pot up halfway covers only about 10% of the pot’ total resistance; turing the pot up two-thirds of the way covers about 40% of the total resistance; and 4s you get past this point, each degree of rotation ofthe control continue to cover a progressively greater amount of resistance. The reason for producing a control that follows «logarithmic characteristic is because the human car itself responds to sounds in a logarithmic fashion; that is, fora sound to appear to steadily increase in vol tume, you have to actully increase the sound in progres- sively larger amounts-or logarithmically, in mathemati cal terms (te Figure 1-4), Asa result, in volume controls its frequently more desirable tohave a logarithmic resis- tance change to compensate for the characteristics of human eas. Electrically speaking, however, linear taper ot (whichis easier to find) will do the job just as well as a log pot, although the action might not feel as good. Figure 1-4 A volume change like this (a) sounds like this (b) 10 your ear. co) () Potentiometers come in a variety of styles (see Figure 1.8). The most common is the single rotary pot, although linear slide pots are gaining in popularity, especially in imported consumer eletronic equipment. Additionally, 12 sometimes one or more potentiometer clements are com bined, producing a two-or-more-section ganged pot, Pots ‘ean also come with an on-off switch mounted on the back. Miniature pots for set-and-forgt-type applications called crimpots also exist. These are electrically equi lent to regular pots, but are physically tiny and not de- signed for continuous handling. They usually mount with other components on a printed circuit board. Good pots are unfortunately hard to obtain in small quantities at low cost. Adequate pots are fairly easy to find. Some pots are sealed from the outside air; this pre- vents dust and pollution from coating the resistance ele- ‘ment and giving scratchy noises, as well as producing a more reliable device. Most common pots, however, are not hermetically sealed and are subject to long-term e- terioration. Therefore, when you use pots in a project always make sure they are accesible and removable. You'll be glad you did a few years on down the road Figure 1 Clockwise from upper left-hand comer: a dual-sec- tion ganged pot, a singlesection rotary pot, a rota- 17 pot with an on-off switch mounted on the back, a miniature trimpot, and a linear slide pot. Capacitors There are thee main characteristics that interest us as far as capacitors (“caps” for short) are concerned: the value (amount of capacitance), the working voltage (how much voltage the capacitor can withstand), and the size. Capacitors vary widely in size (unlike resistors, there is no “standard” capacitor package), and for some smaller projects it’s a good idea to make sure that the capacitor you need can fit in the box that you've got ‘A capacitors value is expressed in farads, with one complication. A farad is a whole lot of capacitance—far too much to be usuable in many electronic circuits Therefore, capacitors are usually rated in microfarads (abbreviated Ml; in older literature, the abbreviations ‘mf and mf are sometimes used), a microfarad being onesmilionth of a farad (0.000001 farads). There are even some very low capacitance capacitors that are valued in micromicrofarads (a millionth of a millionthof a farad—pretty tiny!) Several years ago this was ab- breviated as uF, but nowadays the prefix pico usually replaces the prefix micromiero, and pico is certainly shorter and easier to deal with. A picofarad abbreviates as pF, Don't be confused—a pF is the same as a uF, just a more modern name. AAs in the case of resistors, schematics in most other parts of the world designate capacitor values ine differ- ent way from American schematics. First of all in addi- tion to the AF and pF, these schematics frequently use the term nanofarad (abbreviated nF). A nanofarad equivalent to 0.000000001 farads. Here are some com- ‘mon capacitor values, expressed in uF, pF, and nF: 0.001uF = 1,000pF_ = nF O.01uF = 10,000pF = 10nF O.1uF — = 100,000pF = 100nF When a capacitor value includes a decimal point (ie. 1.2 WE, 4.7 pF, 2.2 nF), the , p, or nis inserted where the decimal point would normally appear. Here are some examples of American nomenclature and the metric equivalents: American Metric 1500pF In” 4.7uF aun 0.22uF —-220nF 6.8pF 6p8 While the metric system of nomenclature may appear more complex at firs, in actuality it is a more efficient, and less ambiguous, way to designate resistor and capaci- tor values. One advantage of the metric system is that Figure 6 or radial mounting electrolytic capacitor (negative or minus lead marked) ceramic dise capacitor nting el (positive or plus lead marked) tantalum capacitor it’s almost impossible to put a decimal point in the wrong place accidentally, as the metric nomenclature strives to avoid the use of decimal points altogether. Another ad- vantage of the metric system is that you don't end up with big numbers—an otherwise clumsy 3900 pF becomes 3n9 in metric, which is much more concise. Working voltage simply means the voltage up to which a capacitor will work reliably. If a capacitor is rated, at, say, 35V and you connect it to a point in the circuit with 40V, you will get a warm capacitor or a nonfune: tioning one very shortly. Except for highly unusual cases, you can always use a capacitor with a working voltage higher than the one specified. It is not uncom ‘mon to have capacitors rated at 100V or more in a cit- cuit powered by a 9V battery, simply because one rated at 100V may be easier to find or cheaper than one rated at 9V. In most any circuit, as long as the capaci- tors have a higher working voltage than the voltage of the power supply feeding the circuit, you're covered, Size is inconsequential to proper electrical operation, ‘but in terms of packaging it can get you into trouble. Capacitor size (as a rough rule of thumb) increases with either higher capacitance or more working voltage. If you're putting a circuit in a small box, a 1000MF capec- itor rated at 10V might fit perfectly, but one rated at 100V may be bigger than the box itself. For this reason catalogs frequently specify capacitor dimensions right along with working voltage and capacitance. There are two basic types of capacitors we'll be using: disc types and electrolytes (see Figure 1-6). Disc capaci tors all look pretty much the same~a round, fairly flat ceramic blob of variable size with two wires coming out of it, They generally have fairly high working voltages 33 OV é dipped mylar capacitor tantalum capacitor polystyrene capacitor paper capacitor a lectrolytic capacitor 13(Fatings of SOV are common on smaller values), but limited amounts of capacitance. Most discs can’t get ‘much more than .2uF packed into them; above that, they get impossibly big. Common disc capacitor values are 0.001, 0.005, 0.01, 0.05, 0.1, and 0.2uF. Disc capacitors can even give very small values like 10 pF. ‘These are about 6.2 mm (1/4") in diameter, whereas sometimes like a 0.2HF disc can be about 2.5 cm (1) round. Unlike the disc types, electrolytic capacitors are tubu: lar, and have either axial or radial mounting. They also have one other quality: they are polarized. This means that electrolytic capacitors have a plus (+) and minus (-) end, just like abattery, and like abattery, ifyou hook up the plus and minus backwards it won't work right. On ‘most capacitors, only one lead is marked for polarity imported capacitors usually mark the minus end, Ameri ccan ones generally indicate the plus (why, 1 don’t know). Although resistors and disc capacitors aren't polarized, many other electronic parts are, and it’s im- portant to hook the ends up correctly. One of the more common errors encountered in building electronic stuff is to miss the polarity of an electrolytic capacitor, a ‘transistor, or what have you; so be careful. AA lot of capacitance can be squeezed into an electro- lytie—they may go up to 40,000HF or more. For audio ‘work requiring small amounts of power, though, you'll rarely use a capacitor larger than LOOOHF. One characteristic worth mentioning about electrolyt- isis that they age, because inside the body is a chemical that can eventually dry up. This takes anywhere from several years to many decades, Although this won't be a problem for most experimenters, if you expect to use a piece of equipment for many, many years, let the elec- trolytics be accessible for replacement should one deteri- orate There are other types of capacitors you'll encounter Paper capacitors are tubular, and fairly large; they have the same capacitance range as discs and are also nonpo- larized. They are not much in vogue these days because they age and have been replaced by mylar types, which look similar to paper types, have many of the same characteristics, but last longer. For small and stable ca pacitance values (in the pF range), you'll encounter poly- styrene types. These are tubular, very small, and usually plastic and silvery. The premium capacitors for large capacitance values are tantalum types; these are quite expensive unless purchased surplus. They are very reli- able and perform wel in critical circuits ‘The final type of capacitor we'll cover is the variable kind. These are seldom used in audio circuits, because you can't make variable capacitors with lots of capaci tance, and audio circuits generally require large capaci tance values. The variable capacitor is to capsas the pot is to resistors. 14 Semiconductors Tn addition to conductors and insulators, there is a third class of material that exhibits properties of both. Under some conditions, it acts as an insulator, and under other conditions it’s a conductor. This phenomenon is called semiconducting hence the name semiconductor and allows a variable control over electron flow, forming the comerstone of modem electronics. Semiconductors ae called active components. Unlike resistors, capacitor, and other passive components, active components can (under the right conditions) put out more than is putin. This is called gain, All the projects in this book rely on some kind of amplifier, which is the term used fora cir cuit that gives gain You can consider semiconductors the heart of any cit- cuit; like a human heart, they can work for a long time if handled properly, but they can also fail if abused. Ap- propriate cautions are included in particular projects, but certain precautions apply to all semiconductor de vices. First, don't overheat them during soldering, as they can be damaged by excess heat. Anything reason- able is all right—they aren't as fragile as some people think—but you do need to take care. Most semiconduc- tors may be put into matching sockets, completely elim- inating the need for soldering. Second, be careful not to apply either excess voltage or voltage of the wrong polar- ity to asemiconductor. Wrong-polarity voltage, forexam- ple, means connecting the plus end of the battery to the ‘minus terminal on the circuit rather than the plus (or positive) one. Although many of the circuits inthis book are protected against improper polarity by two diodes, the problem still crops up in experiment The simplest kind of semiconductor we'll be using is called the diode (Figure 1-7). A diode is realy basi; it can't amplify, but its talent is being able to act as an ‘lectronic switch. Ifthe diode points in one way, only Positive voltages can pass through. If i’ pointed the other way, only negative voltages can get through. If it’s in a circuit which is AC (voltages in both positive and negative quadrants), one half of the AC will be lopped off. The protection circuit for improper polarity I just mentioned is shown in Figure 1-8. Pointing the diodes as shown effectively blocks a reverse-polaity voltage from entering into the eicuit Diodes come in two basic types: signal diodes and power diodes, Signal diodes ae usually small cylinders, sort of like resistors, but made out of glass and sporting ‘only one band. This band is called the cathode and indi cates polarity of the diode the way a (+) and () identify battery polarity. Power diodes are somewhat larger, although you will find small ones (about the size of a 1/4W resistor) com- monly available in 1- to 44 ratings. They will work just as well in the proiects as signal diodes, but signal diodesFigure 1-7 power diode 4 signal diode > when pointed this way, only (+) voltages can flow through when pointed this way, only (-) voltages can flow through blocks positive voltage blocks negative voltage Reverse polarity protection circuit. if battery is hooked up correctly, diodes let the voltage through if battery ts hooked up incarrectly, diodes prevent voltage from ‘getting through. can handle & moderate amount of power (certainly more than we need for the various projects), and cost les. Diodes are rated according to two characteristics: voltagechandling and current-handling ability. It's com- mon practice to use a diode that’s considerably over- rated, because the cost difference isn’t that much and the reliability can be higher. Figure 1-9 shows several examples of my favorite kind of diode, which is different from all the others; the light-emitting diode. This relatively recent addition to the diode family emits light when you feed it a couple of volts (how about that). Right now, the most commonly available color is red, but you can also get green, yellow, ‘range, and two-color types for a somewhat higher price. Light-emitting diodes (or LEDs for short) never bun out, forall practical purposes, under normal use;it’sestimated that in 100 years, the only change you would detect ‘would be a slight loss of brilliance. Additionally, because LEDs don’t have a skinny little filament like a regular light bulb, they’re immune to vibration and shock. How- ever, they can be destroyed if too much current goes through them. Also, because (like any other diode) they are polarized, if hooked up backwards they won't light. Figure 1-9 LEDs in several different case styles. o & ¢ e: LEDs generally have a flat spot on the case or dot of paint to indicate the cathode; however, this is not always consistent from manufacturer to manufacturer. To check polarity, I generally use a little tester, as show in Figure 1-10, comprising a 9V battery and resistor. Hook up the LED: if it lights, the terminal connecting to the battery (4) is the anode, and the wire connecting to the resistor is the cathode. If it doesn’t light, switch the LED leads around. If switching around the leads doesn't produce some light, you have either a dead battery or adead LED. ‘A more complex semiconductor device is the transis- tor. A transistor has three terminals: one is the collector, ‘one the base, and one the emitter. Electrons are emitted via one terminal and collected on another terminal while the third terminal acts as a control element. Tran sistors come ina variety of case types, from small, epoxy: plastic types (see Figure 1-11) to large, metal-cased ‘models (power transistors). 15Figure 1-10 LED tester. 10002 LED under test = ee iid Figure 1-11 The transistor on the left is in a metal case; the ‘one on the right is in an epoxy-plastic case, We won't be using many transistors, however, because technology has made the single transistor obsolete in many applications. Instead, a bunch of transistors, di: odes, and other materials that mimic the functions of resistors and capacitors are deposited on a single crystal: line base called a substrate to perform a complete func- tion, such as amplify. These sophisticated semiconductor devices are called integrated circuits (ICs). You can find almost any electronic function in an IC, from computer ‘memory cells to a dual low-noise audio preamplifier to tone generators—even medium-power hi-fi amplifiers, electronic gain controls, octave dividers ... all kinds of things. ICs are commonly packaged in three types of cases: fatpack, DIP (dual in-line package), and, for lack of a better term, round. I advise passing up flatpack ICs, 16 as they are a hassle to work with, are more expensive (except in surplus), and are used mostly by people like NASA where the things have to work on the dark side of the moon. For those of us still on earth, however, DIPs will do just fine (refer to Figure 1-12 for illustra: tions of the different packages) Figure 1-12 The leftmost IC's mounted in an 8-pin minidip Package, the center IC in a TO-S round package, aid the rightmost IC in a 14-pin dip package. a > & Other IC packages are in use, but we will only be using either DIP or round types in the projects There are two major families of ICs, linear and digi tal. Digital ICs are used in computers, calculators, digital clocks, and other decision-making or number-counting circuits. The tuning standard (Project No. 16), which is a variation on a counting circuit, uses digital ICs; so does the electronic footswitch (Project No. 15), which has to ‘make decisions (should I switch the effect in or out?) However, most of the projects feature linear ICs. Linear ICs amplify, oscillate filter, and do other interest ing things. All audio equipment is based on linear cir- and the audio modifiers in this book are no ex- ception. By far the most popular linear IC is the operational amplifier, popularly called an op amp. This is simply a high-quality amplifier, capable of large amounts of gain, predictable behavior, low noise, and good frequency re sponse. Since it’s very difficult to get all desirable char acteristics packed into one op amp, there are many dif- ferent op amps to choose from. Some specialize in low noise at the expense of other characteristics, some have really good frequency response but lots of noise, some ate designed solely to be blow-out proof, some are de- signed for low-budget applications, and’ so on. We'll mostly be using either low-noise- or extended-frequency- response units, Some people get confused over the numbering sys tem for ICs. ICs typically have 8 to 28 terminals, each of Which is assigned a number for identification purposes. The numbers are assigned in the following manner: look- ing at the IC, you will see some kind of notch, dot, or other identifying mark at one end of the IC. With this notch pointing up, as in Figure 1-13, the pin in the ex:treme upper left-hand comers is pin 1, The pin below it is pin 2; continue counting until you reach the end of the row. At this point, jump over to the bottom of the next row and continue counting, but this time count up. ‘The highest number pin is therefore in the upper right- hand comer. Round ICs have some kind of tab, which indicates the highest-numbered pin. Looking at the IC from the bot- tom (or, the side where the leads come out), the pin to the immediate right of the tab is pin 1. Continue count- ing clockwise until you reach the tab, which is the high- est-numbered pin. People often become confused over IC nomenclature as well as the pin numbering scheme, When a company invents an IC, it assigns that part a certain number-say, 741—and then adds a prefix that stands for the name of the company. When other companies produce the same part, they in turn add their own prefix to the number; vests Identifying IC pins. dot notch “ mi ss = =f gq? A od : 7 p 8 ‘manufacturer IC identification (in this case, number it's National Semiconductor) 1ossw1 round package type (bottom view) for example, an LM741 is made by National Semicon- ductor, an MC741 by Motorola, a WA741 by Fairchild, an RC741 by Raytheon, and so on, An additional suffix may be added to indicate the type of packaging used for the IC, so that 2 741 in a plastic case would be a 741P, and the same part in a ceramic case would be a 741C. Finally, the prefix or suffix may be modified to indi- cate certain additional aspects of the IC’s performance. ‘An RC4739 is a Raytheon part designed for commercial use; an RM4739 is a Raytheon part designed for military use. Military parts are generally capable of operating over a wider temperature range, and meet certain high reliability requirements set up by the government. However, they ate considerably more expensive than consumer grade parts, and are not cost-effective for our applications. By the way, many semiconductor vendors do not buy parts from just one manufacturer, since several manu- facturers often make identical parts, So, rather than in: dicate that they have an RC741 or an L741 in stock, they'll just say they have a 741 and drop the prefix and suffix. In this case, you can assume you're buying a plastic-packaged device intended for consumer applica- tions. ‘A couple of people have asked me why other parts are necessary if ICs are a complete functional unit. The answer is twofold: certain parts are difficult to fabricate fon an IC; and ICs are usually set up as general-purpose devices. Other parts do things like determine the amount of gain, current drain, and frequency response. Wire You'd think the subject of wire (see Figure 1-14) would be simple—it is, but with some complications The simplest kind of wire is bare wire—a solid, fairly thick piece of copper (or more likely these days, cop- per alloy), which can take electrons from one place 10 another. This kind of wite is popularly referred to as ‘buss (or bus ) wie, ‘The next step up in complexity is insulated wire— ‘wire covered with a plastic sleeving or insulator which keeps it from shorting out to any other wires, Next is stranded wire-many thin bare wires covered with a Plastic sleeving that insulates the entire bunch of wires and holds them together. Stranded wire has the advan- tage of being sturdier if the wire gets pushed around a lot; if you push solid wire around too much, it can bend and break. These three types of wire are what you'll use for most point-to-point wiring in the projects. One handy feature of insulated wire is that the insulation comes in dif- ferent colors to facilitate color-coding,Gauge is the proper term for wire diameter; the best range for wire in these circuits is from #22 (largest prac- tical) to #28 (smallest practical). The larger the gauge number. the shinner the wire. Figure 1-14 Wire types. bare wire 4 x = bare wire with insulation (or solid-core wire) - — two-conductor cable : zip cord “ shielded cable gs The next part of the wire world worth looking into is cable, which we'll loosely define as more than one insu- lated wire inside a plastic sheath. Most musicians are familiar with shielded cable, the kind of wire used in gui- tar cords, Shielded cable has one (and sometimes more) insulated conductor, wrapped or covered by some form of conductive’ shield. This shield is usually some kind of conductive foil or crisscrossing pattern of very fine wires. By connecting the shield to a ground point, the s which it wraps around are less susceptible to stray hhum or radio signals, The wire inside the shield sreferred to as hot compared to the shield, which is grounded (no volts—remember?). Sometimes shielding is not required, in which case the cable is simply referred to as multiple conductor cable. 8 Low-capacitance shielded cable is a type of shielded ccable designed specifically for audio applications. With- out getting too technical, suffice it to say that all shielded cable exhibits a certain amount of capacitance. Under some conditions this capacitance reduces the treble re- sponse of an instrument such as guitar, especially if the cable is longer than a few meters (yards). For our pro- jects, it certainly doesn’t hurt to use low-capacitance cable, but it's not really necessary; regular shielded cable will do the job just fine, since most of the cable lengths will be under 15 em (6”) or so. Twisted pair is similar to shielded cable; by using a pair of wites, twisting them, and connecting one to ground, the other one is somewhat shielded. Though not, as effective as the wrapped type, it’s still useful for many applications. A type of wire we won’t be using, but you see a lot, is magnet wire. This is extremely thin copper wire, covered with a lacquer type of insulation, which is used for winding coils such as guitar pickups and speaker coils. Coil cable 1 usually mistrust, unless it was made for Bell Telephone, The inexpensive imported coil cords commonly seen are shielded, but the shield is a flimsy Kind of cloth with copper deposited on it in all the samples I've looked at. The last type of wire weneed to check out is zip cord. ‘This is the brownish kind of wire found usually on toasters, lamps, radios, and other applicances that plug {nto the wall. Zip cord is two heavily insulated conduc- tors designed to carry a reasonable amount of current. It’s useful for speaker wires and power supply wires. One fact many people don’t know: the two different conductors of zip cord are coded. Usually, one side of the conductor's insulation is ridged, while the insulation ‘on the other side is smooth, While there is no real "stan- dard” on the subject, most people using zip cord as speaker wire use the ridged conductor for the hot lead and the smooth conductor for the ground lead. Mechanical Parts Knobs. Everybody knows what a knob is. What you may not know is that there are different methods to hold knobs onto pot and switch shafts, Cheap knobs simply put grooves on the inside plastic wall which mate with matching grooves on the pot shaft. Types with a set screw in the back are somewhat better, but the best are the kind with two setscrews, placed ninety degrees apart. ‘This dual retaining action holds the knob on its shaft tightly and securely. Sometimes the setscrews use stan- dard screwdriver slots, and sometimes hex nuts. To take off a knob with hex nuts requires a tool called an Allen wrench. Chances are, though, that you won't run into these too often, as hex nuts generally are indicative of a high-priced knob.Switches. Switches generally complete or interrupt a circuit. Figure 1-15 shows a simple toggle switch sche- matically. With the switch closed, a conductor connects wires A and B; with the switch open, Aand B are effec- tively insulated from each other. Most on-off switches are of this type. They are called single-pole, single-throw switches (or SPST) because one wire, the pole, can be switched to one other wire (the throw). A single-pole, double-throw type (SPDT) can switch a wire to two other wires (Figure 1-16). A double-pole, double-throw switch, (Figure 1-17) can switch each of two wires to two other wires. A toggle switch has each of the poles and throws brought out to a solder terminal, usually in a logical way, and comes in regular or miniature sizes, Figure 1-15 SPST switch. conductor wite Ao eo wire B closed SPST switch wire Ao 9 wire B open SPST switch Figure 1-16 SPDT switch: wire C can connect to either wire A or wire B. wire A 0 wire B wire C wire A, o— wire B wite SO Figure 1-17 DPDT switch (schematicized): as 2 connects to 1, Beonnects to A; when 2 connects to 3, B connects 10. Figure 1-18 shows which terminals connect together when you push the switch toggle in different directions for a miniature toggle switch. Note that pushing the tog- gle up connects the middle and lower terminals together, while pushing the toggle down connects the middle and upper terminals together. Also, note that any DPDT switch can be used as an SPDT, DPST, or SPST switch by simply not using all the available terminals, Figure 1-18 The terminals connecting together for the two toggle positions of a typical miniature SPDT switch. ese two terminals onnect. together — T= these two terminals FE > connect together Figure 1-19 shows a number of switches. The slide switch is less expensive (but also somewhat flimsier) than toggle types. I tend to avoid them because they're hard to mount, and their non-airtight construction tends to pick up dust and dirt Pushbutton switches perform a switching function when you push down on a button, Sometimes these are available in a sturdy case (as shown in the photo) that’s suitable for footswitching. Unlike ordinary pushbuttons, 19Figure 1-19 Six uifferent switch types. The one in the center is @ DPDT miniature togele switch; clocksstse from the lower lefrand comer, we have ¢ DPDT foot switch, reeularsize slide switch, regudarsize togsle switch, rotary switeh, and dipswitch. footswitches do not have a momentary action, but a sus- tained action, This means that pushing the button once flips the switch one way, and pushing it again flips the switch the other way. There's more material on foot- switches in Project No. 11, and Project No. 15 shows ‘you how to replace the comparatively rare and expensive DPDT footswitch with a more common (available in hardware stores, for example), less expensive SPST type. ‘More complicated switching requires a rotary switch. ‘This has phenolic or ceramic wafers with terminals brought out for the poles and throws. Usually the mech- anism works similarly to the one detailed in Figure 1-20, with a detent mechanism hooked up so that the rotary switch clicks as you turn it around and the various con- ductors line up. Single-pole, 6-throw (SP6T), double- pole, 12-throw (2P12T), and other exotic switching com- binations are possible. With rotary switches and some other switch types, which terminals connect together in various swjtch posi- tions may not be entirely obvious. To find out, use a continuity tester or ohmmeter (see Project No. 19) to check for continuity (a completed circuit, in other words) between the various switch terminals; make a note of which terminals connect together in various switch positions. ‘Our final switch type is the dipswitch. The one in the photo contains seven miniature on-off switches in a case not much bigger than a conventional 14-pin IC; in fact, dipswitches are size-compatible with standard IC sockets. 