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Elliott Sound Products Project 27b

100W Guitar Amplifier
Rod Elliott (ESP)
Updated 04 Jan 2002

Introduction
Note: This project is superseded by a new version, which has several useful
additions. PCBs are available (but only for the new amp).
Guitar amplifiers are always an interesting challenge. The tone controls, gain and
overload characteristics are very individual, and the ideal combination varies from one
guitarist to the next, and from one guitar to the next. There is no amp that satisfies
everyone's requirements, and this offering is not expected to be an exception.
One major difference however, is that if you build it yourself, you can modify things to
suit your own needs, experimentation is the key to this circuit, which is presented in
basic form, with every expectation that builders will modify just about everything.
The amp is rated at 100W into a 4 Ohms load, as this is typical of a "combo" type amp
with two 8 Ohm speakers in parallel. Alternatively, you can run the amp into a "quad"
box (4 x 8 Ohm speakers in series parallel see Figure 5) and will get about 60
Watts. For the really adventurous, 2 quad boxes and the amp head will provide 100W,
but will be much louder than the twin. This is a common combination for guitarists, but
it does make it hard for the sound guy to bring everything else up to the same level.

The Pre-Amplifier
The preamp circuit is shown in Figure 1, and has a few interesting characteristics that
separate it from the "normal" - assuming that there is such a thing. This is a very basic
design (this is deliberate), and is easy to build on Veroboard or similar. The gain
structure is designed to provide a huge amount of gain, which is ideal for those
guitarists who like to get that fully distorted "fat" sound.
However, with a couple of simple changes, the preamp can be tamed to suit just about
any style of playing. Likewise, the tone controls can be modified to suit anything from
an electrified violin to a bass guitar - you might even find that for anything other than
bass, they have a suitable range to cover most possibilities, and even a few bassists
will find that they can get the punchy sound they want, without the low-end "waffle" that
many bass players dislike.

Figure 1 - Guitar Pre-Amplifier

Figure 1 - Guitar Pre-Amplifier
Notes:
• IC pinouts are industry standard for dual opamps - pin 4 is -ve
supply, and pin 8 is +ve supply.
• Opamp supply pins must be bypassed to earth with 100nF
caps (preferably ceramic) as close as possible to the opamp
itself.
• Diodes are 1N4148, 1N914 or similar.
• Pots should be linear for tone controls, and log for volume and
master.
From Figure 1, you can see that the preamp uses a dual opamp as its only
amplification. As shown, with a typical guitar input, it is possible to get a very fat
overdrive sound, by winding up the volume, and then setting the master for a suitable
level. The overall frequency response is deliberately limited to prevent extreme low-
end waffle, and to cut the extreme highs to help reduce noise - not that it helps all that
much, because with all that gain, noise is always going to be a problem.
Note:
The schematic has been modified slightly to improve the tone control performance (04
Jan 2002). A new schematic will be on line soon - the differences are relatively minor,
but make the component values for the tone controls a bit cheaper (smaller value caps,
and higher value pots). The power amp has been heavily revised, and the new version
will also be presented shortly.
If a really quiet amp is desired, you should substitute a 5532 dual opamp. These are
more expensive (and harder to get), but will offer a substantial noise reduction. If you
don't need all the gain that is available, simply increase the value of the first 4k7
resistor - for even less noise and gain, increase the second 4k7 as well.
If the bright switch is too bright (too much treble), increase the 1k resistor to tame it
down again. Reduce the value to get more bite. The tone control arrangement shown
will give zero output if all controls are set to minimum - this is unlikely to be a common
requirement in use, but be aware of it when testing.
The diode network at the output is designed to allow the preamp to generate a "soft"
clipping characteristic when the volume is turned up. Because of the diode clipping,
the power amp needs to have an input sensitivity of about 750mV for full output,
otherwise it will not be possible to get full power even with the Master gain control at
the maximum setting.
Make sure that the input connectors are isolated from the chassis. The earth isolation
components in the power supply help to prevent hum (especially when the amp is
connected to other mains powered equipment).
UPDATES: I have had quite a few enquiries about the input connection setup. This is
almost an industry standard, and is quite the opposite of what you might think it
means. The same basic idea is used on Fender amps, as well as many others. The
Hi input is used for normal (relatively low output) guitar pickups, and is "Hi" gain. Lo is
6dB less gain, and is intended for high output pickups so the first amplifier stage does
not distort. The switching jack on the Hi input means that when a guitar is connected
to the Lo input, it forms a voltage divider because the other input is shorted to earth. I
hope this clears up any confusion (it will probably create more!).
I have also had several enquiries about the tone controls, one being that they don't do
anything. If the preamp does not work properly, it is because it has been wired
incorrectly - period! I know the circuit works, and it works very well, so please don't
send e-mails claiming that it does not do what is claimed. For some reason, this
project generates more e-mail than just about any other, and in all cases where I have
had complaints, wiring errors have eventually been found.
The golden rule here is to check the wiring, then keep on checking it until you find the
error, since I can assure you that if it does not work there is at least one mistake, and
probably more.

