DIY - Guitar Wiring, Humbucking Pickups, Modifications, Guitar Effects Schematic

Guitar Wiring - Humbucking Pickups, Modifications, Guitar Effects Schematics
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into a Fender Stratocaster.
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This page came about as an exercise for me to get an understanding of what can be acomplished by changing the
pickups and a guitars wiring. I was trying to get away from the tinny twang of my standard strat and have done that...
and more ! I now have three humbucking double coil pickups with switches so I can "split" the coils by grounding out
one side and get a single coil sound. Also a big improvement is moving a tone control from the middle pickup to the
bridge. The standard Strat does not have any tone control in the bridge position (which is too bright already). I have the
tone controls in the bridge and neck positions and leave the middle without . I've tried wiring 2 pickups to one tone
control but volume is effected between switch positions. I have also tried separate capacitors, but prefer one capacitor
for both tone controls. Another mod I like is a bridge switch which engages the bridge pickup in any position. The web
site links below have more detail and you should read them also before you start. The 500k ohm push/pull pots were
distributed by All Parts #EP 286. ph. 281-391-0637
Many thanks to Seymour Duncan and Rodney Gene for their expertise and great pickups, and John S. Atchley for his
great website and all responding to the guitar newsgroups ! ( Links at bottom of page).
http://www.christianmusicweb.com/Guitar_wiring.html (1 of 8)10/24/2004 12:52:32 AM






Thank You Steve Glass for this detailed wiring diagram ! See Seymour Duncan's site for more diagrams.... Jim
Strat Original Potentiometers (pot=vol. and tone controls) were 250k-ohm. I purchased 250k ohm push/pull DPDT pots which
include a DPDT Push/Pull switch... I later changed the vol. R1 to 500k as the sound was a little dark.. the 500k brightened things up...
and a 1 Meg pot for R1 would be brighter still. R1 push/pull splits the bridge and neck pickups for non-humbucking single coil
sound. R2 splits the middle pickup. R3 engages the bridge p/u in any selector switch position (neck and bridge or all three p/u's at
once !). The tone capacitor is .033uF I won't try to explain much about the Strats 5-way selector swith. There are two sides
separated by an electrical insulator. There is a common point and only three other terminals on each side of the switch. The 2 and #4
position are selected when metal on the rotary switch bridges 2 terminals. It will make sense when you get a look at it.
The wires here only describe electrical connections and how the circuits look electricaly. Each pickup has a shielded cable that carry
the wires and keeps things tidy.
The red and white wires (A- and B+) are normally connected together from each pickup in humbucking mode and insulated. In this
circuit a jumper is brought to R-1 from the neck and bridge pickups. When the Potetiometer switch is pulled the jumpers are
grounded shorting out one of the two coils on both the bridge and neck pickups.... This is known as splitting. These should have
similar characteristics to a Strats single coil configuration.
R3 has aPush/pull pot configured to connect the bridge pickup at any of the 5-way switches positions. This adds the ability to have
both the Neck and Bridge pickup active at the same time. (Telecaster ?, Les Paul ?) .
The Tone controls have been moved to the bridge and neck and function in the #2 and #4 positions also. There is no tone control in
this circuit for the center position #3 with the middle pickup used alone. I am going to leave this for a clean signal and may return to
a single coil middle pickup If this proves to be too bright I could work with pickup height to get the desired output.
The Little '59ers By Seymour Duncan have a wonderful depth of tonality and a great improvement in sound. I have got away from
the bright treble single coil sound and hear more overtones , musical color and depth. The '59 replicate the 1959 Les Paul patented
pickups. Todays Les Pauls are much hotter- higher output than the warmer sound in 1959. When my Zoom GFX 707 guitar effects
processor is used the sound can be a little too thick...
Pickup height ? Press the strings down on the last fret and measure the distance from the string to the pickups pole pieces. You might
start a 1/16 at the bridge and 1/8" at the neck and bring things lower if too hot or bright. Some use a nickle or a drill bit or a nail as a
feeler guage.The fender manual says at the low E string correct height is .024" for each pickup and .020" for the high E string. The
Little 59er has pots which also individualy adjust if one string is louder than another.
Note: This information is provided for Your information. You should take your guitar to a reputable guitar shop if you are not
comfortable with using a solder iron. Modifications to your guitar may void its warranty.
You can e-mail me with any questionsand I'll have more information after I've experimented some.
Your Friend, Jim
Links- These sites should help with any wiring problems and have some great diagrams !
http://guitarnuts.com Many mods, a great site which explains things very well (like how the 5 way switch on a
strat works) Graphics. Shielding and more !
GuitarElectronics.com Many diagrams and they sell parts !
http://www.seymourduncan.com You can email their helpful tech support
Stewart Macdonalds Luthier supplies, parts, books, kits, woods and great help. Ask for a catalog !

GO

Vintage Guitar Effects Schematics Archive
Vintage Guitar Effects Schematic Archive

Vintage Guitar Effects Schematic Archive (click here)
Guitar Modification, Pickups, Wiring
Build a Quality Condenser Microphone !
These schematics were collected many years ago online. I want to thank those who
made these circuits available. They are offered for those needing to repair vintage amplifiers and
guitar effects or wish to construct some of the simpler circuits. There are nearly 100 schematics in
this archive. For other sites with schematics and construction information please visit the links
here. Jim
Effectronics- The site for do-it-yourself effect building

Small Bear Electronics GEO - R. G. Keen's Guitar Effects Oriented Web page
AMZ - Analog Music Zone Angella Instruments - Vintage parts + free tube amp project plans !
Aron Nelson's Stompbox page Ampage The Great PCB PAiA Electronics
Music Electronics Archive Stellan's Schematics Plate to Plate - Music Electronics Spring
Reverb Duncan's Amp pages Pat's Tube and recording schematics The Schematic
Connection
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The Stomp Box Cookbook :Build Advanced Effects for Electric Guitar & Bass $29.95
Great Tube AMPS and Guitar Mods by Mike Thompson $17.95
Vacuum Tube Guitar & Bass Amplifier Theory by Tino Zottola $14.95
DigiTech RP100 Guitar Multi Effects Pedal $99.95
DigiTech RP100- Metal chassis. 10 effects at once. 12 amp models. Rhythm Machine. Tuner. 24-bit
digital effects, and much more.List Price $129.99, Sale $99.95.
DigiTech RP200 Guitar Multi Effects with an expression pedal $149.99
Boss DS-1 Distortion Pedal $35.99
Dunlop Original Crybaby $69.99