20 Dipswitches are not really intended as front panel switches; they have the same relationship to regular switches as trimpots have to regular potentiometers. It's sometimes important to know the current rating of the switch, as well as the switching configuration. Most toggle switches can safely handle 2 or 3A of cur- rent at 125V, which means that they can control a fair, amount of juice (about 250W), For us, any switch can hhandle the voltages we'll be dealing with; however, dip- switches are not ever suitable for switching 115V AC. Figure 1-20 Singie-pole, five-throw (SPST) rotary switch.Figure 1-21 Four commonly used batteries. The little one in the front is an “AA cell; the large one on the left isa “D” cel; the one standing up in the middle isa °C” cell; and the one on the rightis a 9V transistor radio battery, suitable for use in many of our pro- jects Sik a aaeee Batteries. Batteries come in different sizes, voltages, and current-producing capacities. Figure 1-21 shows four available types. The transistor radio battery is the kind most often used in accessories for the electronic ‘musician; it combines small size with a fair number of volts, and a moderate amount of current-generating capability. “AA” cells, commonly called “penlite” cells, produce the least amount of ampere-hours (amount of current for a given amount of time). “D” cells are the ‘most powerful. However, combining several batteries to- ether in series (Figure 1-22) increases the current-gen- erating capacity, as well as increasing the available vol- tage. Given that one “AA” battery will produce 1.5V, then two batteries will give 3V, six will give 9V and so on. Figure 1-22 Combining three 1.5V batteries in series to yield or Oa y Bates a abo male fom een chen nm pounds wh geile per ect The Pia and oretlved tye be eabonsn tery ia cs ge Toner ie aphforceas with low current drain there is little (if any) economic SSrtge ough ln bees eon ue fim cals reqiing oa emoun fe. ser lind of trey 8 he mc trey, ito oul commend foros masa i tna aly contnt xg vag il eed ot rane 8 wich pot te xia wes drops rapidly. For this feature, you have to pay a whole lot, and it just doesn’t seem to be worth it (especially considering the ecological aspects of throwaway mercury batteries). ‘You will notice that there are devices on the market ‘which claim to recharge carbon-zinc batteries. Actually, a fot of controversy surrounds charging batteries—does it really work and isit dangerous? The answer to both ques- tions is yes. You can recharge carbon-zinc batteries (as Jong as they aren't too far gone) to close-to-new condi- tion; however, if left to charge for an extended time, they can explode, sending battery acid out in various random directions. For this reason, most professional electronics people frown on recharging batteries. Ifyou're liable to forget about charging a battery for a couple of days, I suggest not doing it Nickel-cadmium batteries, s opposed to carbon-zine cones, are designed to be rechargeable. They require @ special charging unit, which recharges them safely at a fixed, slow rate. It is possible to got nickel-cadmium: type “AA,” “C,” and “D” cells, ut rechargeable nickel cadmium transistor radio batteries are still quite rare. For batteries, you've got to have battery holders. Electronics stores carry plastic or aluminum holders for “AA.” °C,” and “D” cells; some can hold up to six or even ten batteries of a kind. When holders are for more than one battery, they are always hooked up in series to increase the voltage. A useful hint to know (since 9V battery holders are difficult to find) is that a 9V battery wil fit in a °C" cell holder. Nine-volt batteries have a special connector which you've probably seen inside commercial modifiers or transistor radios. These snap onto the end of the battery and have two leads coming out, one black and one red. ‘The black lead stands for minus (-) and the red for plus (9: more on them in Chapter 4 A piece of slightly esoteric knowledge: by placing ‘your tongue across the two terminals of a 9V battery, you can determine its freshness. A good 9V battery will give you a healthy, salty-tasting bite. The sharper the bite, the better the battery. With alittle experience, you can taste just how good a battery is. Something else to consider is that batteries age; this characteristic is called shelf life, meaning that should a battery have a shelf life of two year, even without us it will be dead after that time period. Therefore, avoid buying batteries at places that don't do a brisk trade in them, Many batteries are datecoded, so if you ean fig- ure out the code, buy as new a battery as possible Finally, remember that batteries just don't work if they’te cold. If you bring in a battery from a vehicle parked outside in the cold, you'll have to wait until the battery warms up before it will give proper perform- ance,Grommets. Grommets (like the ones in Figure 1-23) are little rubber or plastic doughnuts. They are installed in past-through holes for wires in metal panels, princi- pally to keep the wire’s insulation from scraping against the sharp metal that often surrounds a drilled hole. You'll see that most AC line cords pass through grom- ‘mets on their way to the electronic innards of whatever they're powering. Figure 1-23 Nuts and Bolts. The most popular sizes for electronic work are 440 and 6:32. It's good idea to buy nuts and bolts in assortments, so that you always have hardware around, Screw lengths of interest will be 9.3 mm (3/8"), 6.2 mm (1/4"), and 21.8 mm (7/8"). The 6-32 types are a little heavier duty, and good for mounting stuff like transformers and panels. The 4-40 size is good for attach- ing solder lugs, mounting circuit boards, and holding down terminal strips. Lockwashers. Lockwashers go between a nut and the surface being screwed through (see Figure 1-24). Lock- washers hold the screw tightly and keep it from becom- ing undone by vibration or other sinister forces. Figure 1-24a and 1-24b (a) Three different styles of lockwashers; (b) how a lockwasher mounts between the nut and chassis. ae a” 2 Solder Lugs. Solder lugs (shown in Figure 1-25) mount to a metal chassis with a screw through one end; the other hole is for attaching wires and making solder connections. Other types fit around the bushings of potentiometers, and have something to solder wires to at the other end (Figure 1-26). Actually, you can call anything that is metal and designed to have wires sol- dered to it a solder lug; for example, a potentiometer has three terminals which can be thought of as solder lugs. Figure 1-25 Figure 1-26 This photo shows three standard lockwashers for potentiometers, as well as a lockwasher with a sok der lug attached. °s2 ke,The terminals coming out of switches can also be thought of as solder lugs. On some switches and other parts, ‘you'll see screw terminals (Figure 1-27). Wrapping a wire around the serew and tightening it down is just not as re- liable as soldering, so I generally either avoid these or re- move the screws and solder anyway. Figure 1-27 How to recognize screw terminals so that you ean void them. screw terminals Terminal Strips. Pictured in Figure 1-28, these things are basically a bunch of insulated solder lugs to which you can connect wires; one of the terminals will have a serew hold for attaching to a metal chassis. This lug then becomes your chassis ground connection. Figure 1-28 Quarternch Telephone Plugs. Commonly called Phone plugs (not to be confused with RCA phono plugs, the kind used on hi-fi equipment). Like switches, solder- terminal types are preferable to serew-terminal types. ‘The mono plug has two connections, one for hot and one for ground—the hot is the tip, and the ground is the shield. The stereo kind has two hot conductors and a ground (see Figure 1-29). The body of the plug is usual Jy made of plastic or metal-the metal ones last far longer, and I definitely recommend them. Figure 1-29 mono %” phone plug ground solder terminal hot solder -&a terminal gtound stereo 4" phone plug ground solder terminal hot hot ground hot #2 solder terminal 1 solder Quarter-Inch Telephone Jacks. You'll find 1/4” tele phone jacks (see Figure 1-30) on your guitar and at your amp inputs. These can be either stereo or mono. In the case of mono, there are two solder tabs; stereo jacks hhave three solder tabs, corresponding to the two hot terminals and ground. You can classify jacks as closed or open. An open jack is like the ones just described—jacks, plain and simple. A closed jack means that some kind of, switching action is involved. A good example of this switching action is when you plug an earphone into a transistor radio and the speaker goes off—you're actual- ly switching the speaker on and off with the jack. Figure 1.30 The jack on the left isa stereo type; the one on the right is a mono open-circuit type. Figure 1-31 shows a mono closed-circuit jack both pictorially and schematically. Terminal A is the ground or shield terminal, C is the hot terminal, and B is theFigure 1-31 mono closed-cireuit jack terminal B terminal ( with plug not inserted, terminals Band C short together Iv inserting a plug breaks the connection between Band C $0 ts a switch. B normally presses against the hot terminal when no plug is present, but inserting a plug pushes the hot terminal away from the switch part. With stereo jacks, either one or both hot terminals can have a switching action builtin, Whenever you use a closed-circuit jack, make sure you're soldering to the appropriate tabs. Mistaking the hot terminal for the switch will probably keep the de vice from working properly. There is a test to avoid this kind of mistake called a continuity test, described in Project No. 19. Figure 1-32 The transformer on the left is @ miniature audio type, which we use in Project No, 3. The one on the right isa power transformer suitable for step- ing down 117V AC to 12V AC. 4 Transformers. Figure 1-32 shows a couple of trans- formers, one audio transformer and one power trans- former. Power transformers convert the AC coming out of your wall to a lower voltage. Since 115V will often fry semiconductors, the transformer steps down that 115V to 6, 12, 15, or some other low voltage. Trans- formers can either be center-tapped ot not; a non- centertapped model can only work in certain power supply designs, whereas a center-tapped one will work in any kind of supply. Since we only use a power trans- former in Project No. 13, we'll specify the proper kind to-use at that time. Cases. Most cases (or chassis) are made of metal for two reasons: one, metal is a conductor, so the case may be treated as a big ground area; two, metal is far stronger than plastic or phenolic, the other popular choices for cases. Your best bet is to stick to the aluminum type; steel eats through drill bits like crazy, requires more of fort to drill, and has inferior shielding properties com- pared to aluminum. Reading Schematic Diagrams ___ Now you know what kinds of parts we'll be working, with, what they look like, and_what their important characteristics are. Before we finish, we should talk about relating these parts to schematic diagrams. Schematics are nothing more than shorthand wiring diagrams. Instead of drawing a wire, you draw a line. When connections go to ground, rather than drawing & line connecting all the ground points together, you sim- ply attach a ground symbol to whatever needs to be grounded, Each part is identified by its own symbol, ex- cept for integrated circuits. Figure 1-33 shows the sche- ‘matic equivalents for the parts and wiring connections we've talked about. You'll notice that there are some- times two symbols given for a part—a preferred and an alternate, The preferred are what I use, but the alter- nates are common too, since schematics are not all stan dardized. Integrated circuits have nearly as many schematic representations as there are ICs, but we'll use the two popular approaches shown in Figure 1-34. The first illustration shows the outline of a 741 IC, looking at it from the top (that is, the surface with the notch or dot). This method shows all the pins of the IC, along with their pin numbers. Frequently it is not necessary to show all the IC pins, since some pins are not of interest in many applications, and some aren't even connected to anything inside the IC. In fact, if you look through the rojects and notice unconnected IC pins, don’t worry; it’s standard practice to use only the pins you need. One advantage to showing ICs in the “skeleton outline” form is that it's easy to visualize the actual wiring, since the schematic symbol looks like the IC itself,Figure 133, resistor potentiometer coramic, dise, or mylar capacitor electroly tie capacitor diode light-emitting diode (LED) op amp, SPST switch, DPDT switch seven-position rotary switch \W\ —L it 2; push-button switch —+— connecting wires | alternative version | as __ alternative version 4 f battery 4 f 4 H f several batteries (board) ground ala (chassis) ground 3 § transformer speaker and headphones nonconnecting wiresFigure 1-34 (a) Typical symbol for the 741, an integrated cir- ‘cuit containing an op amp (the little triangle). Pins 2 and 3 are inputs; 4 and 7 go to the power supply; I and 5 are necessary for applications which are not of interest to us currently; pin 8 doesn’t connect to anything internally, and is considered an “nc” (no connection). (b) Here's another way to show a 741 op amp. For ex- amples of both styles, see some of the project's schematics. fa) (similar to top view of IC, but not necessarily to scale) (b) The second illustration shows how to look at 2 741 IC schematically, Since the 741 is an op amp, we use the symbol for an op amp as shown in Figure 1-33, and put pin numbers next tothe leads coming out ofthe op amp. You'll notice that the power leads, pins 4 and 7, are shown coming out of the top and bottom of the op amp triangle. You'll also note that pins 1, 5, and 8, which are of no importance to us, are not shown in this method. ‘Alot of the ICs we use, however, are complex devices containing more than one op amp: an example of this is the 4136 IC, which contains four op ampsin one package with fourteen pins. In this case, we can still draw a skel- ton outline (Figure 1-35a) but it’s frequently less cum bersome from a drafting standpoint to show a complex IC in the second method of Figure 1-356. The power supply connection lines could come out of any of the ‘op amps; or, one supply line could go into one op amp, and the other supply line into a different op amp, as shown, The reason why it doesn’t matter which op amp shows the power connections is because with multiple ‘op amp devices, the power lines are common to all op amps, Projects No. 10, No. 11, and No. 17 offer exam- ples of how to show complex ICs schematically. Digital ICs do not have their own symbol, so in the case of these ICs what we'll do is simply draw a box that represents the IC, and number the pin connections (see the Project No. 16 schematic for an example of thi). 26 ‘Any pins not indicated on the schematic may be ignored. ‘The pins on digital ICs are numbered just like the num- bering scheme for op amp ICs shown in Figure 1-34. Since there is no standard way to show ICs sche- ‘matically, both methods described above will be used to familiarize you with the various ways the electronics world draws them. Figure 35 to power supply (+) to power supply (-) (b) each op amp = % 4136Substituting ICs. A few people have had difficulty finding some of the op amps I like to use, particularly the 4739 dual op amp. Actually, there are many sources that carry the 4739, 4136, and other ICs used in the pro- jects; thousands of people have found these parts with- out trouble, so hopefully you won't have any problems «either. The reason why I've chosen these parts over more general-purpose op amps is because they are low in noise, virtually impossible to destroy, and inexpensive. However, in instances where you aren't too picky about Noise, general-purpose op amps such as the 4558 dual op amp (a very common IC) can substitute for the 4739. Refer to Figure 1-36, which shows the pinout of the 4558 and 4739, and follow the directions below to sub. stitute one op amp for the other. Substituting Parts —_ Figure 1-36 5558 ~~ amp A outout il |e postive supply arp A (-) input | [7 are 6 output amp A (+) input] {2 amp 8 (-) input EV amp 8 (+) input negative supplyia np # output negative supply Wire the connections that normally go to pin 1 of the 4739 to pin 1 of the 4458. ‘i Wire the connections that normally go to pin 5 of the 4739 to pin 3 of the 4558. Wire the connections that normally go to pin 6 of the 4739 to pin 2 of the 4558. Wire the connections that normally go to pin 7 of the 4739 to pin 4 of the 4558, Wire the connections that normally go to pin 8 of the 4739 to pin 6 of the 4558, Wire the connections that normally go to pin 9 of the 4739 to pin 5 of the 4558. Wire the connections that normally go to pin 13 of the 4739 to pin 7 of the 4558, Wire the connections that normally go to pin 14 of the 4739 to pin 8 of the 4558. ‘As you can see, what we've done is compated the pin- outs of the two parts, and when something goes to, say the () input of op amp A of the 4739, we instead wire it to the () input of op amp A of the 4558, . . and carry this procedure through until all pins (inputs, outputs, power supply, etc.) are accounted for and connected to the appropriate pins on the substitute op amp. Remem- ber that pins 2, 3, 4, 10, 11, and 12 of the 4739 do not connect to anything internally. Several years ago, a part called the 739 was manv- factured, of which the 4739 is an improved version. How. ever, the 739 is not suitable for use in our circuits be- ‘cause it requires several extra parts not included in the schematic or on the circuit board. Attempting to use this part will produce unsatisfactory results. To substitute for the 4136, you can use either two ‘5558s or four 741s. The procedure for substituting for the 4136 is the same—look at the pinout, identify the terminals, and make the appropriate wiring changes to accommodate the different pinout of the substitute IC. Substituting resistors and capacitors. Although these circuits work best with the parts values indicated, those experienced in electronics will no doubt be able to make ‘changes to use their parts on hand without affecting the performance of the unit. It’s often suitable to use parts that are close in value to the ones required. For exam- ple, if you want a 1.2uF capacitor and you only have a LOM type, don't worry about the difference. Remem- ber that capacitors are generally not that precise in value; 80 @ 1.0MF capacitor could actually have a true value that’s any where from 0.8MF to 1.24F and stll be with- in + 20% tolerance. Likewise, if you need a 100k resistor and can only get 90k or 110k, don't worry about it; there will be little, if any, difference in overall perform. ance. Frequently the most important property of resis- tors is how well they are matched, not whether they have precise values. So if two resistors of the same value ‘are specified, don’t change one without changing the other. However, do keep in mind that the circuits in this book have been extensively tested over a period of years and are specifically optimized to work with the parts indicated. Unless you are aware of the consequences of what you are doing, try to use the specified parts when- ever possibe. 27oR TABLE OF ELECTRONIC MEASUREMENTS For your convenience, this table summarizes electronic ‘units of measurement and their abbreviations. ‘Ampere (A) — unit of current measirement MiczoAmpere (uA) = 000001A MullAmpere (mA) = O01 A Farad (F) — unit of capacitance measurement Micro Farad (uF) = .000001 F NanoFarad (aF) * 000000001 F er ,001 uF PicoFarad (pF) = .000000000001 F or 000001 or 001 nF Hertz (Hz) — unit of frequency measurement ‘KiloHertz (kHz) = 1,000 Hz ‘MegaHlerte (MHz) = 1,000,000 Hz ‘Ohm (£2) — unit of resistance or impedance measurement KilOhm (62) = 1.00082 ‘McgOhim (MSQ} = 1,000,00082 (tm actual practice, he Greek lester Ornees (9 i often ‘omitted, Thus, 1OORGE becomes 100K.) Yolt (V)— unit of voltage measurement MicroVott (HA) = .000001-V MilliVolt (mV) = ‘001 V Watt (W)— unit of power measurement MicroWatt (,W) = .000001 W MilliWatt (mW) = .001 W KiloWatt (kW) = 1,000WChapter Two Asurvey of how and where to find parts at reasonable prices. =.) One of the biggest stumbling blocks for electronic ‘musicians and electronic hobbyists is finding the parts necessary to build a project. However, this need not be a «iifcult task; in fact, all the parts in this book are avail- abe fom mimhee of sources. You ean obtain parts by mail, or from retail electronics dealers (I generally use a srioFthe-mon Foe my parts needs) Finding Mall-Order Parts Sources Go down to your library or newsstand and check out Some of the magazines published expressly for electron- leshohbyiete (Prmular Floornnins, Radio-Eleetronics, 73, snd Science Electronics are the most commonly avail: able), Look in the back section of these magazines, and you'll see numerous ads for mail-order hobbyist supply house ‘These ads generally include a partial listing of parts and prices, as well as giving instructions on how ‘0 obtain a catalogue, Many’times this just involves cirel- ing a number on a reader service card bound into the mnagavire; a few weeks later, the catalogue will arive at ‘our door. In most cases, mail-order companies have lower prices and a wider selection of parts than local ime Finding ana Buying from Ineal Parte Cavierag this case, your best tool is the Yellow Pages sec tion of th» phone directory. The subject headings you ‘want are “Electronic Equipment and Supplies~Dealers” snd “Electronic Equipment and Supplies-Wholesale.” Dealers are the retail stores, and they want your business. shertior srs Fares. or small. The prices are gen: trally close to list prices because the volume they do is ‘ynsll in comparison with wholesale firms. Frequently they sell consumer equipment, such as stereos, calcula- tors, and burglar alarms, as well as parts. Although a few stores have their own sources of supply for com- ponents, most dealers distribute “hobbyist” parts lines offered by various component manufacturers, While there are quite a few parts lines, probably the most com: prehensive carried by local stores is the Calectro line, manufactured by GC Electronics, which includes resis- tors, potentiometers, semiconductors, transformers, speakers, knobs, and a bunch of other things, like preassembled modules. It also has printed circuit board kits, cases (both metal and plastic), and battery holders. Many stores will carry more than one line, so check out what’s available. A variation on the independent local retailer is the chain store. Probably the most familiar of these is Radio Shack, with stores all over the U.S.A. and other parts of the world. Radio Shack carries its own line of parts, which is roughly comparable to the Calectso line except that there is more emphasis on semiconductors. In re cent years Radio Shack has started stocking some parts that are very useful to electronic musicians—maybe be- cause of all the people who have this book and have stopped into their local Radio Shack to look for parts. In addition to Radio Shack, there are chains of @ ‘more regional nature, such as Lafayette Electronics and Olson Electronics. Again, the Yellow Pages will let you know what's around. ‘One point to remember about retail stores is that you can usually ask questions about parts and electronics without getting funny looks. Frequently the person on. the other side of the counter, and sometimes even the ‘manager, will know less about electronics than you will after you've read this book, but they may be able to tum you on to either somebody in the store who knows what he's talking about, or to a regular customer who knows about electronic matters. 29Wholesale stores are a different matter. They are set up to serve the industrial and/or TV repair market, and are used to catering to professionals. They don’t like to be bothered with somebody who walks in and just wants fone capacitor, although there are exceptions. If you can {0 into @ wholesale place and specify exactly what you ‘want and act like you know what you're doing, they'll 'be more inclined to deal with you. Remember, though, ‘that these places are set up for the professional and that the employees have neither the time nor the inclination to do any thinking for you. If you're lucky, there will be a wholesale outlet in your community that also has an over-the-counter section for nonindustrial users. Here, ‘the counter people are more likely to know about electronics, and if you are polite and look green enough, nine times out of ten they'll try to help you with any questions. One way to be welcomed at wholesale stores is to obtain a resale number. Wholesalers interpret resale num- bers as an indication of a sincere and professional inter- est in electronics, and some wholesale outlets won't even let you through the door unless you've got one. The state ‘you live in issues resale numbers, which allows the profes- sional manufacturer or distributor to avoid paying sales, tax on the parts he buys, since the parts will be resold as part of a finished product and sales tax will be collected ‘on that. If you intend to make anything for sale, a re- sale number isa valid permit to obtain. However, certain legal obligations must be complied with. First, some states will require a deposit; for small businesses, though, this deposit is nominal. Next, if you sell something to somebody you must collect the prevailing sales tax, and you are obligated to send to your state the sales taxes you've collected on a regular basis. Finally, if you buy parts for your own use and not for resale, you must de- clare them as taxable and pay the sales tax. Further in- formation on resale numbers is obtainable from your county government (see Yellow Pages under “Govern- ment Offices—Sales Tax”), ‘Another branch of the wholesale tree is the electron: {es distributor. These exist mostly to serve the indust market; they expect orders that require hundreds or even thousands of parts, and carry products from specif ic companies. If you're lucky, there will be one in your area that has an over-the-counter section. Unfortunately this practice is on the decline, as over-the-counter vol- ume is small compared to industrial volume and not ‘worth the effort to the distributor. Surplus electronics stores also deserve @ look. Some surplus stores sell a wide selection of really high-quality parts at extremely good prices; others sell trash and re- jects without giving you any real cash advantage. Re- ‘member that the reason why something is in a surplus store in the first place is because the original buyer didn't want it, due to any number of reasons (change 30 in styling, defects, business failure, and so on). So there is a definite “let the buyer beware” implied in dealing with surplus stores. This is not necessarily because of any dishonesty; rather, these stores don’t have time to go through all their parts, and they leave it up to the cus- tomer to determine whether or not the part is suited for the intended application. Most of the time, surplus stores will cheerfully take back any part you find to be improper, but others don't, and you can’t really blame them. People frequently will get an exotic part, blow it up through lack of knowledge, and blame the store. Now that all these warnings are out of the way, let’s examine the benefits of surplus outlets. First of all, the price is right, but most important, the parts are frequently difficult to obtain elsewhere and are of good quality. A part which may be obsolete for the space program may be perfect for the experimenter, and the saving is substantial. Also, companies will sometimes go out of business and sell their inventory for peanuts to surplus dealers to minimize their losses. This saving gets passed on to you. Additionally, the people at surplus stores are far more likely to know about electronics than the people at retal stores, since their very livelihood de- pends on being able to examine a batch of parts and de- termine whether it’s something on which people would want to spend money. ‘An emergency parts source, although limited in scope, is your local TV repair shop (again, the Yellow Pages are a great help), Because they are not in business to sell parts, they don’t have many on hand for experimenters, and if you do request something, it will sell for list price. ‘This is only fair, because they have to make a living somehow and can't afford to deplete their parts stock unless they make something from it. But there have been. ‘many times when I needed a few feet of solder, or are sistor, and a TV repair place has had it. So although it’s a last resort, it’s still worth checking out, and you might meet some interesting and knowledgeable people that way (you may also meet a grouch or two). Getting the Most out of Mall Order __. Very few towns have enough electronics experiment- ers to support a large electronics retail store; you'll tend to find these only in larger metropolitan areas, and even. then they may not be able to offer a wide selection of parts. AS a result, many hobbyists have come to rely on mail-order shopping as an alternative to buying through retail outlets—particularly for locating ICs, which can be very difficult to find locally, even from distributors. Mail-order companies do not depend on