Power Amplifier
The power amp is based on the 60 Watt amp previously published (Project 03), but it
has increased gain to match the preamp. It has also been modified to give a bit of
extra punch - not to the standard of a valve amp, but somewhat better than the
average transistor amplifier. Other modifications include the short circuit protection -
the two little groups of components next to the bias diodes.
Should the output be shorted, much more than the normal 7V peak will appear across
the 1 Ohm resistors. This will turn on the appropriate transistor, cutting the base drive
to the output stage. The effect is not particularly nice, but will save the output from
to the output stage. The effect is not particularly nice, but will save the output from
instant destruction in the event of a short. Given the nature of stage work, a short
circuit is something that will happen, it is only a matter of time. The circuit is designed
not to operate under any normal conditions, but will limit the output current to about 8.5
Amps.

Figure 2 - Power Amplifier

At the input end, there is provision for an an auxiliary output, and an input. The latter is
switched by the jack, so you can use the "Out" and "In" connections for an external
effects unit. Alternatively, the input jack can be used to connect an external preamp to
the power amp, disconnecting the preamp.

There is a lot to be said for using more powerful transistors for the
output stage. MJ15003/4 transistors are very high power, and will
run cooler because of the TO-3 casing (lower thermal
resistance). Beware of counterfeits though! There are many other
high power transistors that can be used, and the amp is quite
tolerant of substitutes (as long as their ratings are at least equal to
the devices shown).
The speaker and line out connections allow up to two 8 Ohm speaker cabinets (giving
4 Ohms), and a line level output for connection to a direct injection (DI) box. The level
is about 1.3V (or +5dBm) at full undistorted output - change the 560 Ohm resistor to
modify the level if desired.
The two 1 Ohm resistors must be rated at 10 Watts (they will still get quite hot, so
mount them well away from other components). These can be mounted to the
heatsink with small brackets if you want to keep them a bit cooler - remember to
ensure that the heatsink can handle the extra heat input, as these two will add about
10 Watts of additional heat energy. The four 0.1 Ohm resistors should be 5W
types. The amp is otherwise quite conventional. Use the parallel arrangement as
shown, anything less will cause the transistors to be operated outside their safe
operating area, which will result in the eventual failure of the output stage.
Make sure that the two bias diodes are mounted well clear of anything that gets hot -
including the heatsink. These diodes are the two in series. All diodes should be
1N4001 (or 1N400? - anything in the 1N400x range is fine). A heatsink is not needed
for any of the driver transistors.
The life of a guitar amp is a hard one, and I suggest that you use the largest heatsink
you can afford, since it is very common to have elevated temperatures on stage
(mainly due to all the lighting), and this reduces the safety margin that normally applies
for domestic equipment. The heatsink should be rated at 0.5 degree C/Watt to allow
for worst case long term operation at up to 40 degrees C (this is not uncommon on
stage).
Make sure that the speaker connectors are isolated from the chassis, to keep the
integrity of the earth isolation components in the power supply.
Power Supply
WARNING - Do not attempt construction of the power supply if you do not know how to
wire mains equipment.
The power supply is again nice and simple, and does not even use traditional
regulators for the preamp. A pair of zeners is sufficient to get the voltage we need,
because the current is only quite low. The power transformer should be a toroidal for
best performance, but a convention tranny will do if you cannot get the toroidal.