Boss CH-1 Super Chorus $71.99
Home Page

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Effectronics: Schematics
Schematics -- collection from 1997-1998
(note: Companies owning trademarked names such as "Boss", "Dunlop", "MXR", "Roger
Mayer Octavia", and others have NO affiliation with this website. Information posted
here is for educational/repair/home-use purposes only. To the best of my knowledge,
none of the circuits posted here have any remaining patent rights -- in fact, just about
every circuit if not all of these circuits were in pedals available to the public more than 20
years ago (thus, obviating any present-day U.S. patent rights). That is, everyone visiting
this site should be legally able to manufacture their own pedals using such circuitry; it is
free public knowledge. However, if any person/company feels information contained at
this site violates any of their intellectual property, please contact me at J@Philpott.com,
and upon proof of such ownership I will immediately remove any violating information).
Boss BF-2 Flanger - I haven't constructed this, but picked up a used one. It's probably easier/cheaper
to buy one, but perhaps this schematic will be useful if you ever need to repair one.
Boss CE-1 Chorus Ensemble - old chorus pedal by Boss (considered vintage perhaps?). Probably not
an easy build-up from scratch (would be helpful for repairs though!), but when considering vintage
prices might be a worthwhile and rewarding project.
Boss GE-7 Equilizer - courtesy of Jon Halverson.
Craig Anderton Octave-Doubling Fuzz - very versatile controls, a warmer fuzz w/ a separate volume
control for the octave effect (found in Do-It-Yourself Projects for Guitarists - available at Amazon.com,
see Sponsors) - a must, along w/ Electronic Projects for Musicians , for the electronic/guitar hobbyist!)
Sound Sample
Craig Anderton Tremolo - This 1979 Contemporary Keyboard; article was kindly given to me by Roger
Lavallee. This tremolo uses a CLM6000 optoisolator.
Craig Anderton Tube Sound Fuzz - version found in Electronic Projects for Musicians. I have had
several requests for this one, so here it is! (I still suggest buying the book if you're a beginner though).
Diaz Texas Square Face - donated by Gustav Smalley, another fuzz face variation (noted to sound
"not too great" though).
DOD Phasor 201 - a subtle vintage phaser, 45-degree shift. VERY similar to the MXR Phase 45.
Electro-Harmonix Big Muff Pi (Op-Amp version) - distortion w/ overdriving capabilities. (This thing can
get LOUD!)
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fOXX tone machine - fuzz w/ octave capabilities, very "thick/tight/nasal" fuzz. Sound Sample
Fullclone - by John Greene. a clone of one of the more popular T.Screamer overdrives out there.
Ibanez STL Super Tube - courtesy of Erik Cartwright.
Ibanez TS-10 Tube Screamer (old previously "lost" zip file sent to me 12-97, email me if you sent it so I
can give you credit! :)
Matchless Hotbox - distortion/overdrive unit using 12AX7 tubes.
Matchless Vibrobox - tremolo/preamp also using tubes.
Maestro Bass Brass-Master BB-1 - octave/distortion. I haven't built this one yet, but may soon... Much
thanks to Andy for sending me a copy of this schematic!
Maestro G2 Rythm N' Sound - courtesy of Bernhard Pelz; Text for pedal.
Maestro Ring Modulator - ring modulator by maestro/oberheim, made in 1973. Also check the Trimmer
Setup for this pedal. A kind internet visitor mailed me this copy, but I've lost all of my old email so I
don't have a name to thank right now. (wherever you are, thanks!).
MTM Electra IIbe OverDrive - a modification of the Electra Distortion circuit by OaKLeYIHS"at"aol.com
Mutron III - very famous Auto-Wah. See "Bluebox" for info. regarding the location of this schematic.
MXR Bluebox - adds a bass (2-octave down) to your guitar. Both this schematic and the Mutron III
below are at Christian Landry's site. He drew them. When you click on the name you'll go directly to his
site, where you'll find these schems. and more about CJLectronics. I encourage you to check out Mr.
Landry's Site/Company for your personalized electronic needs.
MXR Phase 45 - a subtle vintage phaser, 45-degree shift. VERY similar to DOD's 201 Phasor.
Prescription Electronics' The Experience Pedal - Octave, Fuzz, and Swell capabilities. Go to the text
file first, as it will tell you more about this circuit and its uncanny resemblance to another familiar pedal.
Sound Sample
Roger Mayer Axis Fuzz - a fuzz that was designed to use readily available 2N3904 and 2N3906 silicon
transistors. (ERRORS! (according to Joe Campagna, the following should be changed: 1) a 100k
resistor needs to go from the base of the 2N3904 to ground. 2) the 2.2uf cap that feeds the volume
wiper should have its negative side toward the pot. 3) the input caps should read .1uf (104k) & 470pf

(471) 4) The cap from the drive wiper to ground should be 0.1uf not 1uf.) Thanks Joe!
Roger Mayer Classic Fuzz - R.M.'s version of the Fuzz Face. Thanks to Greg Brown for the schematic!
Roger Mayer Octavia - milder distortion octavia, with a greater attention towards the treble range.
(Corrected: 1-23-99 by Carlo Virtucio). Sound Sample
Roger Mayer Voodoo-1 - haven't constructed one yet, looks cool though : ) uses an LM308N IC.
Swell Device - (Schematic has errors!) See RG Keen's site for explanation on these errors and info on
what pedal (in addition to the foxx tone machine) Prescription Electronics copied to make up their
Experience pedal.
Tychobrahe Octavia - very wild! w/ ring modulator-like drones and loud distortion capable of excessive
feedback. My personal favorite octave pedal. It uses a coupling transformer (similar to Mouser's
42TU011). Note: use a 22uF capacitor for the 25uF shown, or wire a 22uF in parallel with a 3.3uF cap
to yield 25.3uF. Sound Sample
Univox Super-Fuzz - In my opinion, the Superfuzz has a lot of treble to mid-range and has more fuzz
(as opposed to distortion) than the R.M. Octavia. Also, there is much less sustain than the other octave
pedals. Still, a good unique device, my two-word decription is "chewy octafuzz."
Voodoo Lab Overdrive - uses a TL072. Slightly similar to the MXR Distortion and DOD 250 OD.
Vox Treble Booster(modified) - sent by Jason Andersen.
Wahs
Crybaby Wah (original) - I re-drew this wah from another internet site (I think Jamie Heilman's site).
This is the original 2 transistor crybaby. 80's version reissues (by Dunlop) also had the same circuit
Crybaby GCB-95 Wah (reissued by Dunlop) - this is Dunlop's "Original" Re-Issue. As you can see, it's
slightly different from the old Crybaby, (note: this is the more recent version of the GCB-95. The GCB-
95 made in the 80's resembles the "original" crybaby, without the buffering stage used w/ a SPDT
switch. CORRECTED 1-19-99: first transistor (buffering stage) correctly noted by Paul Crowther to be
MPSA-13, and NOT MPSA-18 like the other two transistors.
Dunlop JH-1 Jimi Hendrix Wah (drawn by Giovanna Contini)
Fatwah LF (by Paul Crowther of Crowther Audio, maker of "Hotcakes" and "Prunes and Custard"
pedals) - a modified version of the GCB-95 crybaby wah.