walk-in trade, so anyone who lives near a mailbox is a prospective client. People generally have two reservations about mail order houses. The first is that you have to wait for the order to be processed and sent back to you, which cantty your patience when you're hot to get started on a project. Second, there have been many cases of mail ‘order fraud (few involving electronics suppliers, how- ever), and people are suspicious about sending off large amounts of money to some post office box halfway across the country. Luckily, though, these reservations ae not really justified. Sometimes it does take time to get a part, but T have dealt with dozens of mail-order suppliers and the average turnaround time has been un- der a week, Many of these companies have toll-free o ‘2Uhour answering services to take credit card or COD or- ders, and this can speed up the turnaround time to two or three days-not bad at all. There have been cases where it has taken two weeks to a month to fill a back order, but that can just as easily happen when dealing with a retail store if it doesn’t have what you want in stock. ‘As far as fraud goes, I've certainly had companies ‘mess up an order from time to time, but these problems are invariably due to human error rather than malevo- Inne: loter or phan call has taaye hoon afiviont te straighten out any problems. If a company has adver- tised in a magazine for more than six months or so, you can be pretty sure that it is a realiable operation. If I'm unsure of some new place, I'l send in a small order for a couple of parts; how well they process the order will tll ‘me whether or not I want to order from them again. To get the best results from mail-order companies, you should follow a few procedures. First, put your same and address on the order itself-simply including it on the envelope return address isn’t good enough. Companies get really frustrated when they have a check, 4 list of parts, and no address. Second, keep any corre: spondence separate from orders if you want your order processed as quickly as possible. Third, avoid COD, as it ‘costs you mote money, and will also delay your order. Fourth, if you have trouble with a company, write them. Bren the best mail-order houses cannot avoid an occe: sional goof; they have no way of knowing there's a prob- lem unless you tell them, Last of al, if you're asking for advice, technical help, or something beyond a simple re- quest for price lists or catalogues, include a self-addressed stamped envelope, This encourages a prompt (and often ftiendiie) response Getting the Best Prices: Stocking Your Lab ___ If you're only buying parts for a couple of projects, then retail stores are certainly the most convenient way to shop; but the lowest prices usually come from indus- trial distributors and mail-order houses (especially on large orders). One of the best ways to keep parts costs down is through quantity buying. If you can locate fel- low enthusiasts in your area and pool orders, you can ‘make substantial savings. For example, a single phone jack might cost 45¢, but the same part may go down to 374 if you buy 10, or 30g if you buy 100. Resistors can cost up to 15¢ each at the retail level; but if you buy 100 at a time, the price goes down to 1.5¢ each—one- tenth as much. If you buy just 10 resistors at retail prices, you've paid for 100 resistors at quantity prices... so You might as well get the 100, and have 90 “free” resis tors left over for use in future projects. You'll note that certain parts crop up with regularity in the various pro- jects (like 10k pots, 2uF capacitors, IN4001 diodes, RC4739 ICs, and the like); this is done on purpose so that you can buy parts in quantity and save some bucks. ‘Another way to stock your lab isto scrutinize the ads jn the back of electronics magazines. One company right make,a great buy on capacitors, and offer them at a lower price than the competition for a period of a few ‘months. Anothescompapy might have low prices on resistors, while another specializes in ICs. Keep your eyes open for bargainsonce I ordered a “surprise pack age” of 10 rotary switches that cost me less than I switch normally does, and ended up getting 4 useful switches out of the assortment. You can definitely come out ‘head on this kind of thing. There is one caveat, though. Many companies offer semiconductors which are labelled “untested.” These are sold at rock-bottom prices because most of the time they work marginally, if at all. Although experimenters can have fun with untested parts, i's best if you steer clear of anything marked “untested” unless you know how to test for functionality Table I shows some typical high and low prices on electronic components—but remember that component prices fluctuate radically. When economic conditions are g00d, semiconductor makers sell their stuff as fast as they can make it, and prices are high. But as soon as any kind of recession hits, prices end up being artificially low because there isnt enough customer demand. Of course, raw material costs, balance-oftrade situations, inflation, and a number of other factors ultimately influence the cost of the parts you use. When you buy this book, we may be in either feast or famine; look upon the prices given as guides, not maxims Parts Kits As a convenience to the readers of this book, PAIA. Electronics (see address in Table I) has agreed to stock complete parts kits for the majority of the book pro- jects as well as circuit boards for these projects. Each parts Kit includes a legended circuit board, resistors, capacitors, semiconductors, pots, and required sockets, and in some cases, switches and connectors. In case of difficulty, PAIA maintains a repair service. For further information and current pricing, write or call (405) 843.9626 to request the current catalog, 31‘There are, of course, many other sources for purchas- {ng individual components. Table If isa partial listing of prominent mail-order suppliers; while this ist does not necessarily constitute endorsement, I've had no prob- ems ordering from any of these companies in the past. When you have nothing to do some rainy day, write a batch of letters to the various companies and request ‘their catalogues-you'll find out what's available and for how much. 32 TABLE I. Representative Prices (SUS. ——— component 1/4W, 10% resistors, carbon comp type 1/4W, 5% resistors, carbon comp type potentiometers (consumer grade) potentiometers (professional grade) dise capacitors (under 0.01MF) dise capacitors (over 0.01F) electrolytic capacitors (under 100) electrolytic capacitors (over 100HF) LEDs 741 operational amplifier small diodes power diodes knobs switches (toggle, miniature) switches (toggle, regular) switches (rotary) jacks (mono, closed circuit) jacks (stereo) cases are difficult to locate; high price ist) As 20 2.00 5.00 28 38 50 1,002.00 38 78 30 49 60 2.95 175 2.00 65 15 ices vary from $2 to $10 typically low price (quantity price) o1s 02 80 2.50 05 10 20 '50-1,00 40 30 07 10 15 1.10 78 1.20 30 40TABLE I. Partial List of Mail-Order Houses Allied Electronics~401 East 8th St., Fort Worth, TX 76102, Broadline industrial distributor; not necessarily inexpensive. Parts can usually be ordered through local Radio Shack stores. Incidentally, Allied stocks the CLM {6000 opto-isolator used in some of these projects. ‘Ancrona Corporation—Box 2208, Culver City, CA 90230. Mostly semiconductor oriented; components, other items. AP Products Inc.-Box 110, Painesville, OH 44077. Makers of experimenters’ breadboards, which are fan- tastic little toys that make it easy to prototype projects without soldering. Check it out ifyou like to experiment. Burstein-Applebee—3199 Mercier St., Kansas City, MO 64111, Broad-ine distributor of components and elec tronic products. Digital Research Parts-PO Box 401247, Garland, TX 75040. Carries some parts, modules, surplus, etc. Delta Electronies—Box 1, Lynn,MA 01903. Parts, equip- ment, transformers, interesting surplus things. Digi Key—Box 667, Thief River Falls, MN 56701. Capac itors, semiconductors, resistors, diodes, other items. Electronic Distributors, Inc.~4900 N. Elston Ave., Chicago, IL 60630. General electronics, parts, tools, test equipment. GC Electronics—Rockford, IL 61101. Manufacturers the Calectro line of parts; write for info on nearby dealers carrying this line. Integrated Circuits Unlimited—7889 Clairemont Mesa, ‘San Diego, CA 92111. Semiconductors and somte parts. Intemational Components Corporation—PO Box 1837, Columbia, MO 65201. Semiconductors and other com- ponents. International . Electronics Unlimited—225 Broadway, Jackson, CA 95642. Semiconductors and other pats Jameco Electronies—1355 Shoreway Road, Belmont, CA 94002. Many semiconductors, components, kits, Meshna Electronics—Box 62, E. Lynn, MA 01904, In- teresting surplus equipment, some components, things. Mouser Electronics—11511 Woodside Avenue, Lakeside, CA 92040, Broad-ne industrial distributor; mostly im- ported parts. Pots, resistors, capacitors, connectors. Fainly large minimum order required Newark Electronies—S00 N, Pulaski Rd, Chicago, IL 60624, Broadline industrial distributor; geared towards servicing industrial accounts, Olson Electronics-260 S, Forge St., Arkron, OH 44327. General electronics, hifi, radio stuff, parts, and so on. PAIA Electronics—1020 W. Wilshire Blvd, Oklahoma City, OK 73116. PAIA offers a broad line of musi ally oriented kits, and provides parts kits and cic boards forthe projects in this book Poly Paks—Box 942, Lynnfield, MA 01940. Semicon- ductors, surplus, readouts, hobby stuff, assortments. ‘Quest Electronics-PO Box 4430, Santa Clara, CA 95054. Semiconductors, components, kits. Radio Shack-not mailorder, but cartes a line of elec: tronie parts. Various locations; check the Yellow Pages. Solid State Sales—Box 74, Somerville, MA 02143. Com: ponents, semiconductors, some surplus. aChapter Three Before you do any building, you need tools and a knowledge of how to care for them. This chapter covers drills, hacksaws, files, pliers, cutters, strippers, screwdrivers, soldering equipment, plexi- glass tools, care of tools, and safety tips. ‘The parts cost of electronic projects isn't too high—in fact, once you learn the ropes of parts buying, you'll find that you can duplicate equipment that sells for hun- dreds of dollars with one-fifth the cash outlay. However, ‘you will have to buy some tools; this s an initial invest- ment which will pay for itself if you plan to get into ‘music and electronics. Luckily, no really expensive or hard-to-find tools are necessary. A basic hand tool set can cost around $60, which isn’t really too much when spread over a few projects. Besides, some of them (like a vise) you may already have lying around. Let's check out what's most useful, and some prices. Remember that prices given are approximate, and can vary widely de- pending upon the vendor and quality. ‘The biggest expenditure is a good drill. 1 recommend the kind that can take a 3/8" bit. Though slightly more expensive than the 1/4” kind, 3/8” is a common elec- tonic dimension, and a 3/8” drill usually implies a heavy duty machine, Another needed feature is variable speed. Some variable speed drills can even reverse the Grill bit direction or rotation at the flick of a switch. This feature isn't really necessary, but if you've got the ‘bucks you might find it useful some time, Do make sure that your drill has a smooth variable speed action, though, from minimum to maximum speed. You can ex- pect to pay anywhere from $25 to $45 for a drill, To go along with your drill, you'll also need a set of bits. Typically you can get a set of average small bits (from 1/16" up to 1/4”) for around $4. They won't las forever, but if you're only drilling aluminum and plastic they'll drill alot of holes before they poop out. If you don't want a full set, you can get by with three bits: 1/16” (for drilling pilot holes ~see Chapter 4); 1/8"; and 9/64” or 5/32”. You'll also need the 3/8” bit men- tioned earlier, and unless you're content to do a lot of filing, a 1/2” bit. Unfortunately these big bits are some- what costly ($5 or $0). If you're strapped for cash, just 34 get a 3/8” bit and enlarge the hole it makes with a file or tapered reamer if you need something bigger. Tapered reamers aren't too expensive and are useful for deburring or enlarging previously drilled holes (more about debur- ring shortly). A 1/2” diameter model is preferable to a Type Your final piece of driling equipment is a center punch, The purpose of this device is to punch a small dimple (indentation) in metal or plastic by tapping it with a hammer on the nonpointed side, This dimple keeps the drill bit centered during its first few revolu- tions. You can get by with a nal in a pinch, but a ral center punch i far more accurate You'll also need a hacksaw, principally for cutting potentiometer and rotary switch shafts to length. Al most any kind will do, but use a blade with fairly fine cutting teeth. While you're ati, get a spare blade~you'll need it at some unexpected later moment. While we're still talking about metal-working equip: ment, you'l also want afew files. In addition tothe hole enlarging ability mentioned previously, when you drill holes in metal little burrs are left around the perimeter of the hole; you can use a file to get ri of these. You only really need two files: a rat's tail file, and a half round type. Don't get big ones, since electronics work involves tight spaces most of the time. For dealing with wire bending components, and other light assembly work, youl ned needlenose pliers, diag onal cutters, and a wire-stripping tool for removing in- sulation. These run around $1 apiece for average quality units; check the jaws for accurate alignment and smooth action before buying anything, no matter how litle or hhow much the item may cost. Fancy automatic wire strippers are available for about $8, but unless you're doing smallscale production you'l find they're more trouble than they're worth Next, your tool repertoire should include a medium-sive crewstiver and a Phillipshead screwdriver, as well 54 se of small jewelers’ screwdrivers, Jewelers’ screw- ‘hives are usually available imported kind) for around $3.0 sel. These are handy for the set screws in knobs, but lave many other talents in the fields of poking, ing, and seraping ‘You'l also want a small crescent wrench for tighten- Jing nuts on pots and screws and, although it isn’t really se-esaty, a pair of vise grips, which is a wonderful tool Wo hive. To round out your selection of mechanical tools, get» small vise Now to soldering equipment. First item is a 25. to 40W soldering pencil (soldering “iron” may imply a big beastie that wall probably burn out those little ICs) and ome spa tips. Look around for something with a Juily small tip, as you'll save yourself a lot of hassle in light places that way. And get some solder, too, but ‘ion't under any circumstances purchase acid-core sol- ot It won't work on electrical stuff, and can even ‘lame it. The kind you want is 60/40 rosin-core solder (peievbly the “multicore” type). The “60/40” refers {o the mintore of metals in the solder. Thinner solder is ‘eet 10 use, and costs about $15 a pound at industrial fleottonic outlets. My favorite type is Ersin Multi-Core. Ifyou can’t find thin solder, the standard kind at Radio Shack wil do In addition to soldering, you might also want a de- soldering tool. They come in all shapes, complexities, ies, aid costs, but the simplest kind is a squeeze bulb With a Teflon tip A lol of times 1 use plexiglass for panels, and you Inlet ant to work with it too, Plexiglass looks neat, as ells being fairly soft and easy to work, but there are 4 couple of special tools you will need. One is a plexi- fla scorer (or cutting the stall, You ean use a hacksaw, but the scorer zips through cutting big pieces and costs sound $2, complete with instructions. Also, special Figure 3.4 chassis punch GSS Grill bit rat-tail file half-round file eee plexiglass dril bits are required. These are available from ‘authorized plasties distributors (again, the Yellow Pages will tell you where to look), and are tapered to make drilling easy. Ordinary drill bits bigger than 1/8” or so will tend to tear the plexiglass, producing nasty looking holes that look like some vicious animal was at work. I ‘use one 3/8” and one 1/2” plexiglass bit; for smaller size hholes I use a 1/8” standard bit and enlarge it with a file or a tapered reamer. Finally you need a tool for testing called a Volt-Ohm- Milliameter, or more simply, VOM (see Project No. 19 for instrictions on how to use one). This little device has a meter which allows you to read amounts of resistance, amounts of volts, and current (not at the same time, though). You can pick up one for anywhere from $5 to $40; for most purposes the inexpensive type will do just fine, so you might as well opt for one under $20. ‘There are a few general rules for taking care of tools. Fins, if any of them come with instructions, read them. Your drill will come with instructions about lubrication, proper handling, and s0 on, These instructions should be followed, as should any directions that come with your soldering iron or VOM. Second, never use a tool for a purpose other than the one for which it was intended. Screwdrivers make lousy chisels, for example, and sol- dering irons are not available to little brothers or sisters for woodburning. Drill bits respond well to sharpening at regular inter- vals, and you may want to pick up an oilstone to keep them happy. Also, never use plexiglass bits on any mate- rial other than plexiglass unless you have an urge to run out and buy a new bit. ‘Needlenose pliers are for fine work and wirebending. Don’t use them on big Klunky jobs where you should be using vise grips or the like, or you'll knock the jaws out of alignment and have to get @ new set of pliers. The same goes for diagonal cutters; they're for cutting fine to 35medium gauge wire. If somebody asks you to cut a piece of copper tubing with your cutters, politely decline and hacksaw through it instead. Before moving on, a few words about safety are in or der. The mast dangerous tool you'll be using is the dei Rule number one: Keep your hair ou of the way /Tie it back or something, but be careful. Some people have gotien into real trouble by not remembering this rule Rule number two is to use all three conductors of any. Figure 32 diagonal cutters (top view) (side view) test probes Q tapered reamer ay et i = EX needlenose pliers 2 hacksaw with blade } j fy —— [comes 36LORS o \ / \ wire strippers (manual) \ Ss a \ rechargeable ©) soldering iron i } (charger not shown) plexiglass scorer VT Ps =——(y + standard j soldering pencil plexiglass drill bit jeweler's screwdriver (re ‘cht A. te crescent wrench ee Phillins-head serewdriver SS “\ 7 cerawriver we \ LDL ; LYE >” Weller soldering iron a r- with temperature. @——___f controlled tip _ | ‘ J eZ! Jpthing requiring a three-wire cord. The one on the bottom is ground, and three-wire AC stuff is far safer than stick- ing on a three-to-two adapter and plugging that into your wall. If you don’t have a three-wire outlet, use an adapter but take the wire coming out of the adapter and connect it to the screwplate on your AC outlet, as, in Figure 3-4, The screw should go to ground and effec- tively does the same thing as the ground wire of a three- wire outlet. If you absolutely must use a two-wire setup, even though you shouldn't, don't stand on wet concrete barefoot, okay? You'll zap yourself unless the drillis pro- perly insulated (most new ones are, but watch out for some older ones). ‘When you drill, don’t hold the object you're drilling with your hands! Hold it witha vise, or vise grips, or any- thing suitable—should the drill bit slip or skid, you want it attacking the vise and not your hand. Don't solder with shorts on if you're sitting down. Sometimes the rosin spits out and hits you on the leg; not really bad, but not fun either. Be careful where you lay down your soldering iron—don’t put it where it can ‘burn through its AC cord (this happens—don't laugh}. ‘And watch for touching the wrong end of the iron. Be careful, these things are hot (around 600-700° Faren- heit). ‘After this scary talk, I should probably mention that Thave yet to do anything serious to myself, but a lot of that is because I listened to all the safety tips when I started. Be careful and use some common sense, and you won't have any trouble. Hands are precious to the musi- cian, and even a small amount of care will keep them un- searred and unscathed. 3R Figure 3-4 Adapting three-prong plug to two-hole outletChapter Four If you have never built anything elec- tronic before, Chapter 4 will help you out considerably. It tells you what you need to know to turn a pile of parts into an attractive, reliable, smoothly function- ing unit. Introduction ‘The process of building any electronic device can be Iypken down into several logical steps. Doing these steps in over saves a considerable amount of time, and pro- ‘motes hetter results. One step of planning can save two inexccation, Siep 1: Gather together any required parts, hard- ware, and tote Stop 2: Fabricate a circuit board on which to mount the electron components Step 3: Mount the various components on your cit- cuit board! aad solder them in place. Siep 4: Select an enclosure capable of containing the cinevit board, pots, jacks, switches, batteries, and the like. Is better to have too large an enclosure than too sirall an ents, as working in a cramped space can be frastratine Siep 5: Drill holes in the enclosure and prepare parts for mounting i the chassis; for example, pot shafts may nied to he ost alone with rorary-switch shafts Siep 6: Wire the circuit board to the outboard parts. Siep 7: Securely mount the circuit board in the chussis Sometimes it's best to plan for this (attaching ansle brackets, drilling holes in the chassis where the angle Ucackets should mount) before completing step 6. Step 8: Add knobs and label the various controls and jek. Sicp 9: Test the thing out for proper operation, then {eel out ite personality and operating characteristics We'll describe each of these steps in detail in this chupler, actually, we've already gone over step 1, 0 wet off fo a gor start. But before going any further, Jes investigate the subject of soldering, as this is per- hips the most important part of putting together any electronic device Soldering Technique Proper soldering is vital to the success of your proj- cts; a great number, perhaps the majority, of problems with projects are due to poor soldering habits. Here are fou important points to consider when soldering: 1. Use the right tools, Don’t use irons over 60 watts, and don’t use acid-core solder under any circumstances. The only acceptable solder is rosin-core solder that’s expressly designed for electronic work. See Chapter 3 for additional information on choosing a soldering iron and solder. 2. Keep your soldering iron tip in good condition. ‘The cardinal rule of tip care is to not let your iron sit in 1 warmed-up condition without having a thin layer of solder on the tip; otherwise, the tip will oxidize and work less efficiently. Here’s how I recommend getting ‘your iron ready for soldering: —Wrap a tum of solder around the tip of your iron before plugging it in or turning it on. This way, when the tip comes up to temperature it will melt the solder and form the protective layer of solder we talked about earlier, Have a damp to slightly wet sponge sitting next to your iron (in a coffee can lid, ash tray, or the like). Just before soldering, wipe the tip across the sponge to re- move any excess solder from the tip; this produces a clean tip that creates better heat transfer for faster, more efficient soldering. When you're about to put the iron aside after soldering some connections, do not clean off the tip first; only clean the tip just before soldering a connection, 3. Make sure the surfaces you'll be soldering together are clean. For example, if you make your own circuit boards, you'll find that copper forms a layer of oxida- tion when exposed to the air; this layer makes it difficult 39to make a good solder bond. The remedy in this case is Figure 4-2 shows a variety of solder connections~ to lightly rub the board with fine steel wool. Component what you should strive for and what you should avoid. leads can also become dirty or oxidized; use a rubber Note that a good connection looks smooth, round, and eraser, light sandpaper, or steel wool to clean off the dirt, _shiny; poor solder connections look dull, tend to ball up, 4, Heat up the area to be soldered before feeding in and are often grainy in appearance. One thing’s for sure: the solder. Don’t just use the point of the iron’s If you can pull the lead out of its solder connection, the solder; use the whole tip to heat the surfaces to be j connection is no good. A good connection electrically as shown in Figure 4-1. After heating up the joint fora is a good connection mechanically couple of seconds, feed in some solder and keep the iron Now that you understand the basies of soldering, here's a simple project to extend the life of your tip Figure 4-1 considerably and save electricity at the same time, It isa soldering heat control, which can put your iron on stand by so that it doesn’t work at maximum juice all the time. It works on the same principle as those light dimmer switches that give a bright and low position; but note that this device is nor designed to work with soldering irons that use a transformer or electronic controlling circuitry, and can damage them. Figure 43 shows schematically how a soldering iron plugs into the wall. Figure 4-4 shows the solder heat control, which consists of a diode (a 1N4003 or any in position until the solder flows freely over the connec. _heavier-duty diode will work just fine) and a switch, tion. The heating process can take differing amounts of Closing the switch applies full power to the iron; open- time, depending on the type of connection. Circuit ing the switch diverts power through the diode, which board connections usually require very little heat; all cuts down the juice going to the iron and thus reduces you have to heat up, after all, isa thin strip of copper the hes ‘and a component lead. Jacks, on the other hand, require You'll find when experimenting that there are lots of 4 fair amount of heat; when they're mounted ina metal times when you'll solder for several minutes straight, chassis, soldering to the ground tab requires substantial then quit for 10 to 15 minutes, That's when to use the heat, as the chassis tends to draw heat away from the reduced power. After you flick the switch to full juice, jack. Finally, do not disturb the connection as you re- it takes only a few seconds for the iron to reach maxi move the iron. Leave the iron on for an additional sec- mum heat again. ond or s0 after the solder is flowing freely, then re- move the iron from the connection. Do not disturb the —_Desoldering connection in the process, or the solidity of the joint will suffer as a result. Should this happen, reheat the From time to time your problem will be not how to connection while feeding in a bit more solder. solder a component on to the board, but how to un- (One of the main problems with solder joints is a cold solder it. This could happen if you wished to convert joint, where not enough heat was applied to make the an effect from low level to line level by changing 3 re solder flow smoothly. Also, the rosin inside the solder sistor, or needed to replace a defective (or incorrectly (which smell alittle like musk incense) cleans drt and inserted) part. Before attempting to remove the part, grease from the connections; if it isn’t brought up to remove as much solder as possible from the connection temperature, then the connection isn’t going to get using one of the methods described below; then, remove + properly cleaned, which can also give a bad joint. the part by gently pulling on its leads with a pair of Figure 42 Correct solder connection. ities too much solder lows smoothly over d too little solder solder area ta be sold, 40Figure 4-3 How a solderine iron plugs into the wall thematically soldering iron Figure 4-4 Usng a soldering iron heat control. Observe good onstruction practices, since you're dealing with high roitases. Make all connections inside a metal case and make certain all connections are well in- slated trom each other and the ease needlenose pliers, If the part still won't come out, re- ‘nove some more solder; in extreme cases, pull out the patt while applying heat to the connection to loosen ‘he solder even more, Try to keep heat to a minimum ‘0 pwveni damage to, the part or the circuit board, snd remember that desoldering takes more care than solleving, be patient, Here are two popular, ways to yenore unwanted solder: |. Desoldering squeeze bulb with Teflon tip. It works like this: You squeeze the air out of the bulb first, heat up the wolder that needs to be removed, hold the Teflon tip up seains' the solder blob, and let the air back in the bith, pulline the motten solder with it. These are inex- pons and easy to use, but one drawback is that you must peri clean out the bulb by unscrewing it fiom the tip, and clean out the tip itself with a sotid ieoe of wire 2. Solder wicks. These are pieces of braided wire that are especially designed to suck up solder. To use a solder wick, you heat the solder connection while holding the wick up against that connection; the wick removes vir- tually all of the solder by capillary action. You then cut off this