Figure 3 - Power Supply

The transformer rating should be 150VA minimum - there is no maximum, but the
larger sizes start to get seriously expensive. Anything over 250VA is overkill, and will
provide no benefit. The slow-blow fuse is needed if a toroidal transformer is used,
because these have a much higher "inrush" current at power-on than a conventional
transformer. Note that the 5 Amp rating is for operation from 220 to 240 Volt mains -
you will need an 8 or 10 Amp fuse here for operation at 115 Volts.
Use good quality electrolytics, since they will also be subjected to the higher than
normal temperatures of stage work. The bridge rectifier should be a 35 Amp chassis
mount type (mounted on the chassis with thermal compound). Use 1 Watt zener
diodes, and make sure that the zener supply resistors (680 Ohm, also 1 Watt) are kept
away from other components, as they will get quite warm in operation.
The earth isolation components are designed to prevent hum from interconnected
equipment, and provide safety for the guitarist (did I just hear 3,000 drummers saying
"Why ??"). The 10 Ohm resistor stops any earth loop problems (the major cause of
hum), and the 100nF capacitor bypasses radio frequencies. The bridge rectifier should
be rated at at least 5A, and is designed to conduct fault currents. Should a major fault
occur (such as the transformer breaking down between primary and secondary), the
internal diodes will become short circuited (due to the overload). This type of fault is
extremely rare, but it is better to be prepared than not.
Another alternative is to use a pair of high current diodes in parallel (but facing in
opposite directions). This will work well, but will probably cost as much (or even more)
than the bridge.
Fuses should be as specified - do not be tempted to use a higher rating (e.g.
aluminium foil, a nail, or anything else that is not a fuse). Don't laugh, I have seen all
of the above used in desperation. The result is that far more damage is done to the
equipment than should have been the case, and there is always the added risk of
electrocution, fire, or both.
Electrical Safety
Once mains wiring is completed, use heatshrink tubing to ensure that all connections
are insulated. Exposed mains wiring is hazardous to your health, and can reduce life
expectancy to a matter of a few seconds !
Also, make sure that the mains lead is securely fastened, in a manner acceptable to
local regulations. Ensure that the earth lead is longer than the active and neutral, and
has some slack. This guarantees that it will be the last lead to break should the mains
lead become detached from its restraint. The mains earth connection should use a
lead become detached from its restraint. The mains earth connection should use a
separate bolt (do not use a component mounting bolt or screw), and must be very
secure. Use washers, a lock washer and two nuts (the second is a locknut) to stop
vibration from loosening the connection.