Multi-Crybaby - shows the slight variations between wah models, drawn by Bruce Wahler.
VOX V847 Wah - Vox's wah reissue. IMO uses better-sounding components than new stock crybabys.
-------------------------
Homebrew! -- custom/donations --
Beginner's Page- if you've never made an effect before and you're not sure where to start, I have
provided what I believe to be a very thorough documentation on getting started. (Rev. June 1998).
Bypass Circuit - by Christopher Robins. very nice true bypass, pop-free wiring for DPDT and LED
indication.
4-Transistor "Electra" Distortion - courtesy of Joe D.
Cookbook Circuits (all contributed by Matt) -- Fuzz -- Phase Shifter -- Tremolo
Differential Distortion (modified) - Originally from Popular Electronics Aug.95, I added a booster circuit
(from another famous booster module; guess which one!) which changes the functionality of the Diff.
Dist. This circuit is especially useful when driven by another loud distortion/overdrive
Electra Distortion Circuit (modified) - original can be found on other pages. Here is my modified version
that, in my opinion, gives the best sounding distortion, (not bad for a single transistor circuit!). Circuit is
redrawn by Goocher (www.goocher.com).
Gustav C. Smalley Circuits (GCS) (gussmalley "at" hotmail.com)
GCS Fuzz F.
GCS JH2 Fuzz Mod.
GCS Overdrive
GCS Ritefuzz

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Index of /schematics
Name Last modified Size Description
Parent Directory 27-Dec-2005 21:50 -
angry_beard3_pcb.jpg 18-Feb-2002 02:38 24k
angry_beard_3.jpg 18-Feb-2002 02:39 77k
blue_clipper.jpg 18-Feb-2002 02:39 33k
boss_sg1.jpg 18-Feb-2002 02:39 96k
clean_9vdc_power.jpg 18-Feb-2002 02:40 52k
dod_compressor.jpg 18-Feb-2002 02:40 75k
dod_envelope.jpg 18-Feb-2002 02:40 51k
dod_flanger.jpg 18-Feb-2002 02:40 30k
dod_overdrive.jpg 18-Feb-2002 02:43 41k
dual_preamp.jpg 18-Feb-2002 02:44 61k
dunlop_cry_baby_wah.jpg 18-Feb-2002 02:44 51k
eh_16sec_delay1.jpg 18-Feb-2002 02:45 109k
eh_16sec_delay2.jpg 18-Feb-2002 02:45 143k
eh_bass_synth1.jpg 18-Feb-2002 02:46 116k
eh_big_muff_pi.jpg 18-Feb-2002 02:47 82k
eh_boosters.jpg 18-Feb-2002 02:47 81k
eh_fuzz_wah.jpg 18-Feb-2002 02:48 88k
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eh_guitar_synth1.jpg 18-Feb-2002 02:48 116k
eh_little_big_muff.jpg 18-Feb-2002 02:50 98k
eh_muff_fuzz.jpg 18-Feb-2002 02:50 56k
eh_small_stone_phase..> 18-Feb-2002 02:51 132k
eh_soul_preacher.jpg 18-Feb-2002 02:51 111k
electra_distortion.jpg 18-Feb-2002 02:51 68k
em_stereo_spreader.jpg 18-Feb-2002 02:52 76k
equalizer.jpg 18-Feb-2002 02:52 71k
fender_bassman.jpg 18-Feb-2002 02:53 116k
fender_blender.jpg 18-Feb-2002 02:53 112k
foxx_fuzz_wah.jpg 18-Feb-2002 02:54 149k
freq_brightener.jpg 18-Feb-2002 02:54 91k
fuzz_1.jpg 18-Feb-2002 02:55 53k
fuzz_2.jpg 18-Feb-2002 02:55 49k
fuzz_face.jpg 18-Feb-2002 02:55 108k
geu_octaver_fuzz.jpg 18-Feb-2002 02:56 110k
gibson_rd_artist.jpg 18-Feb-2002 02:56 87k
green_ringer.jpg 18-Feb-2002 02:57 99k
gretsch_controfuzz.jpg 18-Feb-2002 02:57 62k
harmonic_sweetener.jpg 18-Feb-2002 02:57 95k
hendrix_fuzz_face.jpg 18-Feb-2002 02:57 57k
ibnz_tube_screamer.jpg 18-Feb-2002 02:58 113k
jordan_boss_tone.jpg 18-Feb-2002 02:58 85k

jsh_fuzz.jpg 18-Feb-2002 02:59 53k
kay_tremolo.jpg 18-Feb-2002 02:59 105k
maestro_boomer2.jpg 18-Feb-2002 03:00 77k
maestro_boomerang.jpg 18-Feb-2002 03:00 59k
maestro_fuzz.jpg 18-Feb-2002 03:00 107k
marshall_shredmaster..> 18-Feb-2002 03:01 61k
mixer.jpg 18-Feb-2002 03:01 94k
mosrite_fuzz_rite.jpg 18-Feb-2002 03:01 50k
mxr_distortion_plus.jpg 18-Feb-2002 03:02 90k
mxr_hot_tubes.jpg 18-Feb-2002 03:02 96k
oberheim_phase_shift..> 18-Feb-2002 03:03 147k
olson_new_sound.jpg 18-Feb-2002 03:03 54k
orange.jpg 18-Feb-2002 03:03 42k
paia_4bandeq.jpg 18-Feb-2002 03:04 111k
paia_axe_grinder.jpg 18-Feb-2002 03:04 124k
paia_motion_filter_f..> 18-Feb-2002 03:05 116k
paia_tube_head.jpg 18-Feb-2002 03:06 196k
paia_tube_mic1.jpg 18-Feb-2002 03:07 200k
paia_tube_mic2.jpg 18-Feb-2002 03:08 166k
panner.jpg 18-Feb-2002 03:08 112k
pipe_bomb.jpg 18-Feb-2002 03:09 167k
preamps.jpg 18-Feb-2002 03:09 99k
proco_rat_distortion..> 18-Feb-2002 03:10 78k
proco_rat_distortion..> 18-Feb-2002 03:10 80k
roland_double_beat.jpg 18-Feb-2002 03:10 71k