section of the braid after the solder has cooled, thereby exposing more of the wick for desoldering your next connection. The Care and Feeding of Printed Circult Boards About twenty years ago, printed circuit boards were a rarity; now, they are everywhere. Paradoxically, al though they make assembly go much faster, they stil require a time-consuming production process. For this reason, many giant electronic manufacturers have their circuit boards made by firms that specialize in PC board ‘manufacture, rather than deal with the problem them- selves. ‘The projects in this book are relatively simple, and as such require simple boards." Those of you with a litte electronic experience can probably wire the proj- ects up on perf board without any trouble at al, saving yourself the trouble of making a circuit board. How. ever, if you're so inclined, making circuit boards can be kind of fun, especially if you're new at the game. The basic process goes as follows: You start out with a piece of insulator that's flat, about 1.6 mm (1/16") thick, and has copper bonded to one side (sometimes both sides, but forget about that for this book). So, what you have is an insulator covered by a big copper conductor, and that’s called a blank circuit board. Now, copper may be etched away and dissolved by a not-oo-dangerous ‘chemical called ferric chloride, which we'll call ferric for short. If you take a blank circuit board like the one mentioned above—insulator with copper on one side— and throw it into a tank of feric, within about 45 min- utes there won't be any copper Teft on the board. So by selectively etching away.at the blank board, you can create areas of insulators (etched areas) and conductors (uneiched areas). These conductors are called traces,| and take the place of wires in a circuit. By drilling holes in the finished board, you can insert component lea through the board, having the leads come out on copper side of the board; by soldering these leads tothe traces, you've got a completed circuit, as shown in Figure 4.5. The catch to the whole process is how to avoid etching away the parts of the copper you want to ension of each circuit board should be exactly 4.5 the Vector Pak enclosure mentioned in'a 41Figure 4-5 copper 2) lay down etch resist (tape, enamel paint, photoresist, ete) 1) blank cireuit board, copper clad on one side 3) etch away unwanted copper, drill holes, strip away resist to expose copper underneath bend wires down aA 6) solder leads to circuit board for completed circuit 42The leat sophisticated way to deal with this problem {8 10 jut put litte pieces of tape down directly on the copper, then dunk the board into a ferric bath. The tape prevents any solution from getting to the copper, bit the drawback is a lack of ability to do fine work, which ICs require ‘An easier way is to use a resist pen, These are like felip markers; in fact, you can even use some stock felvtip pens assist pen. With this method, you lay ink ove cn the copper, let it dry, then toss the board in an eching bath, The dried ink keeps the etchant from the copper in those places whore approprints. But there's ‘problem here too, since the ink has to be on really thick withstand sitting in the bath for twenty to thity minutes; some of it can wear away and expose the copper undeeneat naturally starts to etch, So, you switch to thicker ink in this case, enamel paint seers to work wet! (yen know, the kind for model auplanes that comes in little glass bottles). Get yourself ‘reilly fe brush, and paint on where you want the nduciows be, The enamel is very effective against ‘chant when you throw the board into the etch bath, although tow you have the problem of getting the enam- paint off before you can solder to the copper. I've found that a variety of noxious and harmful chemicals, to the job celly fast, like ethyl acetate or toluene. You can also use paint thinner. Saturate a little steel wool with a chemical of your choice and strip off the paint. Afi the board dries, give a light final potish (you {onlt want to take off too much copper) with some ‘ean sleel woo! and you're ready to go. I recommend ‘wearing cubber gloves during the whole process; what- (ver strips off enamel paint also seems to have it in for ruber gloves, «0 work fast. Should you use any of the first three methods, a few general tips. One, keep the copper clean. Sometimes a fingerprint will resist the ferric chloride and give un- ‘en results, Two, keep dust and sticky surfaces away fiom the printed circuit board. One refinement 1 heart- ily eeomment is using predrilled copperclad board. The Find of predrilled patter your want se napperctad, cingle- sided pater P; “P” means that there is a hole every 15 min (0.1"), arranged in a grid fashion. Since IC pins ‘ee luil out with 2.5 mm (0.1") spacing between leads, fattern Pis the casa’ to work with, Now foray perfectionist inthe crowd, bee's how moiesioal virenit board manufacturers do theits. The lest ctcuit boards are made using photographic tech- riques. You make a negative of the circuit board pattem fen place that over + piece of copperclad hoard that freviously boon sprayed with photoresist. Applying hototesstis almost ike spraving a pieos of photograph is film on the circuit board. That way, when you place the negative ove the board and expose it to ight, an im- pression of the negative pattern forms in the layer of photoresist. Then, you immediately throw the board into a developing bath, where developer combines with the photoresist to form a protective coating, thus pro- tecting the desired copper traces, Finally, just like in all, the previous methods, you put the board in ferric chlo- ride, watch the copper etch away, strip the photoresist that’s left on the circuit board by using a stripping solu- tion, and lightly scour with steel wool to keep the cop- per clean and free of grease for soldering, As a matter of common practice, it’s a good idea to steel wool any printed circuit board (with exposed copper) lightly just before mounting and soldering parts, If you want to do things photographically, the first step is to come up with a negative. Photocopy places, blueprint stores, and other photography-oriented shops ‘ean produce a negative for you if you take them the printed circuit pattern given for each of the projects in this book.This is another case for the Yellow Pages. ‘The price is usually not too steep, but chances are & friend with a darkroom can do a satisfactory job for ‘uch less. The GC Blectronies Printed Circuit Handbook, ‘which you can find at stores that stock the Calectro line, gives further details on PC boards using photographic techniques. This little book turns you on to the most important things about PC boards, like making sure the developer is not put ina plastic tray, and s0 on, No matter which method you choose to make PC boards, the etching process remains pretty much the same. Use plastic, rubber, or glass trays (dishwashing trays do just fine; so do small plastic garbage cans), a8, the ferric will eat away at a metal one.Next, ferric works best at higher temperatures, but don't over heat it or yyou'l get some nasty fumes. It’s best to etch outside, because of the ventilation and the warming action of the sun. IF you live in a cold part of the world, you might be better off doing your etching inside a basement or attic as long as it’s reasonably well ventilated, and sus- pending a light bulb over the ferric to warm it up a bit. While etching, it’s a good idea to agitate the etch so- lution as much as possible. The idea is to put in just ‘enough ferric to keep the board covered, then jostling the plastic tray (or what-have-you) so that fresh ferric continually washes over the copper. This hastens the etching process, and the board tends to etch more evenly. Although ferric won't burn your skin if you come in- to contact with it, you will acquire a brown stain that’s hhaed to get rid of. Ferric can also permanently stain clothes, as wel as modify the color of small furry animals, Wear rubber gloves and an apron, and etch somewhere away from any activity. After the etching process is all over and there's no more unwanted copper on the board, it's a good idea to put the board in a plastic bucket of cold water for at 4Bleast a minute. This washes off any excess ferric, while the cold stops the etching action totally. After removing the board from the cold water, dry it off and check for any flaws or unetched areas before stripping the resist. ‘In some cases the etchant will etch away a piece of the trace. Should this happen, you can use a wite bridge to reconnect the trace as shown in Figure 446 Many electronic stores carry little kits for making PC boards that come with detailed instructions. If you want to get into making circuit boards, I strongly sug- gest your getting one of these starter kits and getting your chops together with a few practice boards. Just remember to take your time, follow the directions, and resign yourself to the almost certain knowledge that your first board will be a total disaster. Your third, how: ever, will probably be quite good--no missing resist, no incomplete etching, sharp edges on the traces, and all the other qualities that make a trouble-free and good- looking circuit board. Perfboard Construction ‘There are alternatives to using conventional circuit boards; one of the most popular is to wire up circuits 44 ‘on a piece of perfooard, Perfboard is similar to predriled copperclad board, except that there is no copper depos ited on the board. The basic idea is to mount the parts fon one side of the board, stick the leads through the holes, and run wires on the noncomponent side of the board to connect the various leads together. In fact, ‘often you can simply use the leads coming out of the parts to connect over to other parts. Figure 4.7 shows ‘the back side of a board (the tube fuzz, Project No. 24) wired up on a piece of perfboard. ‘The little connectors called micro flea clips ae a nat ural adjunct to perfboard wiring. These fit into the 1 mm (0,042") holes in pattern P boards, and are handy when you want to attach a wire from, say, a pot or jack to something fragile like an LED. Rather than risk the mechanical instability of simply wiring to a part that may have delicate leads, you solder the delicate lead toa somewhat less fragile flea clip and then connect a wire to that, Figures 4-8 should put this whole matter across, It takes a while to get the hang of flea clip/perfboard construction, since this method requires some pretty detailed work and a nice thin soldering pencil. But if you're doing just one board at a time it’s the fastest ‘way to go-T've used perfboard wiring with great success over the years.Figure 48, Gloseup of vectorboard and micro flea clip. The distance between holes on the vectorboard is 2.5mm (0.1"), making it ideal for mounting integrated circuits, since their leads are 2.5mm apart. Leads from components can also go through the holes, which are 1.68mm (0.042") in diamater. 90000000 e000000 o00000 o00°0, ooo Ne ° [Another way to speed up perfboard wiring is through the use of a wiring pencil. This tool, made by a-couple of different manufacturers, is generally available at ectronic supply houses; it dispenses extremely thin wire through a pencillike tip. You wrap a few turns of this wite around a component lead, then feed out some more wire and run this wire over to the next component lead. You wrap a few turns around this lead, and then. proceed to the next connection. Because this is insulated wire, you can let it drape over other parts and leads with- out worrying about creating a short circuit. But what ‘makes this insulation unique is that it is composed of a thin layer of some substance that melts when sufficient heat is applied. So, after you've wrapped a few tums around the component lead, you heat up the connection with a soldering iron and feed in some solder. The heat melts the insulation, and voildinstant soldered connec- tion, Luckily, the insulation melts only in the immediate vicinity of the con In circuits where you iéé@toconnect « number of points together, the wiring pencil is timesaving technique. However, this method does re- Quire a bit of practice, mostly because you need to use 2 relatively hot soldering iron in order to melt the in- sulation. (I have a Weller soldering station where you can change the tip to vary the temperature; while I use the 600° tip for general circuit board wiring, | use a 700° tip when using the wire pencil.) The trick is to apply ‘enough heat to adequately melt the insulation, but not apply s0 much that you damage any of the components. For further information on the use of the wiring pencil, refer to instructions included with each unit... or ask someone behind the counter of your local electronics emporium to tell you what it’s all about ‘You might have heard about a technique called wire- wrapping. While it may appear useful, in practice wire- wrapping is really most suitable for digital, high-density circuits that use lots of ICs and very few other com- Ponents, So until you get into building your own com- puter, I doubt if you'll find wire-wrapping too valuable a technique to put together the projects presented in this book. Loading the Circult Board — If you've made your own circuit board, lightly steel ‘wool the foil side of the board to prepare the copper for soldering. A bright, shiny board will be easier to solder and creates a better solder joint. If you're using circuit boards from the Godbout parts kits, these should not be steel wooled, as the copper has been covered with a thin layer of solder to facilitate soldering. Also, note that these boards are legended—this means that the compo: nent side of the board indicates which parts are supposed to go where, Begin the loading process by mounting the resistors and diodes firs. Bend the leads at right angles to make insertion into the holes of the PC board a litle easier, and insert ail components from the noncopper-clad (or rnonfoil) side of the board. These parts should hug the bboard as closely as possible when loaded; for example, the resistors should mount flush against the board as shown in the upper drawing of Figure 49, and not be left “floating” as shown in the lower drawing. Next, bbend the leads down against the copper side and solder ‘them, Cut off any excess lead length so that it doesn’t short against the other copper traces and pads; also, make sure your solder blob hasn't bridged across to any 45other traces, This is called a solder bridge and is a mem- ber of the short-circuit family! Avoid solder bridges if you want your project to work right. Figure 49 resistor = circuit solder board connections Next, put in your IC socket; note that the socket will have an indentation or mark to indicate the pin 1 corner of the socket. At this point a lot of people aren't going to want to spend the extra money fora socket, 0 I should mention an alternative: the Molex connector for ICs, which is a strip of little connector terminals (Gee Figure 4-10). You cut off two strips of seven pins each for a fourteen-pin IC, and put them in the appro- priate holes on the board. (You may need to hold the strips temporarily in place from the top side with mask- ing tape; that way, when you flip the board over to sol der the pins they won't fall out). After you've soldered the pins to the board, break off the little connec strips that hold the pins together, and you have a work: ing socket. Although its a little more difficult to insert IC pins into a Molex connector, the low cost makes this an attractive alternative, Do make sure you use a socket, | fot sonnector 46 though. Not only does it make repairs and upgrading easier, but one of the prime causes of IC failure is ex- cessive soldering heat, and a socket eliminates this pos- sibility. Mount the capacitors next after the resistors, diodes, and socket are on the board. Capacitors are not overly sensitive to heat, but solder them fairly rapidly with a ‘good solder joint. ‘Since capacitors come in varying sizes, some circuit boards have extra holes drilled to accommodate differ- ‘ent sized parts, For example, Figure 4-11 shows two ‘ways of mounting a capacitor in its designated space. Figure 4-11a shows how a radial lead capacitor mounts in the board; figure 4-11b shows how to mount an axial lead type. In either case, make sure you get the polarity right. Figure 41a te Figure 4-11b regular &pin socketFigure 4-128 Figure 4.126 . ey Figure 4123 shows how to mount an axial lead part 1 4 circuit board when only tWo holes are provided: Fame 4-126 shows how to mount a radial lead type in ibe ame space. Note that the radia's leads are bent and formed to fit the available space. Now that you've got the components’ mounted and soldered in plice, check that all polarities are correct, Aut the solder joints are good, and that there aren't any solder bridges or board defects. IF everything checks out, Ye ready for the next step. By the way, don't plug thy IC in ts socket just yet; wait until all the outboard iting is completed, Figure 413 rack mounting box Selecting an Enclosure There are several ways you can peckage your equip: ent 40 that it looks good and works well, For dei re sults, choose a method that gives you adequate work roam, yet isn't overly large. I's important to gather to gether all your parts before choosing a chasss—with the items in front of you, is easier t0 estimate what size youll need to contain the parts comfortably Many electronic outlets sell commercial boxes, fins {shed and painted in different colors, The photos of var- ious projects in Chapter 5 show some of the kinds you fan expect to man into in stores, Some of the names to look for in finished metal boxes are LMB, Bud, Pre- imier, Ten-Tech, and Radio Shack. These enclosures are ‘easy to find and use, although they also tend (0 be ex- pensive (especially for lage enclosares), ‘An entitely different approach uses rack mounting. Rack mounting systems consist of rack panels and rack mounts (Figure 4-13), The panels have a standard width of 48.75 cm (194"), but the height can vary from 4.4 em (1.75%) to many centimeters. With this lype of ap- roach, you have the advantage of modularity for ex- ample, you can build 2 low-noise preamp on one panel, 4 phase shifter on another panel, and a reverb unit on yet a thitd panel, and mount them all in a rack mount Ata later date, you might wish to replace your preamp with a more sophisticated type that has tone controls no sweat, just pop out the preamp panel, build your ew preamp, and put it in where the old one used to be (eaving the others as they were), Rack mounting is ‘rack panel about to be installed installed rack panel 47particularly useful if you plan to get really involved with electronics, but it certainly isn't the most portable sys- tem. Rack panels, incidentally, are available in a wide variety of colors, and a choice of either steel or alumi- num, Stick with aluminum! Steel is really 2 hassle to ‘work on. One of my favorite packaging methods is to use a plain, unfinished chassis box as in Figure 4-14, and cut a plexiglass panel for the top. The chassis can be either spray painted or covered with some interesting contact paper. In case you haven't seen what’s happening recent- Jy with contact paper, you may be surprised; there's shiny, glossy, and patterned stuff, not just the phony ‘woodgrains and flowers I always remembered. Anyway, this method works best for mounting several little things in one box. That way, you have a compromise between Figure 414 self-tapping screws lexiglass top the previous two methods. You still have a portable box, but it contains a variety of functions that you might not be able to fit in one of the smaller, commercial boxes. ‘Another method is a cross between the last one and rack mounting. It involves making small plastic panels ‘and mounting them on some kind of wooden or metal box (Figure 4-15). If different signal processors are put ‘on different panels, you still have the advantage of mod- ularity, but on a somewhat looser level than rack mount- ing. Also, you can make each panel a different color, and that’s always fun to look at. If you do decide to get into plexiglass techniques, there are a few hints you should know, When purchasing plexiglass from your distributor, ask if they have a scrap pile of odds and ends. Oftentimes when cutting plexi glass for customers there will be litle strips and pieces left over—these get thrown into a scrap pile, where you can pick them up for a fraction of the regular cost (stores usually charge by the pound). You can find clear, col ‘red, or translucent, but stick to plexiglass in 3.1 mm ((/8") thicknesses. ‘The thicker stuff looks nice, but ‘many times components won't mount through anything thicker than 3.1-mm; thinner stuff, on the other hand, isn't strong enough. You may cut plexiglass with « hacksaw, but that’s the hard way. An easier way is to use the plexiglas scorer mentioned in Chapter 3. You lay down the piece of plexiglass on a flat surface, get a straight edge (prefer ably metal), and run the scorer along the cut-line until you've made a significant groove in the plastic. Then, put the cutdine on top of a dowel (Figure 4-16) and apply pressure to both sides until the cut-ine fractures with a snapping sound. You can’t cut really small pieces this way, but in all other cass it’s a timesaver. ‘The final packaging method we'll look at is the Vector-Pak module cage; for an idea of what this looks like, refer to the first photo in Chapter 6. Module cages are also made by Bud and some other companies, but chances are the Vector-type will be easier for you to or der locally. ‘The backbone of the system isa large, rack-mountable structure called a module cage. It will typically hold eight to ten modules with identically sized front panels; more expensive versions allow you to use modules with differently sized front panels. Each module may be re- moved for easy servicing, is completely enclosed for shielding purposes, and has two panels (front and back) fon which you can mount controls, switches, jacks, and the like, Figure 4-17 shows a photo of a completed mod- tule, but without the side panels in place so that you can see the circuit board contained within, The top and bot- tom of the module are a fixed distance apart and have grooves that hold the circuit board in place—which is ‘why all the circuit boards in this book have « commonpllexighass scorer —_ metal straight edge: Figure 4:17 T apply downward pressure ‘deep groove round dowel. dimension for height. Figure 4-18 shows how a board fits in these grooves; notice the small card stop, installed in the groove to keep the board from slipping around (these are provided with the Vector-Pak). Although the ‘Vector company provides instructions on how to assem- ble these modules with each enclosure, the basic assem- bly order is as follows: 1. Open up the blister package for each module, and save the associated hardware in a safe place. Losing @ screw on your workshop floor can be a real drag. 2. Drill the front panel to accommodate the various controls and switches, then drill the back panel to accom Figure 4-18 49modate jacks and a power connector (see Figure 4-19). 1 installed a grommet in the rear panel through which the power wites exit. Be careful; pots need to be mount- ed quite precisely on the panel in order to avoid having the terminals short out against the metal walls of the module, In some cases, you may have to bend the pot lugs upward to prevent this from happening. Figure 4-20 shows a typical template, in this case for the ring mod- ulator (Project No. 9). Note that the pots mount with their terminals facing to the right (viewed from the front) to prevent shorting problems. 3, Mount pots and jacks on the front panel (Figure 421). Figure 419 Figure 4-21 4, Center the loaded circuit board in the bottom plate groove, and use two of the card (circuit board) re- tainers provided to hold the board in place. I've found the best way to hold the card retainers in place is to tap them into the groove using a hammer and center punch, 5. Assemble the front and back panels, along with the top and bottom plates, using eight of the provided screws, The circuit board should now be held securely in place. 6. Wire the panel parts to the board. Leave about 0.5 cm (3/8) extra slack when wiring to the back panel. 7, When wiring is complete, temporarily remove the four screws holding the back panel in place. Slide the ‘two side panels into place and screw the back panel 50 Figure 420 In/out switeh + + si into place to complete the module structure, Note that these side panels have one end with a small indentation; this indentation butts up against the back panel to keep the panels from falling out should the unit be tilted backwards (say, during transportation). If the indenta- tion isn’t sufficiently pronounced, use a center punch and hammer to push it outwards alittle further. For those who want a truly professional, heavy-duty enclosure without having to actually machine it them- selves, commercial module cages are an excellent way to 0. Just think twice, and double-check everything, be- fore you actually do any drilling to prevent an expensive mistake . . . and make sure you understand how the thing goes together before you even think about plug- ging in an electric drill or soldering iron.Driting ‘The drilling process uses a template to indicate where the holes are to be drilled, and @ center punch to make & small indentation the drill bit can follow. The easiest way to make a template is with graph paper, because that way you know that the holes are correctly lined up in terms of right angles and the like. Afier you've made the template, tape it to the chassis (use masking tape so you don’t leave a residue and/or pull off the finish), support the back of the panel with a piece of wood, and use the center punch on each of the hole guides. When using the center punch on plexiglass, don’t hit too hard or the plexiglass may crack. On metal, you can tap a little harder, but don’t do it hard enough to deform the metal around it. All you want is a neat little space to center the drill bit during the first few turns of the drill. You now have the holes punched. Take off the tem- plate, but keep it around. Some friend will see your gadget and want you to build one for him; if you've already got the template, you have a head start. Next, drill your holes. Metal is less critical than plexiglas, but stil, if you're drilling a hole over 6.2 mm (1/4”), it pays to drill a 1.6 mm (1/16") pilot hole first, then use the big bit. Otherwise, the bit may “walk,” even with the center-punched guide. Keeping the drill as vertical as possible, start it up at a fairly low speed (you do have a variable speed drill, right?) to make sure you're cen- tered jn the right place; when the drill starts to pene- ‘rate into the metal, speed up, but back off when you feel you're reaching the ond. Oftentimes, the bit will start to grab when you reach the end. Keep on drilling, but remember the safety caution of earlier: Don’t hold the thing to be drilled with your hand! It’s hard to ex- plain exactly why on paper, but if you ever end up with the drill grabbing onto a chassis and twirling it round and round at 2500 RPM, you'll see the logic of the statement. After you drill all your holes, use a file to clean off any burrs, Figure 4.22 shows a metal chassis Figure 422 after drilling; eventually the tube sound fuzz was mount- ed in this box. ‘We mentioned drilling plexiglass in the last chapter. Here are some details. When drilling holes up to about 4.7 mm (3/16"), start with the smallest bit you've got and gradually enlarge the hole, using a larger bit each time until you get the right size. For holes between 4.7 mm (3/16") and 9.3 mm (3/8"), a tapered reamer ‘works well for enlarging. For holes between 9.3 mm G/8") and 12.5 mm (1/2"), drill a small pilot hole 3.1 mm (1/8") or so, then use the special plexiglass bits you get at plexiglass distributors. The reason for all these special cautions is that plexiglass is strong, but it is brittle; drill a couple of holes in a piece of scrap and get the feel before embarking on drilling an important panel. Before we get off the subject of drilling, there's a fine point worth mentioning. On many rotary switches and pots you'll see a little tab (Figure 4-23), By drilling 4 hole for this little tab in the chassis next to the big (shaft) hole, you can lock the switch into place, giving Figure 423 it a far more secure feel. This usually isn’t necessary for pots because you're not putting much torque on a pot anyway (I just bend the tab off to one side), but for rotary switches the extra litte hole is @ must. While you're in a metalworking frame of mind, it's a good time to cut pot and switch shafts to length, unless 51you were lucky enough to pick up some surplus pots that were already cut. Proper technique is to hold the shaft in a vise (Figure 4.24) and cut with a hacksaw. Never hold the body of the pot/switch! Be careful, aso, to leave enough shaft length to fit comfortably into ‘whatever knobs you've chosen. Figure 424 Proper shaftcutting technique. General Wiring Wiring connects the circuit board, or guts of the project, to outer (or outboard) parts like pots, jacks, batteries, and switches. As such, much of your proj- ect’s success depends on good wiring practice. I strongly suggest using stranded~not solid—wire, because it is more flexible. The thickness of the wite is assigned a umber, called the gauge of the wite; for wiring up your projects, no, 24 to no. 26 gauge is just about opti- ‘The first consideration when wiring with insulated ‘wire is removing the insulation. Use a wire-stipping tool to remove about 6 mm (1/4*) of insulation. Removing too much can lead to accidental shorts; removing too little can make for 2 poor connection, as excess insula- tion melts into the solder. When using wire strippers, be careful not to cut or nick the wire itself, or you'll end up with a weakened connection, ‘When wiring to a solder lug, you can either poke your wire through the terminal and solder, or wrap the wire around the lug and then solder, The former method is the easiest but not the strongest, since it depends on the strength of the solder to securely hold your wire in place. The latter method works best on terminals where you have many wires joining together; an extra-strong ‘mechanical connection keeps the first wire firmly in place as other wires connect to the terminal (see Fig- ‘ure 4-25). This strong mechanical connection can be a hassle, though, if you need to remove the wire for some reason (like a wiring error or modification), In any event, remember to use good soldering techniques, take your time, and check your work as you go along to catch any possible errors. 