Speaker Boxes
The two suggested boxes are shown (in basic form only - you will need to work out the
woodworking details yourself). The first (Figure 4) is a standard 2 speaker cabinet,
and I strongly recommend using the open-back box, as this is the preferred option for
most guitarists. Two 8 Ohm speakers are wired in parallel (giving 4 Ohms), and it is
expected that with 12" speakers (300mm) this combination will be quite loud
enough. Try to get speakers that are rated at at least 100W each - this safety margin
is a requirement for guitar, since the amp will be overdriven for much of the time and
this produces up to double the rated output of the amp.
The details of finish, handles (and the actual dimensions) of the boxes I shall leave to
the builder, but I will make a few comments:
• Tops and bottoms are shown as being inside the side panels. This does not really
matter, since all corners should be reinforced with 25mm square (1") timber. All
joints should be glued and screwed. Pre-drill the screw holes to prevent the end
grain of the MDF from splitting.
• Use a router if available to round off all the edges and corners, and use corner
protectors.
• Vinyl is still the most robust covering for stage gear, but carpet can be used if you
prefer.
• Use strong handles, as the boxes will be quite heavy when completed. Side
"pocket" handles are best for the quad, but a strap handle can be used for the
twin.
• The baffle of the twin, and the top section of the quad are angled. This projects
the sound towards the guitarist, and is better than propping the front edge on a
brick or similar.
• The baffle is shown recessed. This is to allow for a grille frame, which should fit
neatly inside the recess and be fastened with Velcro or grille mounting clips.
• Speakers should not be held in place with wood screws - use bolts, washers and
nuts, or "T-nuts". Wood screws will eventually loosen, and the speakers will
rattle.
For those who don't know what a tee nut is, the drawing
should give you the general idea. They are readily available
from specialist fastener suppliers. If you can't get hold of
them, use metal thread screws with nuts and washers, and a
thread locking fluid. "Nylock" nuts can also be used - they
are the ones with a nylon collar inside the nut.
Generally, one thing to avoid is vented boxes - they just don't sound right for
guitar. Naturally, if you like the sound of vented boxes, then go for it - guitar amps are
probably one of the most personal amps in the world, and there is no right or wrong
combination, as long as you get the sound you want.
Figure 4 - Suggested Twin Speaker Box And Wiring
The second example (Figure 5) is the classic "quad" box, and uses 4 x 8 Ohm
speakers in series/parallel. This gives an impedance of 8 Ohms, so two quad boxes
can be used if you really want the amp to be that loud. You might be able to get 4
Ohm speakers, in which case the series/parallel connection will give you a 4 Ohm box,
so only one is needed. I suggest that the quad box also be open-backed, but this is
not essential. One of the most popular guitar amps around uses closed back quads,
and they sound pretty good to me.
Figure 5 - Suggested Quad Speaker Box And Wiring
For the speaker boxes, I recommend MDF (Medium Density Fibreboard). This is a
much better material to work with than chipboard, and is also stronger. Chipboard has
been used (and still is) by many manufacturers because of its one redeeming feature -
it is cheap. MDF will cost quite a bit more, but the end result is worth the expense - a
better finish, and a stronger box. Don't be tempted to use anything thinner than 19mm
(3/4"), or the cabinet will resonate too much, and will also lack strength.
Many manufacturers use a thin (typically about 6mm) fibre board at the back of open
backed cabinets to provide some protection for the drivers, and a lead storage
area. Don't. Make the rear protection panel(s) from 19mm MDF too, since this will
prevent the unwanted resonances from the thin material typically used.
Speakers should also be fairly efficient if possible (> 90dB W/m), since a 3dB reduction
in efficiency will result in the same SPL (Sound Pressure Level) output as an amp with
half the power and 3dB more efficient speakers. Check out the local dealers for
musical instrument speakers - do not use hi-fi speakers, or you will surely be
disappointed - they are not designed for musical instrument applications, and usually
sound awful.
Also avoid loudspeakers with aluminium dome dust caps - they sound utterly
disgusting when a guitar amp is overdriven, with a hard top-end that radiates at
frequencies that are discordant. Any harmonic above the seventh is discordant (out of
tune), and an overdriven guitar amp is one of the few instrument combinations that can
create such high harmonics. As a result, most guitar speakers are designed to roll off
the top end above about 7kHz or so to avoid this problem. An aluminium dome does
the opposite, and radiates wildly at the upper frequencies. This is both unpredictable
and unpleasant.
Anecdote: Some years ago, I was asked by a well known Australian guitarist if I could
Anecdote: Some years ago, I was asked by a well known Australian guitarist if I could
fly to Melbourne (from Sydney - about 1000 km) to solve this awful problem in the
studio. It didn't matter how they miked the guitar amp, it still sounded terrible on the
recording. It turned out that the aluminium dust cap was radiating so strongly at
somewhere between 5kHz and 12kHz that it destroyed the sound, giving a most
unappetising metallic edge to the music. The remedy was to carefully cut away the
dust cap, and glue a piece of thin felt in its place. About an hour later (after the glue
had dried), the result was that the recording engineer and guitarist alike were stunned
at the difference - the sound was as smooth as silk (well, you know what I mean) and
all the nastiness was gone.
Most of the established guitar amp manufacturers use speakers specially made for
them by one of a few specialist loudspeaker builders, and they are normally hard to
get. Try music shops (or repair shops) to see if they have speakers that might be
suitable. The second-hand market might be another good place to look - you might
even be able to get a complete speaker box for a reasonable price, which saves
having to do the woodwork !

Effects
As shown, the amp has no effects at all, but does have an effects send and receive
(via the two input jacks). Internal tremolo and reverb can be added, and suitable
circuits are available on the project pages. These are designed as "stand alone"
effects, but can be integrated easily, using the effects loop already provided.

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Copyright Notice. This article, including but not limited to all text and diagrams, is the
intellectual property of Rod Elliott, and is Copyright (c) 1999. Reproduction or re-publication by
any means whatsoever, whether electronic, mechanical or electro- mechanical, is strictly
prohibited under International Copyright laws. The author (Rod Elliott) grants the reader the
right to use this information for personal use only, and further allows that one (1) copy may be
made for reference while constructing the project. Commercial use is prohibited without
express written authorisation from Rod Elliott.
Updated 22 Feb 2001 - added IC pinout info and changed effects info.

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