roland_doublebeat.jpg 18-Feb-2002 03:11 98k
stage_center_reverb.jpg 18-Feb-2002 03:11 109k
theremin1.jpg 18-Feb-2002 03:13 292k
tone_booster.jpg 18-Feb-2002 03:19 53k
tone_controls.jpg 18-Feb-2002 03:20 107k
tremolo.jpg 18-Feb-2002 03:20 68k
tube_distortion.jpg 18-Feb-2002 03:21 100k
tube_fuzz.jpg 18-Feb-2002 03:21 85k
univibe.jpg 18-Feb-2002 03:22 170k
univox_super_fuzz.jpg 18-Feb-2002 03:22 135k
vibe1.jpg 18-Feb-2002 03:24 220k
vibe2.jpg 18-Feb-2002 03:24 156k
vibe3.jpg 18-Feb-2002 03:25 78k
vibe4.jpg 18-Feb-2002 03:25 116k
vibe5.jpg 18-Feb-2002 03:25 74k
vox_tone_bender.jpg 18-Feb-2002 03:26 60k
vox_treble_booster.jpg 18-Feb-2002 03:26 77k
Apache/1.3.37 Server at www.christianmusicweb.com Port 80

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The Christian music web - Keyboard and MIDI Page
Keyboard - MIDI Page
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Casio CTK-496 61-Key Portable Keyboard- 61 full size keys, 100 tones, 100 rhythms and demo songs. $89.99
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Christian Music Web - Song archives, chords, guitar and bass tablature

The Christian Music Web

Song archives - transcribed Chords and Tablature
Guitar Chord Computer Print Guitar Tablature Paper Print Music Paper
Welcome to the Christian Music Web Song Archives. If you enjoy this site please tell your
friends ... this link makes it easy to Tell a Friend about this Site. If you don't find the song you're
looking for here, check out the other fine Christian Tab archive sites listed. You may find just the
song you want at a good price at Sheet Music Plus... or perhaps an artists songbook at Amazon.com
or Sheet Music Plus. The Search boxes below are fully functional.
The musical instruments featured on this site are selected specials at greatly reduced prices from
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gaurentee- 45 day, no questions asked, full refund. Thank you for online purchases which earn
commisions to support ministries, buy bibles and host this site !
Thanks for visiting ! Jim
The Christian Music Web- This sites Song Lyrics, Chord and Tab archive
This sites Song archive- All Songs arranged Alphabetically by title
Other Fine Guitar Tab archives with Christian Songs -
http://www.christianmusicweb.com/song_archives.html (1 of 4)2006-11-22 19:13:51

Guitar Network The Gospel Music Archive
Christianguitar.ws Servants Heart
Christian Alternative Guitar Archive Tab Robot- A multi-site tab search engine
Harmony Central (OLGA) HymnSite - Christian Sheet music
ShareSong.org Higher Praise
Seek!
If you can't find the song in this archive or links, don't know the artist or know the artist but not
the name of the song, or if you need sheet music for piano or any instrument ... or need a songboook
please do a search at Sheet Music Plus. A search at Google.com also might find you the music or the
Artists webpage. .... you can use these search tools. Thanks, Jim
SEARCH FOR CHRISTIAN

LYRICS
Artist:
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Title:
Lyric:
Search
songbook.manueladam.com
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The Christian Guitarist !

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Songbook Recommendation: My favorite songbook title is simply "Songs" [Large

Print Edition] author, Yohann Anderson and is currently on sale for $12.76. Spiral Bound.(A
version also is available with music notation) I LOVE THIS BOOK ! It has over 1000 songs :
Contemporary Christian, Praises, Hymns, Fun Songs, Folk Music, Sing Alongs, Rock and Roll,

Oldies and Goodies, Lively Songs, Love Songs, Rhythm & Blues Spirituals, Old and Modern,
Worship, Children's Songs, Christmas Songs, Classic Gospel and Spiritual standards, etc. Great for
youth groups and those learning to play the guitar ! Includes lyrics and chords for each song, and
has a chord chart in back. I cannot tell you the number of times I've heard a song I liked and later
found the lyrics and chords in this book. I have had a number of copies... they get loaned out, given
as gifts, etc.
Phone 1-800-227-2188 to buy direct from Songs and Creations.
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public domain... Individuals have transcribed and have shared these files and have made them
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found here and you do not want your work here, Or if I have missed giving credit where it is due,
then please e-mail me so I can make things right.If you print a song for your personal use, share,
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spring reverb info page
Spring Reverb Info Page
This page presents information on spring reverbs. First, the tech note describes how to optimally use op
amps to interface to the types of spring reverb units used in guitar amplifiers; schematics are included.
A circuit for a simple, but wide-range tone control is presented, and a FAQ tackles some of the most
common questions and problems in using springs reverbs. A super quiet recovery amp (the ultimate
recovery amp?) using a composite op amp is also presented. Additionally, I've included info on
Accutronics spring reverbs and links to some places that sell them. Finally, no web page that includes
info on any topic related to guitar amplification would be complete without at least a couple of links to
some good amp-related sites. I especially recommend "Duncan's Amp Pages."
Send feedback to rmly at verizon dot net (You know how to turn that into a real email address-I'm just
trying to avoid spam).
Tech Note (revised and enlarged 11/01)
Tone control (added 11/01)
The ultimate recovery amp (added 02/04)
Accutronics info
FAQ
Links
Accutronics' own web site
Here are a couple of guitar amplification sites with good information and lots of links:
Duncan's Amp Pages
AMPAGE -- Tube Amps / Music Electronics
http://members.tripod.com/~roymal/ (1 of 2)2006-11-22 19:14:54

spring reverb info page
Here are a few sites that sell reverb tanks at reasonable prices:
STF Electronics
Apollo Amplifiers
Hoffman Amplifiers
Antique Electronics
http://members.tripod.com/~roymal/ (2 of 2)2006-11-22 19:14:54

reverb2
Using Op Amps to Interface to Spring-type Reverb Units

Copyright 1999
Roy Mallory
roym@world.std.com
Revised November, 2001
Although digital reverb units have achieved widespread use, the spring reverb is still popular in guitar
amplifiers. Many such amplifiers use tubes for their sonic and overdrive characteristics, but for
interfacing to a spring reverb, the monolithic op amp offers superior capabilities. This tech note, which
discusses how to optimally interface a spring reverb to an op amp, is divided into three sections, one
describing the drive circuit, another discussing the optimal drive level, and the final describing the
signal-recovery circuit. In all sections, an Accutronics model 8DB2C1B or 8BB2C1B reverb unit is used
as an illustrative example. The circuit design concepts presented here are equally applicable to other
reverb units.
The Drive Amplifier