80. Figure 4.25 Connecting wires to solder terminals Figure 4.26 Connecting pad “G” to a ground lug Figure 427Grounding Let’s look at the schematic for Project No.1. There's a hitherto unmentioned schematic symbol, ¢f_. which stands for chassis ground, and right now is a good time to examine its ramifications. There are many subtleties involved in proper grounding; the subject is really rather complex, but suffice it to say that some grounding tech- niques promote more stable circuits than others. The kind of method we're using is the star system of ground- ing. With this method, you mount a solder lug in your chassis or panel, and call this lug chassis ground, or the ground that connects to the chassis, (We'll talk about plexiglass, which is a special case, shortly.) Anyway, when you see the symbol for chassis ground, you run a wire from the point marked chassis ground to the chassis ground solder lug. You'll also notice that all project cir- cuit boards have a point (technical name: solder pad or just pad) marked G; this stands for ground, and must also have a wire connecting it to chassis ground. So what’s the reason for the other ground symbol (= _)? Many of the parts on a circuit board ground together at the circuit board. Since these points don’t g0 directly to chassis ground, but rather to a ground point on the circuit board which then connects to chassis ground, we use a different symbol, We'll allthis symbol board ground, even though no one ese does, To sum up, when you see the board ground symbol( +), it means that that point connects to the ground trace on the board, which ultimately connects to a pad on the cireuit board labeled G. When you see a chassis ground symbol ( xk ), it means that that point wires directly to the chassis ground solder lug. Figure 426 shows a hypo thetical circuit which gets the point across. When dealing with metal cases, putting in a chassis ground lug grounds anything connected to that lug or touching the chassis. Therefore, any pot or switch cases that touch the chassis automatically become grounded, shielding the insides. You may notice that since the ground terminals of jacks also touch the chassis, it's technically unnecessary to run a ground wire from the jack ground to the chassis ground. Do it anyway! Fre- quently jacks come loose, and when they do, the ground contact may become intermittant. A wite prevents this problem. Plexiglass is an insulator (except for some types of mirrored-back plexiglas), so you must run every chassis ground point to the chassis ground solder lug. With plexi- sass the pot and switch cases no longer touch ground, 90 you have a light shielding problem. You can solve it by using some soldering lugs mentioned in Chapter 1 that fit over pot bushings. That way, when you mount the pot, you have a soldering lug in firm contact with the ppot’s case. Run a wire from this lug to the chassis ground lug and the pot case will be shielded (Figure 4-27). If you run out of or can't locate these little lugs, a few tums of wire around the bushing will do the job. Wiring the Circult Board to Outboard Parts There are two basic ways to do this kind of wiring. In some cases, you'll want to first attach wires to the board, then mount the board in the enclosure, and fi nally connect the wires to the outboard parts, In this instance, you'll want to make sure you have allowed enough lead length to actually reach the various out- board parts. The alternative method is to mount the circuit board in the enclosure, and chen wire the board to the outboard parts. When you're building your proj- ect, it should be immediately obvious which approach is best for you. However, do leave a little slack in the wir- ing between the board and the outboard parts; other- wise, if you find you need to add a wire you forgot, or make a change on the circuit board, you'll have a hard time getting at the circuit board, since tight wires will tend to anchor it in position. One reason I like mounting projects in the Vector-Pak module is that both sides of, the board are readily accessible, and easy to wire to the various pots, jacks, and switches, Before you begin wiring, you need to mount all the ‘outboard parts in the enclosure you're using as shown in Figure 4-28. Tighten all nuts as firmly as possible, so that jacks won't loosen from repeated plugging and unplug. ging, and pots don't come loose as you twiddle them. If Figure 4-28 53you doa lot of construction, you'll find it easier to invest in a socket wrench set instead of tightening all the nuts with a ctescent wrench or piers. I also advice using lock- washers on all pots, as this helps secure them in place. Let's consider the actual process of wiring from the circuit board to the outboard parts. You'll notice on the schematics that there are little letters that identify wires coming from outboard parts like battery connectors and jacks. These lettered termi- nals connect to likedlettered pads on the board via a length of wire. For example, if the positive supply line connects to the (+) point of the board, then you would connect that supply wire to the circuit board pad labeled (4), Another example: If a line on the schematic goes from a pot terminal to, say, a pad labeled B, then you would run a wite from that pot terminal to pad Bon the circuit board. There are a few standard letters and sym- bbols we'll use: G means the circuit board ground point, stands for the postive supply voltage point, () stands for the negative supply voltage point, I means input, and means output. Other than these, the selection of let- ters and symbols is more or less arbitrary. Figure 4.29, shows a piece of perfboard cut to fit in its enclosure; Figure 4-298 shows a wired tube sound fuzz. Since it’s annoying to wire up a pot the wrong way and have to shift wires around, I thought it might avoid some confusion to number the pot terminals, With the pot shaft pointing away from you as shown in Figure 4:30, looking at the back of the pot, the terminal on the let is 3, the middle one is 2, and the right hand one is 1. Sharp-eyed readers might note that this is the exact, reverse of the numbering scheme used in the last edition ‘of this book; there’s a reason for that. At the time of | wiiting the first edition, I didn’t know that there was an industry standard way of numbering pot terminals, so 1 made up my own numbering scheme. The new pot ter- minal numbering presented here is now in step with the rest of the world. Shielded Cable ~ To prevent pickup of spurious signals, we'll specify sheilded cable when connecting up some points on a board, Preparing shielded cable is difficult. First, cut through the outer insulation layer to get to the shield, ‘usually @ bunch of ultra-fine wires. Peel the shield back out of the way (a time-consuming process), to expose another insulated wire, which is the hot connector. Strip some of the insulation off this, and you're ready to go after you figure out how to fashion the shield into some- thing suitable for soldering to a ground lug. I've come up with a lazy way of dealing with shielded cable that I'l pass on to you, serialized in Figure 4-31. Be careful not to overheat the shield when soldering 54 Figure 4.298 Figure 4-295 Figure 430Figure 4318 Unstripped shielded cable, remove outer insulation ___EED push back braid to expose inner conductor —— = strip %" of insulation from end of the inner conductor oe wrap bare wire around braid, then solder, being careful not to overheat your ground wire to it, or you may short out to the in- ner connector by melting through its insulation. Install the prepared shielded cable as follows. The shield never connects at both ends, which is just as well because that way you don’t have to prepare a shield twice. The ground wire at one end connects to the ground terminal of the input (or output) jack; the hot wire from this same end connects to the hot of the input or output jack. The hot wire on the other end goes to point , point 0, or a footswitch, whichever is appropriate. We'll indicate where to use shielded cable in the con- struction tips section of each project. However, it will be ‘Mounting the Circult Board Inthe Enclosure Let’s examine three popular methods of PC board mounting, shown in Figure 4-32: vertical mounting method using L-brackets and screws; the horizontal spacers and long screws technique; and hot glue with insulators Figure 4316 Shielded wire soldered t0 monojack properly. In method one, you can mount the board first, and then connect hookup wires to its pads-the other meth: ods require connecting hookup wites to the pads before mounting the board itself, which requires extra lengths of wire. One way around the problem is to insert flea clips into the holes on the PC board that connect with the pads; that way, you can solder to the top side of the clip (Figure 4:33). ‘The advantage of method one is simplicity; the draw- back is a lack of mechanical strength, Another problem ‘ight-be finding small L-brackets, although many elec- tronic stores carry them. Method two is sturdiest, but it takes more work, and you have to find spacers (although the barrel end of a Bic pen, when cut into spacersize cylinders, does a good job of spacing when your supplier Is out of stock). Method three is quick and secure, but requires a hot slue gun. This is a too! that heats up little sticks of glue to liquify them, The hot, liquid glue then exits through a thin nozzle in the glue gun tip. When the glue cools (about a 30-second process), you're left with a strong bond. By the way, they mean hot glue—don't touch, To use this method on a metal chassis, first glue @ block of styrofoam, cardboard, or some other insulator 5SFigure 432 = method three caret soar insulator to the chassis, Then, put some hot glue on the bottom of the circuit board and on the top of the insulator block, press together, and you have a mounted circuit board. When using plexiglass, the bottom insulator isn’t needed, as you're already gluing to an insulator. While I don't think this is as good (or as neat) a method for ‘mounting circuit boards as using angle brackets or spac- ers, for prototypes and similar applications it does the jjob. One hint, though: test the module before mounting it in this manner. Once the hot glue dries, removing the module will be a sticky and possibly difficult process. ‘Add the Knobs and Label the Functions Putting the knobs on shouldn't require an explana- tion. One note of caution, though—use the correct-size screwdriver on setscrews (i.e., the biggest jeweler’s screw- driver that fits) If the screwdriver is too small, there will be a tendency to bite and deform the screw, which nine times out of ten will not be made of the strongest metal in the world, ‘As far as labeling is concerned, you will have a ten- dency not to do any labeling, since it doesn’t affect the 56 method one [frcut boar] \ i proper electrical operation of the circuit. Do it anyway! You'd be amazed how easy it is to forget which is the input jack and which is the output jack if you go away from your gadget for even a week. The fastest and cheapest way to label is with a Dymo labelmaker de- vice. However, it doesn’t look as good as some of the other methods you can use. A popular approach is to use dry transfer lettering and apply it directly on thechassis, Transfer lettering sheets are available at art sup- ply stores; ask to see a dry transfer lettering catalog, ‘The catalog will also explain how to put the stuff on in greater detail than I care to. After transferring the et ters onto the chassis, spray a coat of clear acrylic over them for protection. Although this is @ popular way to letter, there are some problems. Firs, instant lettering doesn't like going ‘on metal; it’s designed to go on paper, or other slightly textured surfaces. Second, the acrylic spray doesn’t really protect very well against deep scratches, which I guarantee you'll gt To get around these problems, I've developed a some- what different labeling process which stil uses instant lettering. Figure 434 graphically shows the various steps First, choose an appropriate color of adhesive-backed contact paper, and transfer your letering to it. Then, get a piece of clear adhesive contact paper and cover over the letters you've just done. This gives excellent protection for the letters, and adds a subtle kind of ratte finish. Next, cut out the contact paper sandwich you've just created, peel the backing off the sheet of contact on which you did the original lettering, and press the whole sandwich on your panel. If you don't get it centered quite right the frst time, carefully peel it off and reposition. You can’t do this too many times, ‘though, as the adhesive will lose its sticking power. Before we get into the construction projects them- selves, TI have a few words about the importance of aesthetics. You'll see a lot of electronic experimenters ‘who throw together a bunch of parts in a chassis, label it with a commercial Iebelmaker, and forget about it Many times it will work just as well as if it were care- fully done, but the extra time spent on beautiful pack- aging is well worth it. Music, afterall, is all about cre- ativity and beauty—carry that into your electronics, 100. Aside from the inspirational value of playing with beautiful piece of equipment, it's also worth more Often the difference between a superior guitar and an ordinary model is workmanship, plated hardware, deli cate inlays, and choice woods. Naturally, you'll play just as well om an axe that doesn’t have beautiful inlays, but there is a great deal of satisfaction to be derived from playing a beautiful instrument... end even more satis- faction and confidence if you're the one who van point to it and say, “I made that.” Testing and Checking out Performance It takes time to understand how to effectively use a special effects box; as a result, you shouldn’t expect to immediately obtain the best results as soon as you plug in and turn on power, Instead, you should allow your self a period of time to become familiar with the various controls to learn exactly what they can, and cannot, do, For example, when I first prototyped Project No. 10, 1 was disappointed in the sound; however, that was before Thad mounted the pots in an enclosure, added knobs, and put on labels. After doing these things, I started really getting into the various sonic possibilities that this unit could offer—and the more I used it, the more I liked it. You'd think I'd know better after all these years; after all, every musician should know that you have to practice your instrument in order to get good at playing it. When you put a special effects box in your signal path, you've just added more potential to your instru- ‘ment, and it takes practice to realize that extra potential to the fullest... no exceptions, | ON | |OFF 1) choose your piece of backing contact paper, outline the label, then transfer your lettering -——— ON } OFF 7 3) cut out label, take off adhesive backing, and affix to equipmentChapter Five We first discuss some important instruc- tions common to all projects, and then give the complete story on building 27 projects. ee Before we start building the projects, we need to dis cuss some additional information that pertains to the projects as a whole. Rather than repeat the same infor- ‘mation over and over again in the text for each project, ‘we'll simply group it together here for easy reference. It’s a good idea to review these instructions, aswell as the material presented in Chapter 4, before building any project Please note: Beginners should be aware that much of the information written about each device (particularly the sections on specifications and how the project works) is intended for the use of more advanced experimenters. It is not necessary for you to understand this material in order to successfully build and use these projects; rather than spend another 20 pages explaining such things as why a VAC RMS is different from a VAC pk- pk, well just assume that any beginners will be happy ‘enough just to have a working unit—leave the technical stuff for another day. Those of you who have a basic “feel” for what specificiations mean, but would like some additional information can refer to this glossary at the end of this book. Fair enough? Format —__— Each project has a similar format, and generally groups, information into the following sections: Definition: Describes the function of the device as concisely as possible. Background: Expands on the definition to provide additional information concerning the project. Features: Describes what’s neat about the project from @ technical standpoint. Not necessarily intended for beginners. Level of difficulty: Gives you a rough idea of which projects are more difficult than others; classifies them as besinner. intermediate, or advanced. 58 Construction tips: What to look out for when build- ing the project Using the project: How to get the most out of your device Modifications: Tells how to customize the device for specific needs and application In case of difficulty: Attempts to pinpoint the major sources of error particular to a given project in case it doesn’t work, Use this section in conjunction with the chapter on trouble-shooting, which describes. general trouble shooting techniques. Specifications: A description of the device in techni- cal language; will no doubt confuse a beginner or two, but should be interesting to the aficionados. For more information on how these specs were derived, see chap: ter 9. Line Level or Low Level Many of the special effects devices in this book (fuzz, ring modulator, compressor, etc.) may be optimized for ‘use with either low-level or line-evel systems. The follow- ing should help you decide which is appropriate for your siven application. ‘There are two major families of audio signals in the world, low-level and line-level. Line-level signals are strong, high-level signals; most professional audio equip- ment—mixing consoles, tape recorders, hifi power amps, ‘ee.—is designed to work with line level signals. ‘There is one exception to the line level signal stan- dard, though: guitars and guitar amplification systems. ‘Since the signals coming out of guitars are low in level, guitar amps are designed specifically to work with these low-level signals If you intend to use these effects with a low-level in: strument like guitar, and then expect to feed the output‘eve signaty ‘dio wort Fiewe 5.1Probably the easiest way to add an on-off switch is with @ DPDT switch. We wire it up to interrupt both of the battery lines going to ground, as shown in Figure 5-2. Many people have asked whether they could wire up the on-off switching as shown in Figure 5-3, to avoid using a DPDT switch in favor of a less expensive SPST type. ‘This will not work; even with the switch tured off, you're still drawing power from the batteries. Notice that you could just as easily use a DPST switch, although these are less common than DPDT types. However, you will often run into pots that have DPST switches on the back; s0, you might wish to wire up this switch so that tuning a particular control fully counterclockwise turns off the power. Figure -2 60 Either of these methods works fine, but there's an- other option that saves the cost of a switch and is some es more foolproof. I'm sure you've seen commercially available effects boxes where plugging a cord into the device turns it on, and unplugging the cord turns it off; here's how this type of switching circuit works. In Chapter 1, we looked at stereo jacks that have a ground tab and two hot tabs. Figure 5-4 shows how a stereo plug inserts into a stereo jack; each of the hot Ieads of the plug matches up with corresponding hot ter- ‘minals on the jack. But now let’s look at Figure 5-5, which shows what happens when you plug a mono plug into a stereo jack. The tip of the plug connects to one hot jack terminal; the shield of the plug connects to the shield of the jack, and the other hot terminal of the jack connects to ground through the sleeve of the plug. So, by connect- ing the (.) end of a 9V battery to the solder tab that con- nects to the short contact arm of the jack, we have a primitive on-off switch. Plugging in shorts the battery (-) to ground, completing the circuit; removing the plug re-Figure 5-3 circuit board i this arm shorts to ground; thus anything connected to terminal B connects to ground Figure 5-6 DPST on-off switch circuit board sults in a disconnected battery. To simplify matters, we'll call the tab that connects to the short contact arm ter: minal B, and the tab that connects to the Jong contact atm, or tip, as terminal A. For circuits requiring two batteries, it’s a simple mat ter to use the stereo jack switching technique at both the input and output. That way, the input jack can turn on the positive supply, and the output jack can turn on the negative supply. Just remember to unplug your cords when you're finished playing, and the power will be ‘tumed off for longest battery life. By the way, you don’t necessarily have to use 9V tran- sistor radio batteries, as these do have a somewhat lim- ited current capability. If you want to get more time be- tween battery changes, use six penlight cells to replace fone battery and another six penlight cells to replace the other. The batteries (if only powering one or two pro- jects) should last almost as long as their shelf life (.e., how long they would last if just sitting on the shelf doing nothing). Figure 5-6 shows how to hook them up. +9 1.5V “AA” batteries Vv ‘1One final point about power connections: Most of, the circuit boards not only have a pair of on-board po- larity reversal diodes as discussed in Chapter 1, but also have a pair of electrolytic or tantalum capacitors con- nected from each supply line to ground. These are called ‘bypassing capacitors, and accomplish several functions. With battery operation, these capacitors maintain a con- stant power supply impedance as the batteries age; they also prevent interaction between modules if you're pow- ering many modules from the same supply, and if you're using an AC adapter that has ripple (hum), proper by- passing will minimize the problem. Proper Care of the CLM6000 ‘This part comprises an LED and wide-range photore- sistor in a single, light-tight package. A photoresistor is like a resistor, except that its value depends upon how much light shines on it, With littl light, it has a high re sistance (10M and more); with lots of light, the resis- tance becomes small (less than 1,000). The LED cre- ates the different light changes in response to differing amounts of current flowing through it; so, you can think of the opto-isolator as being electrically equivalent to a variable resistor. By the way, note that opto-isolators designed for digital logic circuits (such as the MCT-2 and similar types) will not work in this application. ‘The CLM6000 has four leads, two for the LED and two for the photoresistor. The two photoresistor leads are long and skinny and come out of one end of the ‘CLM6000, whereas the two LED leads are shorter and stubbier, and protrude from the oppositeend of the part. ‘The cathode lead of the LED is indicated by a little dot painted on the package next to the lead (see Figure 5-7a).. Figure 5-7a dot indicates cathode (banded end) of LED one ST Tp x photoresistor leads It's important to carefully note which lead is which, sinoe 1 cireuit with an improperly installed CLM6000 will not work. Both the photoresistor and LED inside the CLM6000 are sensitive to heat, so solder quickly and leave about 6, minute between the time you solder the LED leads and the time you solder the photocell leads. In the projects, the LED leads mount directly into the board, while the photocell leads are bent over in order to fitinto the other indicated holes on the board. Figure 5-7b shows how to match the CLM6000 leads up with the legend on the ‘component side of the board. Figure 5-7b Jumper Wires — — In some cases, it may be necessary to add a jumper wire to the circuit board, Although it is preferable to design circuit boards that don’t need jumpers, sometimes it’s just not possible to have one trace meet up with another trace; so, we cheat a bit and run a wire over the top (component side) of the board (0 connect the two traces together. Jumper wires are indicated on the com- ponent layout diagram with a line designated with the letter J. Use 2 piece of insulated wire to implement this jumper, Note that the circuit will not work if the jumper {is not in place; so if a board doesn’t work the first time you try it out, review the component layout and make sure you're not overlooking a needed jumper. Transistor Orlentation Unfortunate'y, transistors are not always enclosed in standardized cases. On the various circuit board compo- nent layouts shown in Chapter 5, look carefully for the emitter, base, and collector lead designations (abbrevi- ated e, b, and c) for each transistor used, and match these up with the e, b, and c designations embossed or printed on the transistor case, Even if these letters are ‘not shown on the case, there should be an accompany- ing sheet with any transistor you buy that indicates which lead is which, Note that while the circuit board ‘component layouts indicate a flat side and a round side for the transistor case, this does not universally correlate 10 all transistors. Without exception, match up the e, b, and ¢ designations to insure that the transistor is cor- rectly oriented. An improperly oriented transistor will sabotage your circuit, so be carefulINPUT ze ® & & Background: ‘Some signals that emanate from devices are very low in level, such as the weak signals coming out of the guitar pickups or microphones. On the other hand, some de~ vices (tape recorders, hifi power amps, studio consoles, ‘and others) want to receive line-evel, or high-level signals. A preamp can take a low-level signal and convert it into 4@ high-level signal that is more suitable for interfacing ‘with professional equipment. Advantages include a “ful ler” sound and better noise performance compared to using a nonpreamped signal. Features ‘© High-input impedance retains the fidelity of instru- ‘ments with high-output impedances such as guitar Choice of “clean” (standard preamp) or “dirty” modes. The dirty mode simulates the sound of an overdriven amplifier Project No. 1 PREAMP Definition: A preamp increases the level of a signal For example, a preamp with a gain of 10 can take a 1V input signal and turn it into a TOV output signal Figure 5-8 Here is the preamp, mounted ina Vector Pak card ‘module prior to installation in the pedalboard. The switch on the left is the cleanjdirty switch; the one (on the right is the infout or bypass switch (see Project No. 23 for details on how to wire this in- 10 the preamp}. The input jack ison the front, but all other connectors mount on the rear. In order to conserve panel space, the VU meter has been omitted from this module. | Choice of three outputs: low-impedance unbal anced, inverting or noninverting, for use with gui- tar amps, some tape recorders, hisi power amps, ete.; and low-impedance balanced, for use with professional studio equipment = Built.in VU meter amp "= Separate gain control and master volume con: {tol to optimize signal-to-noise ratio ™ Lownoise and low-distortion characteristics © Operates from 49 t0 +18V DC Drives long cables without signal loss or degraded frequency response ™ Replaces hassle-prone studio direct boxes when recording direct into studio mixing boards © Buffered, low-level output available at pad A Level of Difficulty: Beginner to intermediate 63Constructions Tips Because this circuit is capable of high gain, certain leads ‘must be shielded, and all wiring should be kept as short and direct as possible. Input and output leads should be physically separated from each other by at least 1 cm 3/8") to prevent stray signal coupling. Use shielded cable for the following connections: Ji to pad I; pad C to R6; SI to pad E. LEDs D1 and D2 should nor light up. They are used only to create distortion in the dirty mode. Using the Preamp 1 First, plug your instrument or microphone into J1. ‘The preamp input accepts unbalanced output devices, which usually terminate in 1/4” phone plugs. To connect balanced line devices, which usually terminate in a three: wire XLR connector or more rarely in a 1/4” stereo phone plug, you will need to add an additional matching transformer. See Figure 5.9. ™ Second, determine which output jack to use for patching the preamp into your setup. Use J3 for feeding devices with unbalanced, high-lev- el inputs, These include power amps such as BGW, Crown and McIntosh; most consumer and semipro tape recording equipment; budget PA mixers; line level studio effects; most synthesizer modules; and synthesizer “extemal input” jacks. Use J4 for feeding devices with balanced, high-level inputs, These include studio mic preamp inputs; most Figure 5-9 How to adapt a balanced, low-impedance micro- hone to the preamp input using a matching trans- former. The cord connecting the microphone to ‘the adapter is usually a three-conductor type with XZR connectors at each end; the cord from adap- ter to preamp is a standard cord with 1/4" phone plugs at each end. The transformer is called a “highimpedance unbalanced to low-impedance balanced” type, and is available at many music stores and pro audio shops for around $15 to $20. studio patch bay patching points; professional tape recorder inputs; some studio effect inputs; and profes- sional-quality mixers. Use J2 for applications similar to J3, but where phase is unimportant. Using this output will give slightly better noise performance compared to J3. ‘© Third, decide whether you want a clean or dirty sound. If clean, set SI to clean, With the master volume about one-fourth of the way up, feed your loudest input signal into the preamp. Tum the gain control clockwise until you reach the maximum level that still gives a dis- tortionless sound. Trim the master volume to the desired output level (usually 0 dB when feeding something like a tape recorder) If dirty, set S1 to dirty. Adjust the gain control for the desired amount of distortion (clockwise=more dis- tortion), then trim master volume for the desired output level. ‘Another way to obtain a dirty sound, even with SI in the clean position, is to overload a low-level input (such as a typical guitar amp input) with the high-level preamp ‘output. For this application, adjust the gain and master volume controls for whatever you feel gives the best sound quality. Hooking up the VU meter amp: By monitoring the out- put of the preamp with the VU meter, you may adjust the master volume so that your output signal is consis- tently around the 0-dB point. For maximum verstlity, the meter amplifier input is brought out separately to pad M 30 that you may monitor different points along ‘the signal chain if desired. To monitor the output of the preamp, connect pad M to pad P, To monitor several effects, refer to Figure 5-10. If you don’t wish to use the meter, simply ignore ter- minals M and N. The meter does not need to be used for the preamp to work correctly. The function of pad A: The output signal appearing at pad A is a buffered equivalent of the signal appearing at the input, and may be connected up to a jack in a fash- fon similar to J1. Use it for feeding effects that are de- signed to work only with low-level inputs. This option will not be required if you are using the preamp solely in conjunction with other projects presented in this book.Figure $-10 This diagram shows the preamp, compressor, and super tone control, with their inputs and outputs brought out to separate jacks. I’ve omitted other connections—power supplies, pots, etc.