In a spring reverb, a solenoid (coil of wire) is used to generate a magnetic field that imparts vibrations to
the unit's springs. As Ampere's Law shows, the strength of the field is proportional to the current
through the coil, not the voltage across it. Yet, many reverb drive circuits produce a voltage rather than a
current output. Why is this a problem? Well, the solenoid that produces the magnetic field is also an
inductor, and the impedance of an inductor rises in direct proportion to the frequency applied to it.
Therefore, given a constant voltage input, the current produced in, and the magnetic field produced by,
the coil goes down in direct proportion to frequency. Mathematically, we can express this with a couple
of simple equations:
where: zL = the coil's impedance
s = the complex frequency variable, j2π f
L = the coil's inductance
RL = the coil's resistance
Using Ohm's Law, we see that the current in the coil is:
http://members.tripod.com/~roymal/reverb.htm (1 of 9)2006-11-22 19:15:43

reverb2
So, using a voltage-output amplifier causes the reverb to produce less and less output as frequency goes
up, which is not at all what one needs. It is the higher frequencies that produce a good reverb sound, and
if the drive amp doesn't provide much output at these frequencies, the signal-recovery amp will need
more gain and thus produce more noise.
Fortunately, a standard op amp allows an ideal solution to this dilemma. It is very simple and
inexpensive to implement a current-output (technically speaking, a transconductance) amplifier with an
op amp. The fact that the 8DBC1B's drive coil is not grounded makes the task especially easy. Consider
the following circuit:
Any input voltage applied to the op amp's noninverting input appears at its inverting input as well. Thus,
the current at the inverting node, and therefore through the reverb coil, is simply Vin/R1. So, we see that
the circuit produces a current output in direct proportion to its voltage input. Two problems must be
solved before the circuit is truly useful, however. First, we should roll off the stage's output at low
frequencies, because they contribute nothing to the reverb sound; and second, as shown, this stage is
unstable or marginally stable at best. To understand the cause of the instability, consider that through
most of its frequency range, the op amp's open-loop transfer function produces a 90o phase shift. The
network formed by the inductance of the reverb unit and R1 also produces a 90o phase shift, causing a
total of 180o of phase shift around the feedback loop. The modifications shown in the circuit below
solve both problems:

reverb2
Capacitor C1 reduces the gain at low frequencies. Empirically, a 3 dB point for the R1, C1 network
between 150 and 300 Hz seem about right. The test circuit uses a 62 ohm resistor for R1 and a 10 µ F
capacitor for C1. This combination produces a 3 dB point at about 260 Hz.
The network comprising C2 and R2 compensates the stage to make it stable. To see how, consider that
at high frequencies, the inductive reactance of the reverb coil is high, and the capacitive reactance of C2
is low. Therefore, at high frequencies, R2 effectively becomes the feedback element, which restores
phase margin to the circuit. To understand how to select R2 and C2, let's solve for the impedance, zf, of
the feedback network formed by these two components and the reverb coil:
Looking at the denominator, we see it has the expected second-order form. To select C2, pick a
frequency at which you would like the stage to break out of its rising feedback impedance to a constant
one, using the standard formula:
A frequency between 5 kHz and 10 kHz is appropriate for a guitar amplifier. The 8DB2C1B tank has an
inductance of about 44 mH; the test circuit uses a 0.01 µ H capacitor to produce a break frequency of
about 7.6 kHz.
Component R2 is selected to produce an appropriate Q according to the formula

reverb2
A 2 KΩ resistor should produce a Q of about 1, but core losses will lower the Q to that of a maximally-
flat response. With these components, the magnitude of the feedback impedance is:
Next, we must look at the noise performance of this circuit. Several noise sources exist. First, let's
consider the effect of op amp voltage noise (en). This noise source, which can range anywhere from 1 to
20 nV/rt. Hz for commonly available op amps, acts just like an input voltage. So, the current noise
produced is simply en/R1. If we take a typical op amp noise of 5 nV/rt. Hz, this source causes output
current noise of 0.08 nA/rt.Hz in the test circuit. The Johnson noise of R1 also contributes. The output
current noise it produces is simply its Johnson noise divided by its resistance. For the test circuit, this
noise is 0.016 nA/rt. Hz, which is 5 times lower than the noise caused by en. Therefore, we can ignore it.
The Johnson noise of the reverb coil's resistance causes voltage noise at the output of the op amp, but no
current noise, so it too can be ignored.
The current noise at the noninverting input of the op amp produces an input voltage that is simply the
product of the current noise times the output impedance of the previous stage. This noise divided by R1
is the output noise from this source, so io = inRout/R1. If the previous stage had an output impedance of
20 kΩ , which is not uncommon for a tube stage, and if one used a bipolor-input op amp whose input
current density were 1 pA/rt. Hz, which is typical of many such op amps, the output current noise would
be about 0.3 nA/rt. Hz in the test circuit; this would be the dominant noise source. The lesson is clear:
drive the stage from a low impedance or use a JFET-input op amp. Such amps typically have current
noise densities of about 0.01 pA/rt. Hz. If either approach is taken, the noise from this source will be so
low that it can be ignored. Op amp current noise at the inverting input simply goes into the reverb coil.

reverb2
This noise is also much lower than that caused by en, so it too can be ignored. Thus we see that in a
properly designed stage, the op amp voltage noise is the only significant noise source.
What signal-to-noise ratios can be expected from such a stage? Let's say we choose an op amp whose
voltage noise is 5 nV/rt. Hz, because such amps are cheap and easy to find. Let's assume a bandwidth of
10 kHz, which is conservative, because most guitar speakers don't produce much output beyond 5 or 6
kHz. Almost any op amp can put out 10 to 20 mA peak; let's be conservative again and assume that our
stage can put out 7 mA rms. A quick calculation (peak rms output divided by the product of the noise
density times the square root of bandwidth) shows a maximum signal-to-noise ratio of 119 dB!
Follow these simple design guidelines:
For good stability,
● Choose R2 and C2 appropriately.

● Properly bypass the supply voltages to the op amp.
● Connect the ground side of R1 so that its current does not cause unintended feedback paths.
For low noise:
● Use the lowest input-noise op amp you can afford.

● Use a JFET-input op amp, or drive the stage from a low-impedance source.
● Make sure that the stage is driven sufficiently hard to ensure maximum signal.
Designing For the Optimal Drive Level

Designing your drive amplifier so it can provide sufficient current to the reverb coil is a deceptively
simple task. First, one must determine the optimal drive current that your particular model of reverb coil
requires. Unfortunately, Accutronics' specifications can be a bit misleading. First, they publish a
"nominal" drive level recommendation for their models. I'm not sure just what this number means, but
I've concluded that it is best ignored. The number they provide that is meaningful is the maximum amp-
turns that their drive coils can withstand before going into saturation. They spec this value as 25 amp-
turns r.m.s.. Their use of an r.m.s. value here is also confusing, but let's assume they had sinusoidal
excitation in mind, and therefore the peak current value would be 25*1.414 or about 35 amp-turns. I was
able to verify by experiment that their drive coils (actually, of course, the cores of the coils) do go into
saturation at about this level. So a design goal of a maximum drive level of about 30 amp-turns to allow
for a safety factor seems about right.
To determine how much voltage we need to supply the reverb coil to produce current at this level, let's

reverb2
proceed simply and say that our guitar amp should be able to operate at full output up to 10 kHz. The
8DB2C1B's input coil has 688 turns and an impedance of 310 ohms at 1 kHz. So, at 10 kHz the required
drive voltage is
A required drive level of 135 volts peak is not encouraging, but do we really need that much? Well, the
highest note in a typical guitar is the D that is two octaves and a whole step above middle C. This note's
frequency is 1175 Hz. In addition, a string that is fretted that high doesn't put out much power in its
harmonics. To add to the good news, a guitar puts out maximum volume when a chord and not just a
single string is played. By definition, all other notes in any chord containing the high D must be lower in
frequency. So, for an undistorted guitar, the reverb doesn't need any more headroom than that required to
reproduce a 1 kHz signal at full blast. For the subject reverb unit, we are only talking about a 13.5-volt
peak signal.
13 volts is cutting things close for an ordinary op amp, so one might want to use a high-voltage op amp
if a higher-voltage supply is available or switch to a lower impedance reverb tank. An 8BB2C1B might
be an obvious choice if the latter tactic is used. Its drive coil has 538 turns and an impedance of 190
ohms at 1 kHz. To drive it fully at 1 kHz requires
Note however, that the tanks require 44 mA and 56 mA respectively to drive to peak level. Therefore a
high-current op amp of some sort is required. I've found that an OPA551 works very nicely and can also
take supplies up to ± 30 volts for those who want extra headroom or who are amplifying signals with
more high-frequency content.
If you would like to use the 8BB2C1B tank, the drive-circuit component values can be changed to the
following:
R1 = 56 ohms
R2 = 1.6k
C1 = 20 uF
C2 = .033 uF

reverb2
The attentive reader will note that the requirements discussed above were for an undistorted guitar. If a
heavily distorted guitar signal is fed into the reverb tank, the amount of drive voltage required will
increase substantially, because the clipped guitar signal contains much more power at higher
frequencies. Interestingly enough, not being able to reproduce the hard edges of a clipped guitar signal
doesn't sound objectionable to my ears. It just means that the reverb part of the amplifier's output will
sound a bit softer and less distorted than the main signal. I kind of like that, but another listener may not.
Signal-Recovery Amp
The most basic decision for this stage is whether to use an inverting or noninverting topology. The
noninverting topology shown below is preferred because it allows the values of the gain-setting resistors
to be optimized for lowest noise while allowing the input resistance of the stage to be set independently.
The schematic above shows all the necessary circuit elements. Resistors R1 and R2 set the gain of the
stage. The requisite gain will depend on the rest of the system's gain, but gains between 50 and 100 are
common. The test circuit uses a gain of 101, with R1 set at 68 ohms and R2 set at 6.8 kohms. The value
of C1 is chosen to roll off the low-frequency gain of the circuit. The test circuit uses a 10 µ F capacitor,
producing a 3 dB point of about 230 Hz. There is considerable leeway in the selection of the 3 dB point-
let your ears be the guide. C2, which is 1500 pF in the test circuit, and R2 form a low-pass filter at 15.6
kHz; with such high gain, it is a good idea to keep possible out-of-band noise from subsequent stages.
The inductance of the reverb unit's pick-up coil will resonate with the capacitance of the coil's winding
plus the capacitance of the shielded cable used to connect the coil to the circuit. In the case of the
8DB2C1B unit, a short cable will produce a resonance above 20 kHz, and R3 is not needed. For other
units, or if a long cable is used, the resonance can move into the audible range. R3 can be used to damp

reverb2
this resonance. Its value can be calculated using the equation presented earlier for determining Q.
Alternatively, it may be easier to determine its value empirically by checking for an impedance peak.
Some designs call for placing a capacitor across the reverb unit's output to purposely place the resonance
at some audible frequency. Although this technique does produce more output at resonance, it does so at
the expense of raising the input impedance at that frequency. In my experience, any increase in output is
more than offset by an increase in noise. In addition, the response emphasis is not pleasant to this
author's ears. For lowest noise, it is best to damp any in-band resonance with R3.
The most important consideration for the design of this stage is low noise. As previously stated, the
stage needs quite a bit of gain. As we did for the drive circuit, let's investigate all the noise sources. First,
the Johnson noise of the reverb unit's output coil is connected directly to the stage's input and will be
amplified along with the signal. The 8DB2C1B has an output resistance of 200 ohms. The Johnson noise
of this resistance is 1.8 nV/rt. Hz. In the test circuit, this resistance will cause output noise of 181 nV/rt.
Hz.
The Johnson noise of R1 will be amplified by the R2/R1 ratio. Therefore, R1 must be kept smaller than
the resistance of the reverb coil if it is not to add appreciable noise. Because noise sources add in an r.s.
s. (root sum squared) way, if R1 is less than one-third the value of the reverb coil's resistance, the noise
it will add will increase the total noise by less than 1 dB. The 68 ohm resistor used in the test circuit
meets this criterion. Note, however, that some resistors have noise considerably in excess of Johnson
noise. Carbon composition units are notorious in this regard and therefore shouldn't be the first choice
for R1. The Johnson noise of R2, because it is not amplified, is negligible.
Because impedance at the noninverting node of the op amp is low, op amp current noise at this input
causes negligible output noise. Current noise at the inverting input is multiplied by the value of R2. Still,
this noise source will also be negligible, even for a bipolar-input op amp. Finally, the op amp's voltage
noise is amplified along with its signal. Unless one uses a very quiet amp, this noise will be higher than
the Johnson noise of the reverb coil, and so will be the dominant noise source of the stage. If an op amp
with an input-referenced voltage noise 5 nV/rt. Hz is used, the total output noise of the stage is about
540 nV/rt. Hz. Over a 10 kHz bandwidth, total noise is about 60 µV r.m.s., quite a respectable figure.
In many designs, the reverb unit is attached so it does not electrically contact the amplifier's chassis. As
such, no ground loops will be produced. If, however, the reverb unit electrically contacts the chassis, the
ground connection at the op amp input may have to be eliminated to avoid hum. If so required, break the
connection marked with an "x" in the schematic.
Follow these simple design guidelines:
● Choose R1 so that its value is not more than 1/3 of the reverb tank's resistance.
● Choose C1 to roll off the low-frequency response around 200 to 300 Hz.
● If necessary, install R3 to damp in-band resonances.

reverb2
● Use the lowest voltage-noise op amp you can afford.