—forclarty. Pad M connects to a@ rotary switch which selects ‘the part of the signal chain we wish to monitor. Position 1 monitors the preamp output, 2 the com: Pressor output, and 3 the super tone control out- Put. Modifications The preamp response is +1dB from 40Hz to 10kHz (IkHz = 1000Hz). You may remove CI and C2 to ex: tend the response to 20kHz if you've been careful with your wiring (no long, sloppy lead lengths, or inputs ‘raped over outputs). = If the preamp has too much gain for your needs, change RIO fo 220k I oo Hite gain, change RIO to mM. = If you will only be using the preamp with guitar, and if that guitar does not include built-in electronics, you may replace C3 with a wire jumper for improved noise performance. © There may be instances where you don’t need all the versatility of the present design. Let’s say you're a guitarist, and all you want is @ preamp to overload your ‘guitar amp input~and that’s al. In this case, simply plug your guitar into J1, your amp into J2, and you're ready ‘to go. You don’t need J3, 34, R3-RS, R8, RII, C4,C7, or CB; these may be removed from the board, or designed out altogether. The clean/dirty switch as well as R6 and 7 will stil be completely functional. In Case of Difficulty ® Distortion, even in clean mode: Tum down gain control until distortion goes away, and turn up master volume to compensate. © Internal feedback, squeals, or other oscillations: Check lead layout. Use’ shielded wires where indicated. Make sure Cl and C2 are in place. ‘= “Uneven” sounding distortion in dirty mode: Veri- fy that D1 and D2 haven't been ovetheated or damaged during the soldering process. Specifications Current consumption: #8 mA* @ 49V DC supply voltage Frequency response (clean mode, Cl & C2 = SpF): +#14B, 40Hz- 10kHz 4#24B, 40H2-20kHz Frequency response (clean mode, C1 & C2 omitted) ‘1B, 40Hz-20kHz Output headroom, clean mode: greater than 1OV pk pk Maximum input before clipping, clean mode, R6 fully clockwise: 100mV pk-pk Output headroom, dirty mode: 3V pk-pk Maximum input. before clipping, dirty mode, R6 fully clockwise: 15mV pk-pk, millamperes; 1mA'=0,001A, tm = millivolts; ImV = 0.001V. m = one thousandth. 6566 igure S-11 Artwork for the foil side of the circuit board, shown to Figure $-12Figure $-13 Preamp schematic. 4€ 5 How it Works IC2A is a buffer stage that loads the input signal down as little as possible; capacitor C1 promotes stability and helps minimize radio frequency inter- ference. From here, the signal couples through C5 into the gain control. This varies the amount of signal that goes to ICIA, which is set up as a high-gain stage. With R6 up full and SI in the clean position, the signal is amplified 100 times (plenty of gain, even for low-level signals). With S1 in the dirty position, LEDs DI and D2 shunt across this high-gain stage to clip the signal and create distortion. Under these conditions, turning up 6 doesn’t make the signal louder, but instead makes it more distorted. ‘The next step along the signal path is through C6 to R7, the master volume control. This signal goes directly to J2, the inverting output. The ‘output of ICIA also goes into ICIB, which simply inverts the signal again to produce a noninverting output, and feeds this signal into J3. Since balanced output requires both inverting and noninverting signals, the in- verting output of ICLA and the noninverting output of ICIB feed the bal- anced output connector. IC2B is the meter amp. It basically presents a minimum of loading to whatever signal connects to pad M, and then couples into the VU meter through C8. a68 Project No. PARTS LIST Resistors (all are 1/4W, 10% tolerance, except as noted) RI R2 R3-RS R6 RT RB R9, RIO Ru Ik 47k 10k 10k audio taper pot—controls gain 10k audio taper pot—controls master volume 100k 470k 1M Capacitors (rated at more than 10V for 19V, more than 1SV for #15V) c1,c2 3 4 cs 6-10, Semiconductors 11, 1C2 Di, D2 D3. D4 Mechanical Parts N33 4 sl vu Mise. SpF ceramic dise O.14F (mylar preferred, disc acceptable) 0.228 (mylar preferred, disc acceptable) 2uR, electrolytic or tantalum 10MF, electrolytic or tantalum RC4739 or XR4739 dual low-noise op amp Red LED 1N4001 or equivalent silicon diode Open circuit 1/4” mono phone jack Optional XLR connector SPST switch—selects clean/dirty mode VU meter Case, knobs, two 14-pin IC sockets, circuit board solder, wire, eteProject No. 2 METRONOME Definition: A metronome is a device that marks time for musicians who wish to practice against a stable ‘tempo. It emits a series of rhythmic clicks; the tempo of these clicks is adjustable SS OO wees (a) I don't recommend you build your projects like this. But in this instance, I needed a metro- nome on 24shour notice and built it in a refrigera- tor dish. (b) A closeup of the metronome circuit board. * Background: Traditionally, metronomes are mechanical devices, pow- ered by a wound spring. Eventually the spring winds down, which means the metronome requires periodic re- winding. This electronic equivalent will run for as long as the battery lasts, if desired, Features Can go faster than mechanical metronomes ‘= Timing is virtually independent of supply voltage Includes optional amplifier feed for high-volume applications, = Low cost © Runs from single 9V transistor radio battery Level of Difficulty: Beginner Construction Tips This is a simple, noncritical circuit with few intercon. nections, and no special precautions are required. For power, use a separate 9V battery or 9V AC adapter, As a general rule, projects using a speaker should have their own power supply. Figure 5-15 shows how to add a power on-off switch. Using the Metronome Tum on the power and adjust the rempo control for the desired tempo. 69Figure 5-15 Adding an on-off switch to the metronome, An SPST toggle switch is satisfactory; better yet, use a pot for R3 that has an on-off switch mounted on its Back. metronome board (remainder omitted for clarity) + on-off switch 9V battery Suggested applications include providing a steady beat for jamming with friends when there isno drummer, and providing a click track for recording work. In this application, the metronome is recorded on one track of a multitrack recorder, and all subsequent parts are laid down to the tempo set by the metronome. After all the other tracks are filled, the metronome track may be erased to make room for one more overdub. Modifications ® For the loudest possible click, use a large and effi- cient speaker for SPKR. Smaller speakers give a more sub- ddued click. ' If you need a really loud signal, add the amp feed circuitry shown in Figure 5-16. jack* output, to amp oh SPKR 70 speaker on- off switch* To change the metronome range from 60-1500 bpm (beats per minute) to 120-3000 bpm, change Cl and C2 to 1uP. To change to 30-750 bpm, change Cl and C2 to SHP, In Case of Difficulty | Metronome doesn’t work: Check wiring and bat- tery voltage. | Metronome won't start: Check polarities of C1 and C2, battery voltage. © ICI gets hot to the touch during operation: Shorted C4. Specifications Current consumption: 12mA average, top speed. Range: Approximately 1 -2SHz (60- 1500 bpm). Figure 5-16 ‘Add the parts indicated with (*) for an amplifier ‘feed; plug into a standard guitar amp or PA. The speaker on-off switch is optional, metronome board (remainder omitted 10k* for clarity)Figure 5-17 Artwork for the foil side of circuit board, shown Figure 5-18 Component layout for the metronome. nFigure 5-19, Brit. Ser we), Dl ‘Metronome schematic. c3 100uF 1N4o01 SPER t c2 2uF | How it Works ‘The $55 is an integrated circuit developed specifically for industrial con- trol applications, It can give very precise timed functions, and can also de- liver a fair amount of power-enough to drive a speaker to more than audi ble volume. In this particular circuit, tying pins 2 and 6 together forces the 555 to oscillate and therefore generate a continuous stream of pulses, which feed into the speaker through C4. C3 adds bypassing across the sup- ply lines, while diode D1 provides polarity-reversal protection in case you hook up the battery incorrectly. Project No. 2 PARTS LIST Resistors (all are 1/4W, 10% tolerance except as noted) RI 13K R2 47k R3 AM linear taper pot-controls tempo Capacitors (rated at 10V or more) c1,c2 2pF, electrolytic or tantalum ©3, C4 100HF, electrolytic or tantalum Semiconductors Ic1 NESS, LMSSS, RC5SS, or equivalent timer DI IN4001 or equivalent silicon diode Mechanical Parts SPKR 892 speaker Mise. Case, knob, 8-pin socket, circuit board, solder, on-off switch, ete. nnFigure 5-20 (a) Passive tone control mounted in a small box. (b) The insides of this project. Bockground This project uses an electronic component called an in- ductor. In most modem circuits, inductors have been eliminated in favor of op amp circuits that simulate the properties of an inductor. Nonetheless, for many years inductor|eapacitor combinations were the backbone of ‘audio filtering circuits; and the same combination forms the basis of this project, too. Features No power required No semiconductor noise Choice of 10 different notch frequencies Adjustable notch depth Very low cost Easy to mount inside guitar or keyboard instrument Level of Difficulty: Beginner. Project No 3 PASSIVE TONE CONTROL Definition: The passive tone control changes the tonal quality of an instrument by putting a notch, or dip in response, at various places in the midrange area of the audio spectrum. It is called “passive” because it re- quires no source of power for operation. com Construction Tips used a small, transistor radio transformer to implement TI (available from Mouser Electronics; see parts list for specs). Any other transformer with the same specs will do. With this type of transformer, one side will be called the primary (usually indicated with a printed designation like the letter “P"), and the other side the secondary. We use the primary wires only and leave the secondary wires ‘unconnected. If you can't find a suitable transformer, obtain two standard 2.5- to 3-henry (a henry, abbreviated H, is the unit of inductance), Connect one of these inductors be- ‘tween pads F and H on the circuit board (inductors have ‘only two connections, so you can’t go wrong), and con- nect the other one between pads Hand J. Keep TI out of the way of strong AC fields, lke those generated by power transformers, as inductors can pick up hum, Shield the wires going from pad I and O to the two jacks. 3Using the Passive Tone Control Plug your instrument into J1, and patch J2 to an amp. Tum the depth control full clockwise, $2 to full coil, play your instrument, and rotate the frequency switch throughout its range. Each position should give a dif- ferent sound. Experiment with the depth control as you listen. Now, repeat the same series of experiments with S1 in the half coll position. This circuit gives a lot more flexibility than the stan- dard treble-cut tone filter found on most guitars, yet it does not add noise or require batteries that could fail at embarrassing moments. Modifications © Bass players may “tune” this circuit one octave ower by doubling the values of C1 -CS. © One of SI's positions is unconnected, which cuts the inductor/capacitor combination out of the audio path and eliminates the need for a bypass switch. If de- sired, this unconnected switch position could also con- rect to another tuning capacitor (say, 0.005 uF) instead, = You may elminate the depth control by shorting pad J to ground, In Case of Difficulty © Volume loss through the circuit: There is nothing you can do about this, since a little bit of loss is the tradeoff for not including any active circuits or power supply. Feeding the passive tone control output to device with a high-impedance input minimizes this loss. = Changing S1 has little effect: Make sure TI is hooked up correctly. Check all ground connections. |= Hum: Change the orientation of the transformer or inductor away from AC fields. Check all ground con- nections. How it Works Inductor TI and the capacitor selected by S1 make up what is known as resonant circuit, which will pass some frequencies but not others. For ex- ample. if the inductor/capacitor combination has 2 resonant frequency of 1000Hz, then it will pass 1000Hz signals; however, signals that are lower or higher in frequency will not pass through the inductor/capacitor combi- nation Looking at the schematic, we can simplify it and see that basically what wwe have is the inductor/capacitor combination draped across the signal line to ground. If, for example, this combination has a 1000Hz resonant fie quency, then @ 1000Hz signal passed through the tone control will go directly to ground (since the inductor/capacitor combination can easily pass this signal) so it will not make its way to the output and we won't hear it. Other signals above and below 1000Hz will be rejected by the tuned circuit and not go to ground, so they are free to continue on to the output. Changing the resonant frequency (by changing either $1 or $2) alters the tonal effect by shunting other frequency bands to ground. In practice, a filter like this is not ideally selective; so, with a resonant frequency of 1000Hz, although it will et through 1000HZ signals the most easily it wil also let through signals close to that frequency by lesser amounts. This is considered broad notch in frequency response, as opposed to a steep notch in the response. Steep notches are difficult to create, but luckily for us, broad notches are more musically useful when modifying instruments than steep notches in virtually all applications. 14Specifications Current consumption: OmA Resonant frequency chart (all frequencies in Hz): Switch position (SI) $2 half coil 1 i015 2 755 3 560 4 430 5 260 Headroom +15V 2 full coil 340 380 240 170 107 Figure $-21 Artwork for the foil side of the board, shown 1 to 1. Figure 5-22 Component layout for the passive tone control, © COROT 15Figure Pass: 16 23 ie ‘control schematic. CT 7 NC=no connection oureut HALF COIL) FULL COIL Project No. 3 PARTS LIST Resistors RI 47k, 1/4W, 10% tolerance R 50k linear taper pot—controls depth Capacitors (rated 10V or more; mylar preferred, disc acceptable) ca O.o1ur co O.02pF. 3 o.0suF ca OnE cs 0.22uF Inductor 1 5. to 6H centertapped inductor (se text)* Open circuit 1/4” phone jack SP6T rotary switch SPDT toggle switch Knobs, case, circuit board, wire, solder, ete. *T1 is available from Mouser Electronics (see Chapter 2), stock number 42TM. (019. Its specs are: primary impedance, 10k at 1Hz; seccondary impedance, 600S2at IkHz, Primary DC resistance, 6000; secondary DC resistance, 1000 Calectro also makes an equivalent audio driver transformer; the part number is DILProject No. 4 HEADPHONE AMP Definition: A small hii audio amp that amplifies the ‘output of an instrument to a level capable of driving a set of headphones. Figure 5-24 The headphone amp mounted in a small LMB chas- sis.’ R3 is a panel pot instead of trimpot, as des- cribed under modifications. The two 9V batteries are held in a battery holder originally intended to house two size “D” cells. Background: This project trades off power in order to provide high- fidelity sound at loud, but not earshattering, volume levels. If you need more power or want to drive a loud- speaker, sip ahead to Project No. 5 Features ™ Portable; requires only two 9V batteries for opera- tion—practice in your van on the way to a gig Low power for long battery life © Dual inputs and dual headphone outputs for jam- ming with a friend © Trimpot-adjustable output level ™ Allows practice in apartments and hotels without disturbing others ‘© Tune up on stage through headphones without any- cone noticing © Low-cost, noncritical construction Level of Difficulty: Beginner Construction Tips This is: moderate gain circuit, and requires a few sim- pie precautions. If you design your own circuit board, make sure that pins 3, 4, 5, 10, 11,and 12 contact as much ground area as; possible; this helps ICI to dissipate any heat it gener- ates while operating. You cannot tiow up ICI if it over- heats, as it will simply shut itself off until it cools back down. Mount R1, C1, and C3 as close to the IC pins as pos- sible Keep the input and output leads separated by at least 1 cm (3/8") to avoid unwanted feedback. Figure 5-25 showshow to hook up power to the head- phone amp. 1Figure 5-25 How to hook up two 9V batteries to create a +18V supply, The on-off switch is optional; you could also use the input jack switching trick discussed ‘earlier in Chapter 5. Using the Headphone Amp Start off by plugging your instrument into J1, and a set of phones into J3. Turn on power, play, and adjust R3 forthe desired level. If you're using two sets of headphones, they should bbe of the same make and model to prevent level mis matches between phones. 78 off switch battery 9V battery Modifications © Although R3 is shown asa trimpot, you might want to use a standard pot mounted on the front panel to con- trol volume as shown in Figure 5-24. To do this, remove R3 and run three wires from the trimpot pads out to the panel pot. | The headphone amp will lso work from +12V DC (car battery voltage) and #15V. (found in most synthe- sizer systems). If small space is a must and you must use a single 9V. battery, National Semiconductor makes special LM380s, designated part no. SL61097, that are guaranteed to work down to +8V DC. 1 This circuit is designed to accept low-level signals. If you encounter distortion on the peaks of your play: ing, and the batteries are known to be good, then you are overdriving the amp. To remedy, either lower Ré to 47k (or even less if necessary) or add a volume control similar to the arrangement shown in Project No. 5. For this project, the wiper of the pot would go to an input pad (pad H or I) on the amp. For slighly more power, short out R2. The trade- off is more noise in your headphones. In Case of Difficulty © Distortion: Check battery voltage; otherwise, change R4 as mentioned under modifications. = 380 overheats; Add more ground area to pads 3, 4, 5,10, 11, and 12. = 380 still overheats: Eliminate socket and solder 380 directly to board.Specifications Quiescent current consumption: 10mA typical ‘Typical maximum current consumption: 100A Frequency response @ 250mW output: +1dB, 40Hz- 20kHz, ‘Maximum input before clipping: 1.7V pk-pk Power into 8@ load @ IkHz, R2 = 108: 250mW Power into 89 load @ 1kHz, R2 = OM: greater than 500mW All measurements taken with (+) = 1SV, R3 at max- imum output Figure $-26 Artwork for the foilside ofthe circuit board, shown Tol. Figure $-27 Component layout for the headphone amp. 79» How it Works ICI is apower o requiees very few external components, and lias been designed to deliver a fair amount of output current. Input signals en- tor the amp through RS and R6;since the typleal guitar pute aut too much juice for the 380, resistor R4 adds some attenuation, CI restricts the su- personic frequency response to prevent oscillations. C2, C4, and CS are all bypassing capacitors for different sections of the 380, The output of the IC appears on pin 8, which couples through C6, R2, and R3 while working ils way to the headphone jacks. RI and C3 prevent high-frequency oscilla- tions that can accur when the 380 is delivering its maximum power Project No. 4 PARTS LIST Resistors (all ae 1/4W, 10% tolerance, except as noted) RI 332 R2 108 3 2502 trimpot—controls output level trim Ra 100k RS, R6 470K Capacitors (ated at more than 20V) a 100pF (polystyrene preferred, disc acceptable) c O.01pF, ceramic dise 3,4 O.1BE, ceramic disc cs 1OMP, electrolytic o tantalum. Mechanical Parts cs) ‘2S0HF, electrolytic ns Open circuit 1/4” mono phone jack , 334 Open circuit 1/4" stereo phone jack Semiconductors Mise, Case, knobs, 14-pin IC socket, i M380 audio power op amp circuit board, power sup- DI INGOOL ot equivalent silicon diode ply (Ge text, solder, wire, ete. 80Project No. 5 MINIAMP. Definition: A portable, low-power audio amp capable of driving a loudspeaker to moderate volume levels. Figure $29 (a) I already have a couple of small practice amps, s0 I built this one in a plastic enclosure for mint- ‘mum weight. It sounds pretty good, although youl get better bass response witha wood eabinet. (6) A closeup of the loaded circuit board. ee (ey Background: Large amplifiers are not needed for all occasions: mini amps will suffice for practicing and many recording ap- plications. They are usually physically small and battery ‘powered for portability Features | Single IC design, no output transformer required | Switch-selectable speaker or headphone outputs © Operates from +12V DC battery pack or car bat: tery = Reasonable frequency response and distortion characteristics © Suitable for recording work: —Small size. allows for unusual miking schemes (Gee Using the Miniamp in the Studio) Simplicity of repair and maintenance Low output power minimizes leakage between instruments, simplifies baling requirements May be overdriven to simulate large amp sound ‘without large amp power levels =Dusl, individually mixable inputs for jamming with another player Level of Difficulty: Beginner to intermediate Construction Tips Because this circuit handles more power than other book projects, certain precautions should be followed. Shield the wires going from the input jacks to both controls, and from the controls to pads A and B. Keep ‘output leads physically separated from the input wires and the area of the board where the input wires termi nate. For best results, build the miniamp into its own case and give it its own power supply. I recommend using a battery holder capable of holding eight “C” cells; for smallest siz, use eight “AA” cells. Either of these com- binations produces 12 V. ‘The HA706 uses a nonstandard package. The litle dot ‘on the top of most ICs that normally indicates pin 1 isFigure 5-30 ‘A small speaker baffle makes an excellent enclosure Top view of the wA706. A dot on the bottom of for the miniamp and batteries. Stuff with acoustical pad- the IC indicates pin 14, ding for best bass response, but keep the area around the IC heat sink clear of padding. 7 “4 If you expect to play at the loudest possible volume a level of which this amp is capable for extended periods 2 of time, glue heat sink to the top of IC1 with a ther- 3 12 mally conductive silicone glue (available at hardware 4 u stores). Figure 5-34 shows the heat sink attached to the 5 0 Ic. 6 9 Figure 5-34 7 8 Heat sink mounted on top of the yA 706. metal 2 strip ae Prey on the bottom ofthe UATOS and indicates pin 14. The C) ings top of the IC has a metal strip that aids in dissipating ¥ heat from the IC. (See figure 5-30). ‘The volume of the miniamp is highly dependent on ‘the speaker it drives. Paradoxically, high-cost/high-quali- ty cardio speakers wil usally prod fees volume ‘than the inexpensive speakers you find in table radios and the ke, Eflent musa! nstument speakers” to 15”) typically provide the loudest sound pressure res, Figure 5.31 Artwork for the foil side of the circuit board, shown 1 to 1. Ynizend © 82Using the Miniamp, General Instructions © Check all connections thoroughly before applying power. Plug one or two instruments into the inputs, se lect speaker or headphone output, then adjust volume controls to suit. © If you hear excessive noise or squealing, or if ICL gets extremely hot immediately after turn-on, shut down ower and determine the source of the difficulty. Other- ‘wise, play away. ™ You may power two sets of headphones without problems; however, these should be of the same make and model Figure 5-32 Component layout for the miniamp. cro, @@- US —n8— on. —Ra— 1 om —m— oS it) rvs ac [|= —r— AI RR GBADCH , O* Using the Miniamp in the Studio 4 There should be no hum (except for stray hum picked up through the instrument being amplified), Since the amp is battery powered. = The small size allows many unusual mic place- ‘ments to alter the tonal quality of the miniamp’s sound. Here are some . . —Boost bass by miking close to speaker. Cut bass by moving mic further away. —Create phase changes by placing amp on floor; thang mic about 20 cm (8") above the floor, pointing at the floor, about 8-40 cm (4-16") from the amp. Moving the height of the mic in relation to the floor changes the sound by creating phase shifts Point amp at wall; lso point mic at wall to pick up the reflected amp sound. —Reduce treble by placing a piece of thin cardboard between the speaker and mic. Boost midrange, and create resonances, by placing amp and mic inside a large cardboard box with the mic pointing away froma direct line with the speak: Change size of box, cut holes in box, or change mici amp Positioning to vary the effect, + 83Me jifications 1 Reducing C11 to 250UF trades off bas esponse for longer batty Iie. This has a negligible effect onthe Suna Since mos anal speakers wil nt respond ef Stony to Tow bas frequencies anyway. 