● Break the ground loop if the reverb tank is connected to a grounded part of the chassis.
Conclusions
The test circuits have been auditioned by several guitarists, all of whom have pronounced the quality of
the reverb to be excellent. I have seen many statements that claim that op amps should not be used for
interfacing to spring reverbs because they are too noisy or are unsuitable in some other way. I can only
assume that such statements are based on misconceptions or poor circuit design. I believe that this tech
note shows conclusively that op amps provide a nearly ideal mate to a spring reverb. In the combination
of performance, size, and cost, no other circuit element can do such a superb job.
Return to home page

One-Knob Wide-Range Tone Control

Copyright 2001, Roy Mallory
Experiments I conducted have convinced me that a reverb channel does not need a complicated tone
control with multiple knobs. However, a control with a wide range of adjustment is required. The
following circuit that I developed meets all requirements quite nicely and is simple to build and also to
modify if so desired. It allows symmetrical cut/boost of bass and treble as the graph shows. The graph
depicts the output with the control set for full treble boost and full bass boost. When the control is
centered, the response is ruler flat with a gain of one. This circuit would normally be placed at the output
of the signal recovery amplifier.
As shown below, the circuit consists of a single inverting op-amp stage and one linear potentiometer. I
think it's easy to see that with the pot centered the input and feedback networks are identical, and
therefore the circuit's gain will be one, with no frequency-response manipulation. As the pot's wiper is
advanced toward the top, the upper network, which is a band-limited integrator, more controls the stage's
response. With the wiper at the bottom, the lower network, which is a band-limited differentiator,
controls the response. Because only the op amp's bias current flows through the pot's wiper, the circuit is
largely insensitive to changes in the wiper contact resistance. The gain of the circuit extends to D.C., so
if the input to the circuit has a D.C. offset, capacitive coupling should be used– a 0.47 uF capacitor
works nicely. Someone skilled in tube electronics will readily see how this circuit can be adapted for use
with tubes.
http://members.tripod.com/~roymal/ReverbTone.htm (1 of 2)2006-11-22 19:15:49

Many modifications to this circuit are possible. You will note that the frequency response graph shows
that the circuit tilts about 1 kHz. I chose this frequency because it didn't cause the perceived volume of
the reverb signal to change much as the frequency response control was adjusted. This effect will be
modified by the frequency response of the rest of the amplifier's circuitry and speaker(s), of course. If
one were to use this circuit for a simple guitar amp, it would make sense to lower the tilt frequency to
around 500 Hz. Changing the 0.022 uF caps to 0.047 uF accomplishes this task.
Lowering the 2.2k resistors increases the adjustment range. The amount of treble boost/cut can be
changed with respect to the amount of bass boost/cut, by changing the value of the potentiometer. Be
careful, because many of these component changes are not orthogonal, i.e., changes may affect more
than one aspect of the circuit's characteristics. If you would like to play with component values, one
good way of doing so is to download the free student edition of Pspice, available at www.orcad.com.
Spice can be a bit frustrating to learn, but is well worth the effort for those who enjoy playing with
circuit design.
As always, the selection of op amp will affect the sound quality and noise the circuit produces. A good
choice would be Burr-Brown's OPA134, 2134 series. Other good choices would be Analog Devices'
AD823 or Burr-Brown's OPA604, 2604 series.
When I developed this circuit, I had never seen this topology used, and so thought it was original to me.
Several months later, I saw essentially the identical circuit, though with different values, in "Audio
Xpress" magazine with a reference to its design in 1991–so much for originality!
http://members.tripod.com/~roymal/ReverbTone.htm (2 of 2)2006-11-22 19:15:49

The Ultimate Spring Reverb Recovery Amp
Copyright 2003
Roy Mallory
In my tech note tech note I describe a simple and very good reverb recovery amp using a
monolithic op amp and only a few components. However, it does not offer the ultimate in low-
noise performance. Low-cost, JFET-input op amps generally have input-referenced voltage
noise of from 8 to 16 nV/rt Hz in the middle of the audio spectrum, whereas discrete, inexpensive
JFET transistors offer noise voltages of about 2 to 3 nV/rt Hz. In addition, some JFETS often
have noise lower than what their data sheets specify. Therefore, this paper describes a composite
op amp that uses a single JFET for its input stage. The basic circuit topology looks like this:
Figure 1
We see that the input (via phone jack J4) is applied to the gate of a JFET, and the output of the
JFET goes to the inverting input of an op amp. The output of the op amp is fed back to the
source connection of the JFET. The feedback connection combined with the high gain of the op
amp acts to keep the current through the JFET constant. Another way to think about this is that
the feedback forces the gate and source terminals of the JFET to track. This circuit is really just a
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non-inverting amplifier whose gain, in its pass band, is A = 1+ R2/R1, just like any other non-
inverting op amp stage. One might wonder why I didn't use a differential pair instead of a single-
ended JFET stage at the input of the op amp as is typically done. The answer is simple: in a
differential pair, the noise of each JFET adds so as to increase the noise contribution of the
JFETS by 3 dB. Of course, unlike a typical, differential-input, op amp stage, this circuit cannot
respond down to DC. In fact, its low-frequency 3 dB point is defined by R2 and C3, and is
In the example above, Flow = 147 Hz.
Let’s look at some of the other components. R5 and R1 sets the current through the JFET, which,
in this case, is about 1.25 mA. R4 is chosen to keep the drain of the JFET near the middle of the
available voltage swing. R3 serves no other purpose other than to provide bias current for the op
amp’s inverting input, and to keep the DC output of the op amp close to 0 volts. Its value should
be large enough not to lower the gain of the stage, and 10 megs works nicely. C4 is made large
enough not to influence the gain or low-frequency rolloff of the stage.
The JFET is chosen mostly for its low votage noise, but, of course, its break-down voltages
limits, Idss, transconductance, and other parameters must be taken into consideration. I tested
several readily available JFETS, and many proved suitable. The venerable PN4393 (or 2N4393)
proved to have the lowest noise of any cheap JFET and is one of the easiest JFETS to find. The
J310 is another good choice. There are some exotic JFETS with even lower noise that can be
used. They will be discussed later.
There are a number of noise sources in this amplifier stage. First, is the Johnson noise of the real
part of the reverb tank’s output impedance, which is just its DC resistance. For most of
Accutronics’ tanks, this resistance is 200 ohms. The JFET’s voltage noise is multiplied by the
signal gain of the stage, which, in the example, is 101. The FET’s current noise is multiplied by
the input impedance of the reverb tank and the signal gain of the amp. Luckily, because the bias
current of the FET is so low, this noise source can be ignored. The noise of the op amp also
contributes, but it is divided by the gain of the JFET stage. The gain of the FET stage depends on
the type of FET that is used, but for the PN4393, we can conservatively call it 40.
As usual, resistors contribute their Johnson noise. As is typical, resistor noise is modeled as a
noise source in series with the resistor in question. R2’s noise is multiplied by the inverting
gain, or 100 in the example. Both R4 and R5 contribute their noise. The easiest way to calculate
their contribution is to note that the feedback loop acts to keep the current in the FET constant in
the face of noise from R5. The output, acting through R1 accomplishes this. Therefore, the
Johnson noise of R5 is multiplied by R1/R5, which, in the example, is about ¼. Similarly with
R4, its noise is amplified by the ratio of R1/R5.