1 For more power, you may use 10 “C" calls con- nected tn sereg fo crene 4 T15V supply. In this cae, teat snk for Cl wil be mandatory. on lameng he a of 2 an Ryall 100) trades ff more headphone volume for ae ne natn 2 tnd RS ppl to 86 or $355 {des of ex olute for es nls In Case of Difficulty = Distortion: Back off on input controls. Check power supply voltage while playing through amp; if it drops much below 9V or so, the batteries need to be re placed. ‘© Low volume: Use more efficient speaker. © Oscillations, excessive noise: Check lead layout and shielding, referring to Construction Tips section. = ICI overheats or bums out: Increase heat sinking. ‘© Resonances, buzzes: Check enclosure for tightness. Make sure all joints are glued together well and are pre- ferably caulked. Specifications (taken with 12V battery pack) Quiescent current consumption: typically 1SmA Typical maximum current consumption while playing: 175mA @ 800mW out Frequency response: +24B, 100Hz-10kHz Maximum input before clipping @ IkHz: 250 mV pk-pk Maximum power into 882@ IkHz: approximately 1WHow it Works — ‘The biggest tradeoff in a miniamp is battery life vs. output power; more power means decreased battery life. The chosen output power, epproxi- mately 1W, seems like the best compromise between output level and power consumption. ICI is an audio power op amp, and is similar to a regular op amp ex- cept that it has been optimized to provide large amounts of output cur- rent. Signals couple in from the two inputs via R6/R7 and C4/CS. C1 adds stability and discourages radio frequency interference. RS, located be- tween pin 8 of ICI and ground, sets the overall operating level of the amp. The various other capacitors associated with the op amp provide frequency shaping and/or bypassing to improve stability and power supply rejection. ‘The output couples into the speaker through C11; C6 is, again, designed to promote stability (power amps do not like feeding inductive loads such as speakers). Switch S1 allows you to choose headphones or speaker, but not both, R2 and R3 cut down-on the signal going to the phones in order to attenuate the noise coming out of the amp a little bit, and to bring the ‘output level down to something reasonable for our ears. Use 8- to 16-2 headphones for best results, although most any type will work satisfacto- ily Project No. § PARTS LIST Resistors (all are 1/4W, 10% tolerance, except as noted) RI-R3 332 RA 472 RS 2702 R6,R7 100k RS 470k Ro 1M audio or linear taper pot—controls channel 1 level R10 1M audio or linear taper pot-controls channel 2 level Capacitors (rated at 12V or more for +12V supply except as noted) C1 20pF, ceramic dise G 390pF (polystyrene preferred, disc acceptable) a 0.01nF (mylar preferred, disc acceptable) 4.06 0.224F, mylar or ceramic 1,09 100uF, electrolytic or tantalum ce 100uF, electrolytic or tantalum, 6V or more c10 220uF, electrolytic cn 10004, electrolytic Semiconductors Fairchild A706 or TBA641B audio amplifier Mechanical Parts U2 Open circuit 1/4” mono phone jack 3,4 Open circuit 1/4” stereo phone jack si SPDT toggle switch—selects speaker/headphones Misc. Case, knobs, 14-pin IC socket, circuit board, 12V bat tery pack, solder, wire, loudspeaker, ete 85Project No. 6 ULTRA-FUZZ Definition: Converts input waveform into a square- wave output, thereby producing a smooth and har- monically intense fuzz effect. Built-in triggering cir- cuitry shuts off the unit between notes for lowest noise Figure 5-35 Ultra-fuzz mounted in small Radio Shack box. Background ‘Most fuzzes are based on the principle of controlled dis- tortion, usually by overloading some type of amplifier circuitry. The ultra-fuzz is a waveform conversion device ‘that actually transforms the waveform rather than sim- ly adding distortion to an existing waveform. While de- signed for single-note lines, there are occasional instances where playing two or more notes works well with this fuzz, A tradeoff in the design of this fuzz eliminates noise at the expense of a somewhat abrupt decay (not un- like the sound of a signal processed through a noise gate). However, with practice and proper adjustment of the sensitivity control, this is generally not a hinderance. Features 1 Single IC construction 1 Variable sensitivity (independent of supply voltage) © Operates fromt5 to t18V . Choice of line-level or low-level operation set by ‘two components ‘© High output © Inherent noise gate action © Distinctive, “synthesized sounding” fuzz effect . Excellent sustain characteristics for single-note lead lines, 86 a Level of Difficulty: Beginner to intermediate Construction Tips ‘This is a high-gain circuit, so keep all leads as short and direct as possible. Separate input and output leads by at least 1 cm any Shield the wires from pad I to J1, and from pad B to Ra Using the Ultra-Fuzz Plug your instrument into the input, and patch the out- put to your amp. Keep the level control very low while ‘experimenting, as this unit produces a lot of output and can overload most amps. Important: Guitarists should use the bass or rhythm pickup with this fuzz, preferably with the tone control ‘tumed all the way down (minimum high frequencies). © The center of the sensitivity control is the most sensitive setting. At this center position, you will prob- ably hear nasty sounds like static, popping, or noise While nor playing (preferably mute your instrument by turning down its volume control), turn the control in either direction until the noise/staic just goes away. Play for a while to familiarize yourself with the trigger- ing action, then experiment some more with the sensi- tivity control until you find the setting that is most ap propriate to your playing.Figure 5-36 ‘The upper drawing shows an audio waveform sup- erimposed on the threshold level set by the sensi tivity control. The lower drawing shows the out- put level of comparator ICIB. When the audio sig- rnal exceeds the threshold level, the output of the ‘comparator goes 10 its maximum level; when the ‘audio signal sinks below the threshold level, the ‘output of the comparator goes 10 its miminum level. If the audio signal is always below the thres- hold (which happens after the signal decays past a certain point), then ICIB gives no output and the ‘out put of the fuzz is muted. © Some players may get best results by turing the sensitivity control clockwise from center; others will find that counterclockwise from center works best. Try bath possibilities. = If at first the ultra-fuzz seems difficult to “tame,” don't get discouraged. As with anything different from the norm, you should allow yourelf «sufficient peiod of familiarz Modifications © For line-evel operation, C1=470pF and R8=100k. © For low-level operation, C1=47pF and R8=IM. ‘These two components hold the key to obtaining the best possible sound. For a better understanding of their functions, see How it Works. © To pad down the output level (you might find it too “hot"), add a 47k resistor between pad O and RS, terminal 3. Figure 5-37 Specifications Current consumption: 45mA. Frequency response (input = 0.1V pk-pk): +14B, 40H2- 20kHz with C1=47pf and R8=100k. Minimum signal required for ful triggering @ SOOHz: less than 10mV pk-pk with R4 near center. Maximum output signal: 10V pk-pk Output waveform: square Artwork for the foil side of the board, shown 1 £0 1 87Figure 5.39 Utra fuzz schematic. 88 igure 5-38 Component layout for the ultra fuzz 14001 =e —How it Works ————$ $$$ ‘The input signal couples into the circuit through capacitor C3 and sees a 100k input impedance (R7). The gain of ICLA is the ratio of R8/R7. In- creasing the value of R8 increases the sensitivity of this stage. C1 isa high- frequency filter that rolls off high frequencies to prevent instability. In- creasing the value of CI gives a “smooth” sound with guitar by filtering ‘out energy above the fundamental frequency of the note. The output of ICIA couples through C2 and RI into ICLB. IC1Bis an electronic circuit called a comparator. It compares the audio signal to the setting of the sensitivity control, Referring to Figure 5-36, ifthe audio ex- ceeds this setting, IC1B gives an output; if the audio falls below this set- ting, then ICIB turns off. The output of the comparator couples through C6 and the output control into your amp or the next effect. Resistors R2 and R3, along with diodes D3 and Dé, set up a simple voltage reference for the sensitivity pot. These limit the threshold voltages to about40.7V at the extreme clockwise rotation, and about -0.7V at the extreme counterclockwise rotation. Diodes D1 and D2 ere polarity reversal protection diodes, while C4 and CS add power supply decoupling. Project No. 6 PARTS LIST Resistors (all are1/4W, 10% tolerance, except as noted) RL-R3 10k Ra 10k linear taper pot—controls sensitivity RS 10k audio taper pot—controls output level R6,R7 100k RB 100k (line level), 1M (Low level) Capacitors (rated at more than 10V for 49V power supply) a 470pF (line level), 47pF (low level) e 0.14F (mylar preferred, disc acceptable) 3 0.22qF (mylar preferred, disc acceptable) 4-06 10KF, electrolytic or tantalum Semiconductors ic RC4739 or XR4739 dual low-noise op amp D1-D4 IN4001 or equivalent silicon diode Mechanical parts 22 Open circuit 1/4” mono phone jack Misc. Knobs, case, 14-pin ICsocket, circuit board, wie, solder ete 9Project No. 7 BASS FUZZ Definition: A fuzz (distortion circuit) designed specif. cally for bass Figure $-40 The bass fuzz mounted in a Radio Shack chassis. Note the footswitch added to the unit t0 control ‘the infout switching function; this device is most effective when used sparingly. Background: Fuzzes designed for guitar add many high-frequency har- ‘monics to the bass sound, So, although the original bass note is still present at the fuzz output, it is reduced to.a fraction of the total signal, with the harmonics adding an artificial brightness. This robs some “bottom” from the ‘bass sound. This circuit includes a conventional fuzzing stage, followed by a simple filter that reduces the high: Frequency content to achieve a more natural bass sound, Features © ‘Switch selected choice of two filter responses © Line-level or low-level operation © Variable intensity control ™ Operates from +5 to +18V © Low noise, low cost Usable with guitar, piano, ete., to give a muted or “rhythm” fuzz sound Level of Difficulty: Beginner Construction Tips This is a noncritical project, as long as you keep the ut and output leads separated by about 1 em (1/2! and shield the wire going to pad I on the board 90 Using the Bass Fuzz ‘= Plug your instrument into J1 and patch 32 to your amp. Tum the ouput control fully counterclockwise and the intensity control halfway up. Play and adjust ouput to suit. & Adjust intensity for desired fuzz effect; readjust the output control to compensate for level changes while setting the intensity control © Experiment with the two different switch posi- tions to find the tone most appropriate to your playing. Modifications © Too fuzzy: Change RI to 47k, IB Not fuzzy enough: Increase RS to 470k or even IM ™ Less high-frequency response with SI closed: In- crease C2 to 0.005 or 0.014. ‘= Less high-frequency response for both switch posi- tions: Increase C1 to 0.001 or 0.005uF, and C2 to 0.002 or .01uF. "More high-frequency response: Decrease Cl. to 10pF.In Case of Difficulty 1 Gritty ot uneven fuzz sound: Check that LEDs are polarized properly. Make sure they have not been burned out while soldering. © Intensity control has no effect: Check value of R1. ® Noisy output but no instrument sound: Check ICIA. Cheek input wiring 1 Feedoack/squeals:, Check lead layout. Install shielded wire between J1 and pad 1. Make sure CI is properly soldered in pace. Specifications Current consumption: #4mA Maximum input before clipping @ 400Hz (R2 up full): SmV pk-pk Maximum available output voltage: 2.5V pk-pk Frequency-response curves: see Figure 5-41 Figure $41 Frequency response of the bass fuze for both settings of SI. ewe How it Works The input signal couples into an inverting buffer stage via C3, and sees a 100k or so input impedance represented by R4. This buffer stage couples into the fuzzing stage through C4, RI, and R2. D3 and Dé limit the gain of the op amp: as the signal level increases, D3 and Dé start conducting, which soft-clips the signal and causes a fuzz effect, Note that the LEDs do rnot light up. They are used instead of conventional diodes because they clip ata higher level, thus giving us more overall output. CI limits the high-frequency response of the op amp, which is what climinates the harmonics to give the bass fuzz its distinctively bassy sound. Shunting C2 in parallel with CI reduces the high-frequency response even ‘more. Diodes D1 and D2 are polarity reversal protection diodes, while C6 and C7 add power supply decoupling/bypassing. The output of the fuzz couples through C5 to R3, the ouput control, and then appears at the ‘output jack, 1eure aeFigure 5-43 Component layout for the bass fuzz me . oO net @| apt Ss o or ese 4 e cop+ 8G At= Project No. 7 PARTS LIST Resistors (all are '4W 0% xcept as noted) RL 10k R2 10k audio taper pot—controls intensity RB 10k audio taper pot—controls output R4 100k RS 220k R6 ™ Capacitors (rated a note than 10V for 49V, more than 15V for +15V) a 270pF (polystyrene preferred, disc acceptable) 2 (0.001HF (polystyrene preferred, disc acceptable) 3 0.22uF (mylar preferred, disc acceptable) 4 10KF, electrolytic or tantalum Semiconductors Ici RC4739 or XR4739 dual ow-noise op ame D1, D2 IN4001 or equivalent silc m diode D3. D4 General-purpose red LED Mechanical Parts 32 Open circuit 1/4” mono phone jack si SPST switch—tontrols cone Mise. Knobs, case, circuit board. 14-pin socket, wire olde ete. 0Project No. 8 COMPRESSOR/LIMITER Definition: A compressor reduces the dynamic range ofa signal by attenuating peaks and amplifying valleys. Allimiter only restricts the peaks of a signal. This unit Combines elements of both. Figure 5-45 Compressor mounted in a Vector-Pak card module rior to installation in the pedalboard project (No. 23), Background: Compression and limiting have been used for many years in studios, radio stations, commercials, communications, and many other applications. Dynamic range reduction prevents overloading of tapes, thus minimizing distortion: increases the apparent sustain of stringed (percussive) in- struments; and improves intelligibility with speech and PA systems, When playing guitar through a compressor, for example, single-note lines or full six-string chords sound equally loud. Features © Fast attack, slow decay response © 10:1 compression ratio over SO-4B range (see Spec- ifcations) © Also functions as compressing preamp for convert: ing low-level signals to compressed, high-level sig nals ™ Choice of linedevel or low-level operation set by single resistor Operates from#9 to +1SV Separate compression and output controls. Suitable for recording or stage use Excellent frequency response characteristics 94 Compressor c © 8 ** Level of Difficulty: Intermediate Construction Tips, While not an extremely critical circuit, please note the following precautions. This project uses a CLM6000 opto-isolator. Refer to the General Instructions section at the beginning of this chapter before attempting to solder this part in place. Keep all wiring as short and direct as possible, espe cially those wires going to J1, R6, and R7. Keep input and output leads at least 1 cm (1/2) away from each other. Shield the wires going from pad D to R7, terminal 2, and from pad A to R6, terminals 3 and 2. Using the Compressor In many ways, compressors are at their best when used subtly. Use the minimum amount of compression neces: sary to get the effect you want, Guitar players should note that a compressor only increases the apparent sus- tain of a guitar; 4e., it cannot make a string vibrate any longer, but instead amplifies the string more as it decays, © Plug instrument into J1 and patch J2 to your amp, Start with both controls fully counterclockwise.| Tum up output for a preamping effect, Atextreme clockwise positions you may encounter distortion. Re- ‘turn control to about halfway before proceeding to next step. = Turn up compression until you notice a drop in level, The level drop corresponds to the amount of gain reduction introduced by the compressor. Increase out- put to compensate for this drop. Subtier instrument Sounds should now be more prominent. ™ With extreme clockwise settings of the compres- sion control, the sound will get noisy and possibly rough- sounding. Avoid overcompression. © For absolute minimum noise, do not use any electronic devices (fuzzes, ete.) before the compressor. With moderate amounts of compression, including a low ‘noise preamp in the signal chain before the compressor will introduce an acceptably low amount of noise. How- ever, in most cases the compressor should come first in the signal chain. Figure 5-46 Compression curve, R8=IM, When R8=220k the ‘curve isn't as dramatic, but I still recommend this value for line-level applications to keep the noise level acceptable. Modifications = For line-level operation, recommended R8=220k © For low-level operation, R8=1M | For maximum sustain, use 1M for R8, even with line-level signals. The tradeoff is more noise, especially when preceded with other electronic devices or when used in conjunction with an instrument that has a built in instrument preamp, | Running the compressor at +15V increases the amount of sustain slightly. In Case of Difficulty Noise: Reduce compression control. Feed instru- ment directly into compressor. Distortion: Reduce output control. If distortion persists, reduce compression control, and return output to original setting (or until distortion occurs). Make sure you aren’t overloading your amp. No compression action: First, remember that compressors are not supposed to add much coloration to the sound; compare compressed sound with bypassed sound to determine whether the unit isn't compressing. If compression sil isn’t evident, check OMT for proper orientation and installation. Check IC2. Check compres: sion control setting Specifications Current consumption: #5mA Frequency response (any setting of compression or out: ut control): +14B, 5OHz - 20kHz Output headroom: 14V pk-pk Compression ratio: S0dB change in input level yields ‘SB change in output level; 60dB change in input level yields 104B change in output level (R8=1M) Compression curve: see Figure 5-46 95Figure 5-47 Artwork for the foil side of the circuit board, Shown Ta 1 e e eo Bm @ oe 32 2g Ss rr 3B e How it Works — To fully understand how this project works, reread the section in the be- ginning of this chapter on how the CLM6000 opto-lsolator works, The input couples into ICIA through C3 and R9. RB sets the maxi- ‘mum gain of this op amp stage, but the overall gain is variable because of the photoresistor connected in paralle! with R8. More light on the photo- resistor reduces the gain of this stage: less light gives more gain ‘The output of ICIA takes two different paths, one towards IC1B and the other towards 1C2. We'll look at IC2 first. This op amp is a high-speed, uncompensated op amp whose frequency response is limited by C2. The signal from ICLA couples into IC2 through C4, compression control R7, and RS. The output of 1C2 then drives the LED hal of the CLM6000, so the LED brightness corresponds tothe loudness of the signal from your in- strument. As more signal goes into IC2, the LED gets brighter, which re- duces the gain of ICTA and sends less signal to 1C2. Thus, asthe input sg- nal increases, the compressor is constantly trying to tum itself down, which is what keeps the signal output more or less constant in the face of widely varying input voltages. This action takes place so fast you don't hear the effect as something choppy, but rather asa smooth, compressing effect, R7 determines the amount of signal level going into IC2. Letting more signal through turns on the LED that much sooner, resulting in gain reduction at lower signal levels for more compression. Because we've eut the gain of ICLA down via the abovementioned ‘compression action, we need to add some amplification to bring the signal level back up again at the output. This is ICIB's function. R6 sets the gain; CC limits the high-frequency response ofthis stage to prevent instability. ‘The output from this amp couples through C6 to J2, the output jack. R3 tries to keep C8 tied to ground; this prevents you from hearing a loud pop when you plug something into the output Di and D2 are polarity reversal protection diodes, while C7 and C8 add power supply bypassing and decoupling. 96Figure 5-48 Component layout for the compressor. Figure $49 [7h cores Compressor schematic Re tooK R7 100% ‘charge to 1M for level operation 97Project No. 8 PARTS LIST Resistors (all are 1/4W, 10% tolerance, except as noted) RI R2 R3 R4, RS R6 R7 RB Ro R10 sk 82k 10k 47k 100k audio taper pot-controls output 100k audio taper pot controls compression 220k (ine level), IM (low level) 20k IM Capacitors (rated at more than 10V for 49V power supply) c1,c2 c ca c5-c8 Semiconductors Ic1 1c2 D1, D2 oll Mechanical Parts UR Mise. 98 20pF (polystyrene preferred, disc acceptable) 0.22uF (mylar preferred, disc acceptable) 2uf, electrolytic or tantalum 10uF, electrolytic or tantalum RC4739 or XR4739 dual low-noise op amp [M201 uncompensated op amp (substitutes: LM301 M748) IN4001 or equivalent silicon diode ‘CLM6000 opto.isolator(manufactured by Clairex) Open circuit 1/4” mono phone jack Knobs, case, circuit board, 14.pin IC socket, 8-pin IC socket, wire, solder, ete© | Ring Modulator fc e FREQ RAIGHT ) ef ® e Figure 5-50 (4) The ring modulator mounted in a VectorPak card module, The various effects loop jacks are located on the back along with the other connec: tors. (b) A closeup of the ring modulator circuit board. Background: Ring modulators have many applications, including ones involving radio communications, Musically, they have been used for many years by musicians from Stockhau- sen, to Jan Hammer, to Devo, The fact that ring modula: tors produce mathematically related sounds rather than harmonically related sounds has prevented their wide- spread acceptance in popular music, but for producing ‘atonal effects and percussive and gonglike sounds, or for ‘adding a complex harmonic structure to an instrument, the ring modulator is very useful. Technically speaking, this project isn’t a ring modulator but a balanced modu lator, which is easier to construct. The sound is essential- Ip the same. Level of Difficulty: Intermediate Project No. 9 RING MODULATOR Definition: Accepts two different input signals; output gives sum and difference of the two signals (without elther original signal). Example: An input frequency of 220H2 in conjunction with another input frequency of 600Hz produces two notes at the output—820Hz (the sum} and 380H2 {the difference). Features © Low cost = On-board square-wave oscillator, tunable from 100 Hz to 2kHz, feeds one input of the ring modulator (Your instrument provides the other input) ™ On-board two-input mixer provides blend of straight (unprocessed) and ring-modulated sounds © Input overvoltage protection for IC2 allows for in- creased sustain © Set-and-forget carrier oscillator rejection trimpot 1 Presmixer effects loop included in straight signal pal © Choice of linesevel or low-level operation, and sus- tain characteristics, set with single resistor © Operates from 49V 99Construction Tips ‘This is a relatively noncritical circuit, and no special pre- cautions are required Shield the wire going from pad Ito J1., R7 is a trimpot and not a panel pot. For best results, follow the circuit board layout as closely as possible, even if you are wiring on a piece of, perfboard. Calibration © Initially set straight level fully counterclockwise, cartier frequency halfway, and ring level fully = Patch the output to an amp. Leave the input un ‘connected for now. = Apply power © You will hear a tone; carefully adjust R7 for the minimum amount of tone. This should occur near the trimpot’s midrotation point. Using the Ring Modulator Plug your instrument into J1 and patch J2 (output) to your amp. Start with all controls counterclockwise, © Check ring modulator channel: Turn the ring level control clockwise to hear the ringmodulated effect ex- clusively. Varying the frequency control in his mode changes the internal oscilator frequency and therefore changes the “harmony” that tracks along with your instrument, The zone switch selects a bright, fuzzy sound when open, and a mellower, bassier sound when closed, © Blending ring modulator and straight channels: ‘Tuming the straight level control clockwise adds in some of the unprocessed instrument sound along with the ring-modulated sound. This helps to “tame” the tonality of the ring modulator effect and removes some of the ‘metallic sounding quality associated with ring modulators. Using the effects loop: This loop allows for patch- ing of extemal effects boxes in the straight signal path. Example: To mix ring modulated and fuzzed sounds, atch from J3 (send) to the fuzz, or any other effect, input, Then patch the fuzz, or any other effect, ouput 10 34 (receive). © For best results, do not think of the ring modula- tor as a harmonizing device, but rather as something that lends a harmonically compiex, atonal quality toa signal. Example: Plucking short, muted tones on a guitar will sound bell- or chime-like when processed through the ring modulator; drums acquire a more complex timbre; ‘and electric pianos produce very otherworldly sounds when ring modulated. 100 Modifications © Resistor R12 programs the ring modulator for line- level or lowevel operation, and also sets the “sustain” of the unit, Increased sustain with a percussive instru. rent, such’ as guitar or piano, simulates the effect of compressing the input signal. Therefore, for a sustain- ing, fuzzlike sound, select this resistor for maximum sustain, For a more percussive, belllike sound, select for zinimum sustain, LineJevel operation, minimum sustain: RU Linedevel operation, maximum sustain: RI Lowdevel operation, minimum sustain: RI Low-level operation, maximum sustain: RI The above are suggested values; however, R12 can be anywhere in the range of 33k to IM if you wish to ex- periment further. 4 For pedal control of the carrier frequency, mount RIS in a footpedal. It may be necessary to run shielded wites from pads A’and B to RIS for long cable runs. 1 To lower the frequency range of the internal oscil lator by 1 octave, increase C2 to 0.14F. To raise the in- temal oscillator range by an octave, decrease C2 to 0.02 BE. © If closing SI results in too muted a sound, change 3 to O.1MF or even 0.05pF. © Increase the overall ring modulator gain by raising the value of R14; decrease the gain by lowering the value ‘of R14, Doubling its value doubles the gain, and halving its value halves the gai © Due to the intemal structure of the 565, it is not possible to substitute a triangle- or sine-wave oscillator in place of the on-board square-wave oscillator. = Operation is optimized for 49V. Do not run on higher supply voltages, unless R1 and R2 are increased in value so that the voltage on pin 1 of IC2 is in the range of -5 to -6V and the voltage on pin 10 of IC2 is +5 to 4v. In Case of Difficulty = No straight channel sound: Make sure J3, and par. ticularly 54, are wired correctly (see Chapter i, section on jacks). 1 Effects loop doesn’t work: See above. Also, while all book projects are compatible with the effects loop, some commercially available effects may not be. If 2 2.5k trimpot is not available for R7, use a Sk trimpot and change R4 to 3.3K. Excessive carrier feedthrough: Check supply vol- tage. Make sure RI, R2, C7, and C9 are the exact values given in the parts list. Check instrument feeding the ring ‘modulator for hum (this can cause strange-sounding prob- Jems, especially when R12 is set for high sustain values). Check all ground connections, Readjust R7. © Effect is “unusable” in musical contexts: The proper use of this device is not something that is intui- tively obvious, so allow yourself a period of time to come familiar with its operating characteristics and dis- tinctive sound, Experiment with different settings of the frequency control and straight level contro.Figure 5-51 Artwork for the foil side of the circuit boar. shown 1 t0 1. oe & att Ta eh Current consumption: H11mA. Maximum recommended input level: less than 3V pk-pk* Frequency response (SI open)t: +14B, 40Hz-20kHz Maximum available output, ring modulator channel: 3V ppk-pk minimum Maximum headroom, straight channel: 10V pk-pk Carrier frequency (typical) 100H2-2kHz Carrier rejection (R15=02 R7 adjusted for minimum feedthrough): 400B typical ‘Signals above this level will not damage the circuit, but increase the apparent amount of sustain, ‘This represents an averaged frequency response. At cer- tain frequencies, cancellations can occur that change the response drastically (but only at a single frequency). With $2 closed, high-frequency response starts rolling off around 1kH. 101Figure 5-53 Ring modulator schematic. ie 102 1 ' ' 1 1 1 1 ryan OTHE Signals couple into the input through C# and RUG, ICTA is a unity-gsin butfer amplifier that inverts the signal phase and drives both the effects loop send and 1C2's input. The signal couples into IC2 through C3 and RI2, Diodes D3 and D4 prevent excessive signal levels fram reaching IC2, preventing possible damag> tothe IC, RI and R2 drop the power supply voltage to about 15¥ for feeding IC2, while C7 and C9 add decoupling and D1 and D2 provide polarity reversal protection, R15 sets the fiequeney of 1C2's internal oscillator. C3 bypasses high frequencies away from the output with $1 closed. 1C2"s ouput cov: ples through C6 into RIO, which then couples through RB into IC1B. ICIB forms a twovinput mixerand R10 mixes in the oppropriate amount of ing-modulated signal. The unmodified signal leaving IC1A also couples through R3, R11, and R13 into IC1B, RII taixes in unmodified sound. The mixer inverts the phase of the unmodified signal once again, so between the iaversion provided by ICIA and the inversion provided by ICIB, the unmodified signal comes out of the unit noninverted. The output of the mixer couples through C8 to output jack J2, R9 ties one end of C& to ground to minimize “popping” when you initially plug into the output. Here's how the effects loop works: 13 taps off the output of IC1 A and feeds the external effect. 14 ix a closed-ciouittype phone jack. With nothing plugged into J4, the unmodified signal connects directly to R11. With an effect output plugged into J4, tie unmodified signals disconnected from R11 and must passthrough the effect before appearing at RL,Project No. 9 PARTS LIST Resistors (all are 1/4W, 10% tolerance, except as noted) RILR2 3902 R3 Ik Rt 5.6K RS 68k R6 22k R7 2.5k trimpot—controls carrier null trim RB 47k R9 10k Rio 10k audio taper pot—controls ring level RU 10k audio taper pot—controls straight level RI 33k, 100k, or 330k (see modifications) RIS 33k Rid 47k RIS 50k linear taper potcontrols oscillator frequency R16,R17 100k Capacitors (rated at more than 10V for +9V operation) a 0.001KF ceramic dise © 0.05pF (mylar preferred, dise acceptable) c3.c5 0.22uF (mylar preferred, dise acceptable) C6 2p, electrolytic or tantalum c7,€8 10uF, electrolytic or tantalum 9 SOuP, electrolytic or tantalum Semiconductors Il RC4739 or XR4739 dual low-noise op amp 12 NES65 or LMS6S phase locked loop Di-Dt IN4001 or equivalent silicon diode Mechanical Parts IB Open circuit 1/4” mono phone jack 4 Closed circuit 1/4” mono phone jack sl SPST togale switch—controls tone Mise Knobs, case, circuit board, two 14-pin IC sockets, wire solder, ete. 103Project No 10 DUAL FILTER VOICING UNIT Definition: Combines a preamp, two variable bandpass filters, and a three-input mixer in one unit for flexible tone-shaping capabilities, Background ‘Some combinations of effects work very well together; ‘for example, two filters in parallel allow you greater con ‘rol over frequency response than a single filter. This Project is like a “minipedalboard” where several projects work together to create a wide variety of sounds. Level of Difficulty: Intermediate 104 Features ™ Multiple module configuration, yet only requites 1 Ic © Accepts line-level or low-level inputs © On-board mixer allows blend of filtered and straight. voices ' Provides sufficient output level to allow overdrive of instrument amplifiers; also includes internal overdrive (fuzz) capability Operates from 45 to +18VDual bandpass filters are tunable over a 10:1 range, and staggered to cover two different frequency ranges, Configurable as wawa, or wa/reverse wa, foot pedal Can simulate the sound of old amps when record- ing direct ‘Adds response anomalies to purely electronic in- struments Constructions Tips Despite the number of connections and controls, this is a relatively nonetitical circuit. Keep the input and output leads separated by a least tem (1/2"). Shield the wire going from J1 to pad Ion the board. Use short, direct wiring when connecting the board pads to RII-RIS and especially R21. Following the control layout shown in Figure 5-54 results in the shortest average lead lengths when con- necting board pads to outboard components. Figure 5-5 Block diagram of the dual filter voicing unit. filter channe 1 (1c1B) a1 filter channel 2 (cic) straight channel Using the Dual Filter Voicing Unit It takes some time to get fully acquainted with the func- tions of the various controls, and how to use them to get a specific sound. Spend time practicing to get the most out of this unit, © ‘Set all controls fully counterclockwise, then plug your instrument into 51 and patch J2 to your amp. Ap- ply power, then play; there should be no output. If there is, recheck all control settings. ™ Check straight channel: Turn the straight level control clockwise to hear the instrument’s unmodified sound. Next, tum the overdrive control clockwise; the overali volume should increase to the point where you will have to tum down the straight level to compensate for the extra volume boost. Extreme clockwise settings of the overdrive control produce fuzz (especially with line-level signals). © Check filter 1 channel: Set all controls fully counterclockwise. Tum freq 1 evel clockwise for muted, filtered sound; adjust freq J for the desired tonality. Rapidly turning the control should give a wa- wa effect, Experiment with diferent settings of the overdrive control to overdrive filter 1. = Check filter 2 channel: Return all controls to full counterclockwise. Tum freq 2 level clockwise to listen to the second filter channel; this channel is tuned to a higher frequency range than channel 1. Adjust freq 2 for the desired tonality. Experiment with different settings of the overdrive control to overdrive filter 2. © Check blend of straight and filtered sounds: Try various combinations of settings for the freq 1 level, freq 2 level, and straight level controls. Suggested order for setting # sound: 1. Adjust straight level for a comfortable listening level. 2. Adjust overdrive to add distortion or a volume ‘boost. You may have to readjust the straight level to compensate for the extra boost. 3, Add in filter channel 1 by turning up freq 1 level and adjusting freq 1 for the right sound. 4. Add in filter channel 2 by turning up freq 2 level, and adjusting freq 2 for the right sound. output, v2 mixer —* (rep) | cutout 105Modifications © C4 and C5 tune filter 1, while C2 and C3 tune fil- ter 2 (efer toSpecifications for the frequency ranges of these filters). Bass players may double the values of both sets of capacitors to tune the unit down one octave, or ‘quadruple the values of both sets of capacitors to tune the unit down two octaves. Decreasing the value of these capacitors tunes these filters higher. When experimenting with different filter tunings, make sure C4=C5 and C2= 3, © RIT and R18 determine the sharpness, or reso- nance, of the filters. For a sharper sound, increase these to around 100k or more. This will affect the tuning range of the filter somewhat. © The overdrive control is designed more for over- driving conventional amps then actually acting as a fuzz tone, although fuzz effects are possible, For a fuzzier ef: fect, drop the power supply voltage down to +5V or so. © For the cleanest possible sound, use +15 or +18V. © For 2 wa.wa pedal, mount a dual-ganged 10k pot in a foot pedal. Replace RI} with one pot and replace R12 with the other (use shielded cable between the foot pedal and pads A and D). For a wa/reverse wa pedal, change C2 and C3 to O.0SHF so that both filters are tuned to the same range. Replace RI1 and R12 with a dual-ganged pot in a pedal as described above, but this, time reverse the connections going to terminals 1 and 3 of RIL. With this wiring, pushing the pedal down will cause fiiter 1 and filter 2 to sweep in opposite directions. ® ‘The dual filter voicing unit is an excellent proces: sor for low-level instruments such as guitar. For stand- alone use with stock guitars, short out C6 and remove R19 from the circuit board for minimum noise and max- imum input impedance. Next best option, should that cause problems: Change C6 to 0.05uE and'R19 to 470k or IM Figure 5.56 In Case of Difficulty © Distorted sound: Back off on overdrive control; back off on RI3-RIS. Increase power supply voltage = Not enough filter level: Lower R6 and RIO to 47k. = Hum: Shield wites going from pad C to R21, and from pads A and D to Ril and R12. Check orientation of instrument with respect to transformers, amps, AC lines, et. 4 Excessive noise: Place the dua filter voicing unit {first inthe signal chain, after the instrument. Specifications Current consumption: +7mA Straight channel maximum input before clipping, R2I=1M: 250mV pk-pk R21=02: 6V pk-pk (Filter channels clip at somewhat lower input levels) Filter I frequency range: 434B, 250-2500H2 +41.54B, 250-1500Hz Filter 1Q: Approximately 1.1 Filter 2 frequency range: +14B, 1200Hz-12kHz Filter 2Q: Approximately 1.1 Artwork for the foil side of the circuit board, shown 1 to 1. l ° 106 | (Maa) All Ger Sf TR = f ° nee =e ceeFigure 5-57 How it Works ICIA is a preamp stage whose gain (controlled by R21) is variable from X2 to X45. ICIB and ICIC make up the two filters, and ICID is the output mixer. The input signal couples into IC1 A through C6, and sees an approx- imate 120k input impedance across R19. The gain of this stage is deter- mined by the ratio of R20 to R21 + R16; thus, as the resistance of R21 becomes smaller, the gain increases. This produces the overdrive effect. Capacitor C1 helps to preserve stability with high-gain settings of R21. ‘The output of ICIA couples through C9/R13 into the output mixer (ICID), through C7/R9 into filter 1, and through C8/RB into filter 2. With filter 1, capacitors C4 and CS set the general frequency range, with RII setting the specific resonant frequency, C2 and C3 set the general frequency range for filter 2, with RI2 setting the specific resonant fre- quency. The output of ICLB couples through C10, R14, and R10 to the output mixer; the output of IC1C couples C11, RIS, and R6 to the output mixer. One trick used in this mixer to Keep all the signals in phase is to mix the straight signal into the noninverting input via R13 and R7 while the in- verted filtered signals terminate in the inverting input. ‘The output of ICID couples through C12 into the output jack. Resistor RS ties to C12 to ground to minimize “popping” when plugging into J2 D1 and D2 provide polarity reversal protection; C13 and C14 add power supply decoupling. Component layout for the dual filter voicing unit. ore -R2— [e10] 107Figure 5-58 Dual filter voicing unit schematic, FREQ 1 LEVEL BL 1Nagot rg 2 ais 3 ; R12 10k I OlpP B67 RG 10k | I RIO 10k RT 10k 85 | Tok I | Lier ee 2 m3 idk 2 Erkaadis + = 108Project No. 10 PARTS LIST Resistors (all are 1/4W, 10% tolerance, except as noted) RI,R2 330 RB 47k R4-RI0 10k RU 10k linear taper pot—controls filter frequency 1 RI2 10k linear taper pot—controls filter frequency 2 R13 10k audio taper pot—controls straight level RI4 10k audio taper pot—controls filre J level RIS 10k audio taper pot—controls filter 2 level R16 22k R17, RIB 47k RI9 120k R20 1M R21 1M linear taper pot-controls overdrive Capacitors (rated at more than 10V for +9V) a 10pF, ceramic dise 2,¢3 0.01MF (mylar preferred, disc acceptable) 4,5 0.05uF (mylar preferred, disc acceptable) cs 0.22uF (mylar preferred, disc acceptable) c7-Cll 2uR, electrolytic or tantalum 12-14 10pF, electrolytic or tantalum Semiconductors Ic RC4136 or XR4136 quad low-noise op amp DI.D2 IN4001 or equivalent silicon diode Mechanical Parts U0 Open circuit 1/4” mono phone jack Mise. Knobs, case, circuit board, 14-pin socket, wire, solder ete, 109Project No. 11 ADDING BYPASS SWITCHES TO EFFECTS Definition: Many players do not wish to use an effect all the time, but only in specific sections of a piece. A bypass or in/out switch allows you to choose between the straight and modified sounds. Fuzz tones, wa-wa pedals, and many other effects usually include bypass switches, Background The various modification devices in this book have no provision given for switching the effect in and out of cir. cuit, since there are many possible ways to accomplish ‘the bypassing function. Rather than including bypassing circuitry for each project, this section treats the subject as completely as possible to allow you to choose which- ‘ever approach best suits your purposes. There is add tional information on adding improved bypassing to com mercially available effects. Features = Requires no power, adds no noise ™ Does not degrade signal quality ‘= Minimal clicking or popping during switching © Simple installation © ‘Suitable for footswitch control Level of Difficulty: Beginner ‘Adding Bypassing to Book Projects All effects projects have an input jack that goes to the circuit board, and an output jack that either goes to the cireult board or to an output level control (see Figure 5.59). To add true bypassing, we need to break the con- nections indicated with an “X"" on Figure 5-59, and then add a DPDT switch as shown in Figure 5-60. With S1 in position A, the signal from the input jack goes directly to the input of the effect; meanwhile, the ‘output of the effect (either from the circuit board or the level control) goes to the output jack. With SI in posi: tion B, the input jack signal flows directly to the output jack, bypassing the effect completely. 10 Figure 5-59 ‘The upper drawing shows a project whose output, ad connects directly to the output jack; the lower drawing shows a project whose output pad passes through an output level control before reaching the output jack. (In both cases, power supply and other connections are not shown for clarity.) Break- ing the connections between the jacks and the ef: fects, where marked with an “X," allows you t0 ‘add a bypass switch (iy Figure 5-60 With SI in position A, the effect is in the audio signal path. With S1 in position B, the effect is by- passed and out of the signal path. eyAdding Bypassing to Commercially Available Effects Some effects boxes detract from the quality of a signal even when they are (supposedly) switched out of the si nal path. Before we get into the cure, let’s investigate why this happens. Many commercial effects, in order to keep costs down, switch the effect in and out through the use of an SPDT switch as shown in Figure 5-61. In position A, the switch connects to the output of the effect and you hear the modified instrument sound. In position B, you hear the sound of the instrument itselfbut note that the instrument is still connected to the input of the ef- fect, which affects your signal by shunting some of the signal's power to ground. ‘Additional effects only serve to compound the prob- lem, as shown in Figure 5.62, When the effects are switched out, the instrument is not just shunted by the input of one effect, but by several effect inputs—each of which lowers the input impedance even further and con- tributes to the degradation of the overall sound. Figure 5-61 Even though the effect is theoretically “bypassed,” note that the instrument still connects to the in ut of the effect. Figure 5-62 White both effect 1 and effect 2 are supposed 10 be bypassed, note that the instrument still con- ects to the inputs of both effects. This often has @ detrimental effect on the sound of the instru- ‘ment. One partial solution is to add a buffer board (see Project No. 26) between the instrument and chain of effects. The buffer converts the relatively high-impedance ‘output of a guitar pickup to a relatively low-impedance ‘output that is far less affected by the shunting action of the effect’s input stage. The input of the effect is still draped across the signal line, though, so a better solution is to use a DPDT switch to accomplish the switching function as we did for the book projects. Basically, we replace the SPDT switch with a DPDT switch, The con- nections are again broken in the same places as for the previous modification (tight at the input and output jacks), and are wired up to the switch as shown in Fig- ure 5.63. Figure 5-63 Here's how to convert an effect to true bypassing. Begin by unscrewing the SPDT footswitch from its case, and screw in the DPDT replacement. Id also advise making a sketch of the original wiring, just in case you run into some kind of problem and need to convert back to the original wiring. Next, follow the steps below while carefully observing the pin numbers we've arbitrarily assigned to the terminals of the DPDT switch. 1. Disconnect the wire going from the output jack to $1 at the $1 end, and connect it to $2, terminal 2 2, Trace the wire coming from SI that works its way back to the input of the effect. Cut this wire atthe effect input end. 3 Unsolder the remaining wire going to SI Connect it t0 $2, terminal 3. 4. Disconnect the wire going to the effect’ in Put jack at the jack and connect this end to S2, terminal 6. 5. Run a wire from the input jack (the same terminal we disconnected a wire from last step) to terminal 5 of S2. 6. Connect terminals 1 and 4 together on $2, 7. Check the bypassing switch to make sure it 1s wired comectly. ee hy bottom view, 1 4 DPOT switchEliminating Clicks and Pops Switching an effect between the straight and modi- fied modes should produce no clicks or pops in the out- put as long a8 you are nor playing your instrument when you do the switching. If you are playing, you may get ‘minor pops that are unavoidable. Should popping occur even when you aren’t playing, you may need to add two “tie down” resistors to the DPDT bypass switch as shown in Figure 5-64. For all book projects, the 100k resistor will not be necessary, and the IM resistor will only be required un- der some conditions. On commercially available projects, you may need to add one or both resistors to minimize popping. If you're interested in the theory behind why this eliminates pops, remember that most effects have coup- ling capacitors at their inputs and outputs. When the end of the capacitor is disconnected, that end can build up a voltage charge. Switching the effect “in” deposits the ‘capacitor’s charge on the signal line, creating a pop. The tie down resistor holds the free end of this coupling capacitor at ground (zer0 voltage) level; so, no charge can build up to cause pops. What Type of Switch is Best to Use? ‘A miniature toggle switch is the simplest way to do in/ out switching. Toggle switches are easy to find and easy to mount on an effects box front panel Footswitches are for those who seldom have a hand fre for flicking switches. You must use a push-on/push: Figure 5-64 off type. This means that you push it once to switch the effect in, and push it again to bypass the effect. Unfortunately, heavy-duty DPDT push-on/push-off footswitches are not too easy to find. AS of this writing, Musician’s Supply (PO Box 1440, El Cajon, CA 92022) and Burstein-Applebee (3199 Mercier Street, Kansas ity, MO 64111) carry suitable types. ‘Another problem with footswitches is that since they carry an audio signal, you must use shielded cable on all connections going to the footswitch. Ifthe effects box mounts in a floor unit slong with the switch there should be no real problem,but if you want to run the footswitch remotely from the effect you'll need to use quite a bit of shielded cable. ‘An alternative to mechanical switching is the elec- ‘tronic footswitch project (No. 15) in this book. It not only uses an easy-to-find SPST push-on/push-off switch (available at auto supply, hardware, and electronics stores), but all the audio switching happens at the ef fect itself, which means that no audio passes through the SPST footswitch since the footswitch is there merely to instruct the circuitry what to do. Finally, an LED in- dicates whether the effect is on or off, which can be very helpful. However, now we run into the problem of hav- ing to spend additional money and effort on building an electronic circuit. .. $0 the electronic footswitch is not ‘without its complications, although from 2 convenience point of view it’s hard to beat. ‘Asa compromise, I'd suggest using toggle switches for those projects that you don't switch in and out too often, and electronic footswitches for those projects that Yyou switch in and out a lot Tie-down resistors added to the circuit of Figure 5- 63. Project No, 15, the electronic footswitch, in cludes tiedown resistors as part of the switching circuit. input jack 112 output jackIntroduction ‘The art of rewiring guitars could easily take up a book in itself, for a number of reasons: ‘™ There are many possible ways to modify the ing of a guitar; some are more musically useful than others, or more applicable to one style of music than ‘© Different guitars lend themselves to different modi- fications. For example, a good Stratocaster modification ‘would not necessarily apply to a Les Paul, because the Strat has three pickups compared to the Lés Paul's two pickups. Humbucking pickups offer several modifica tion options not available with single-coil pickups, and tapped pickups allow for another, entirely different, set of modifications. 4 Since you're working with a musical instrument, you have to work very carefully. If you blow up some: thing like a treble booster, you can chalk it up to exper- ence without too many regrets... but put a file gash in ‘your prized guitar, and you'll feel a whole lot worse. Rather than try to cover all possible bases, then, ‘we'll examine the basic principles of guitar rewiring and specific example of how to modify the ubiquitous Fender Telecaster. This information will hopefully give you a feel for how to go about adapting what we'll be covering to your own specific instrument and needs. Pickup Basics AA pickup basically comprises a coil (or number of coils) of fine wire housed in a metal or plastic case. With ordi- nary, high-impedance pickups (found on the majority of guitars), two wires tral out from the case Plucking a string induces a signal into the coll(s); a varying voltage—the electrical equivalent of the note being plucked-appears at one end of the coll, and a counterpart signal 180 degrees out of phase with respect to the first signal appears atthe other end (see Figure 5- 65). One side of the coil generally goes to ground, and the other lead (the “hot” lead) goes to the pickup selec- tor or other electronics (see Figure 5.66). However, we also have the option of using a switch to listen to either Project No. 1 2 GUITAR REWIRING Figure 5-65 Phase relationship of the signals coming out of a suitar pickup. N same signal, 180 degrees va out of phase pickup coil(s Figure 5-66 How to listen to two different signals from the gui. tar pickup. “hot” Ny we can listen either the in-phase signal : ground ground = ++. or the 180 = degrees-out-of phase signal. nend of the coil, and therefore have a choice of pickup ‘outputs; Figure 5-67 shows a switching circuit using a DPDT switch that allows you to listen to either the in- phase or 180-degree-out-of-phase signal generated by the Figure 5-67 Using a DPDT switch gives you in-phase and out-of- hase options. me secre Interestingly, though, the ear is not sensitive to phase changes. In other words, whether we listen to the signals present at one end or the other end of the pickup, they sound the same—even though they are 180- degrees-out-ofphase with each other. So, why bother to change the phase? Because if you have a two-ormore- pickup guitar, by listening to more than one pickup while changing the phase of one of them, cancellations and reinforcements occur between the two pickups that produce interesting changes in the overall sound. Combining Pickups Let's say we have a guitar with bass and treble pickups, and that the treble pickup has an out-of-phase option. If we listen to only the treble pickup and flick the phase switch, there is no audible difference. But if we select the bass and treble pickups at the same time, as shown in Figure 5-68 (this is the middle position on most selector switches). we get two distinct sounds, depending on the treble pickup’s phase setting. The in-phase position gives, the regular sound of both pickups together; the out-of: phase position gives cancellation effects between the two pickups to create a thin, bright sound. ‘The aforementioned situation had the pickups con nected in parallel, Although this configuration is very common, itis not the only way to combine two pickups. Figure 5-69 shows how to connect them in series, and by changing the treble pickup phase, you can acquire two additional sounds. With the treble in phase, your ‘output becomes much hotter compared with a parallel connection, and the response is very full bodied~sort of like an acoustic guitar sound, With the treble out of 4 phase, you have @ peaked midrange response that gives a kkind of honky-tonk guitar sound. So, with a two pickup guitar we now have six basic sounds to choose from: treble pickup only, bass pickup only, both pickups in parallel with the treble pickup out of phase, both pickups in parallel with the treble pickup in phase, both pickups in series with treble in phase, and both pickups in series with treble out of phase. All these different combinations have their specific uses and char- acteristic sounds. Figure 5-68 Two pickups in parallel, with a phase switcher con- nected to the treble pickup. Figure 5-69 Two pickups in series, with a phase switcher con- nected to the treble pickup. EO phase aie Constructions Tips Now, this probably doesn't sound like too difficult « ‘wiring job, especially the out-of-phase wiring switch, but there’s big catch. Most pickups have two leads coming out of them, but unfortunately for us, they often take the form of a piece of shielded cable with the ground part connected to a metal shield of casing (Gee Figure 5-70a). Attempting to reverse the wires to throw the pickup out of phase means that the whole pickup plate or shield becomes “hot,” which can cause hum and generally act like an antenna for noise. What we need to do is electrically disconnect the pickup leads from the case and wire the pickup shield or plate to ground after going through the magicphase change switch (see Figure 5-70b). With some pickups, it’s easy to remove the coil lead from the shield ground; with others, it’s almost impossible. T hope your pickups fal into the former category if you want to try this modification. If things look too difficult, don’t mess around or get in over your head, Pickups are quite fragile, and it's easy to damage the tiny wires used for the col. After isolating the pickup terminals from the shield, remove the shielded cable coming from the pickup coil, since you don't want the shield to be- come hot when you flip the phase switch. Either use two wires twisted lightly around each other, or bet- ter yet, use a piece of shielded cable for each lead going to the phase switch, and another piece of shielded cable to connect the output of the phase switch to the rest of the guitar’ electronics. Low-impedance pickups will often have a bal- anced configuration, which simplifies matters con- siderably. The ground line is already brought out Figure 5-70 How to reconnect the pickup plate or metal cover to avoid picking up hum. @ late U—§¥t hot pe one picl metal (b) plate hot phase switch metal picku ‘ound separately from the coil leads, so simply adding 2 DPDT switch in the two “hot” coil lines in a manner similar to that shown in Figure 5.67 does the phase reversal job. Modifying the Fender Telecaster That pretty much sums up the background information we need to know about rewiring pickups. Now, let's look at a specific example of how to rewire a guitar Figure 5-71 shows a Telecaster rewiring that uses the stock Fender pickups; however, you will need two addi- tional parts, one of which is a five-position pickup switch. While originally designed for Stratocaster guitars, the five-position switch is equally applicable to the Tele- caster. This switch is made by several companies that specialize in replacement parts for guitars. You will also need a DPDT switch to accomplish the phase reversal function, Our first step is to separate the treble pickup ground wire from the treble pickup ground plate/bridge assem- bly. With the Tele, this is a particularly easy job: Simply remove the strings, and then unscrew the treble pickup plate assembly. Now take a good look at the underside ‘of the pickup. The coil connections to the pickup should bbe obvious; one of the them is “hot,” while the other Figure $-71 Modified Te saster schematic, See text for ex ent switeh positions ae | prekva| n a : | ere) 11sjumpers to the pickup plate assembly via a short length of wire. Cut this ground jumper, wire two new pickup coil leads to the phase reversal switch, and run a separate ground wire from the pickup plate to the ground tab of the output jack. To add some shielding, I wrapped this ground wire around the two coil leads. So, both pickup coil leads for the treble pickup should now be discon- nected from ground and connected to the phase reversal switch, but. the pickup plate and tailpiece should still connect to ground via a separate wire. Next, you need to replace the old Tele pickup selec- tor switch with the new five-position switch, and rewire the whole mess according to the schematic. Note that ‘with the five-position switch, in position 1 (treble pick- up only) the wiper of the switch connects to contact A only; in position 2 (both pickups in parallel) the wiper connects to both contacts A and B; in position 3 (bass pickup only) the wiper connects to contact B only; in position 4 (bass pickup with treble cut) the wiper con- nects to both B and C; and in position 5 (both pickups in series), the wiper connects to contact C only. $2 pro- vides the in-phase/out-of-phase choice for the treble pickup. Since position 4 gives bass pickup with treble cut, 1 decided that @ tone control wasn’t all that necessary (I usually only use the tone control with the bass pickup, anyway). So, $2 can mount in the hole normally re- served for the tone control, which means you can add this modification without changing your guitar from Figure 5-72 stock should you ever decide to return to the standard wiring If you wish to replace your stock pickups with “hot rod” pickups in the above modification, try to locate pickups that are tapped at the halfway point of the co. This will allow you to get the original “Fender sound’ along with the louder, hotrod sound. To add a switch that chooses between the full coil and tapped coil (or half coil) modes, refer to Figure 5-72. You may add one of these switches for each pickup if desired. Final Comments ve purposely kept this section rather general (some right say vague!) in order to discourage those who don't have a lot of experience from destroying their guitars. On the other hand, I believe that enough information has been presented to allow those with some electronic experience to do some rudimentary, but very effective, guitar rewirings. Humbuckers are another matter alto: gether; while there are many modifications you can make to humbucking pickups, humbuckers are more fragile and difficult to work with . .. so, F've limited this section to single-coil pickup modifications. You can also treat the humbucker as a single-coil pickup com- posed of two smaller coils if you want to try the series) parallel and in-phaseout-of-phase switching tricks. Good luck with your experiments. Using an SPDT switch to choose between the full coil and halfcoil sounds available from tapped pickups. full 53 gq fill cofl hot

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