R1’s noise is amplified by one. In the case of R3, the output will swing to provide a current
equal to R3’s voltage noise divided by R3. Therefore, the gain of R3’s Johnson noise is R1/R3.
Let’s add up all these noise sources to see which are important, and what the total noise of the
stage is. Remember that like all uncorrelated voltages, they will add in a root-sum-squared (r.s.s.)
way. That is, each noise voltage must be squared, then summed, and the sum then square rooted.
Source of noise Output Noise (nV/ rt. Hz)

Tank 182
JFET (2.5 nV/ rt Hz voltage noise) 253
R1 8.7
R2 87
R3 .19
R4 6.9
R5 4.2
Op amp (8 nV /rt Hz voltage noise) 20
Total 323
We see that the only two noise sources that are significant are the resistance of the reverb tank
and the voltage noise of the JFET. R2’s noise could become significant, but by keeping its
resistance substantially lower than the tank’s it is not an important contributor.
With the values and parts chosen, the total output noise is less than twice that contributed by the
tank alone. If we wanted to use a more exotic JFET, Inter-Fet, http://www.interfet.com/ has
several types whose voltage noise in the audio band is no more than 1 nV/ rt. Hz. If we used one
of these FETS, the total output noise would be only 1.25 times larger than the noise of the tank.
That’s awfully close to ideal.
So, are we done? Not quite. Like most single-ended gain stages, the JFET stage in this circuit is
susceptible to power-supply noise. In addition, we need to discuss stability and how to limit the
bandwidth of the circuit. It’s also worth discussing how to reduce ground-loop and common-
mode noise. Below is a fully-developed circuit including components that deal with these issues.

Figure 2
First, let’s discuss power-supply decoupling for the JFET. In the circuit above, the decoupling is
accomplished by R8-C5 and R7-C6. These components introduce a pole at 3.4 Hz. Power-
supply noise affects the circuit exactly like noise in R5 and R4. As we have seen, this noise is
not amplified by the signal gain, but appears at the output as the ratio of R1/R5 and R1/R4
respectively. Therefore, it is not hard to filter out. One could replace R5 with a current source in
order to suppress the effect of voltage noise on the negative rail, but current sources have their
own noise, and the R-C filters are very simple and cheap.
Next, to frequency response and bandwidth limiting. The circuit is perfectly stable if C1 and C2
are removed. With them out, however, the bandwidth of the circuit is very broad, and because
we’re not really interested in receiving A.M. radio stations, some response shaping is a good
idea. One might think that adding C1 as would be done in an ordinary non-inverting op amp
stage would be sufficient. However, adding this component reduces the signal gain at high
frequencies, which also raises the loop transmission at those frequencies. (Loop transmission is
defined as the forward open-loop gain of the circuit divided by its noise gain.) C2 adds some
phase lead into the circuit, and that stabilizes it. The selection of C1 and C2 depend highly on the
selected signal gain of the circuit, of course. With the components as shown, the stage has a high-
frequency 3dB rolloff at 15 kHz, which seems appropriate.

Now, let’s talk about ground loops and common-mode noise. Reverb tanks are notoriously
susceptible to magnetically induced hum, but because their output signal requires a lot of
amplification, ground loops and common-mode noise can also be problems. Looking at the 2nd
schematic, we see that J4, the connection to the tank is not connected directly to ground. Instead,
a separate ground wire goes to the tanks’ metal shield. R6 provides a ground reference to the
circuit when the tank is unplugged.
By floating J4, common-mode signals are only amplified by one, not by the signal gain of 101.
Therefore, they are substantially suppressed. In addition, floating J4 breaks any ground loops.
Note that if the reverb tank is conductively mounted to a grounded chassis, the extra ground
connection to the tank should not be needed. Otherwise, it will be required.
Finally, I have built and installed the circuit shown in Figure 2 using the values and components
as shown. It works just fine and is noticeably quieter than a conventional circuit using just an
OPA134 op amp configured as shown in my tech note. The modifications used to reduce
common-mode noise and ground loops were also effective, and the hum was also reduced. In
fact, with the reverb gain set to a typical level, the reverb circuit is quiet and adds no audible
noise to the overall amplifier, which is a claim that not many spring reverb circuits can make..
Home

Accutronics Reverb Tanks
Almost all the reverb tanks that one sees for sale are the Accutronics brand. They are made by:
Sound Enhancements, Inc.

185 Detroit St.
Cary, IL 60013
Although they make many models, the three types that are readily available are a limited number of their
types 4, 8, and 9. The type 4 is 17" long and uses 2 long springs, each of which consists of two springs
joined in the middle. Thus, Accutronics considers this model a 4-spring unit. This type was the original
style selected by Leo Fender. The type 8 is 9" long and uses 3 springs. This type is most famous for its
use by Marshall. The type 9 is 17" long and uses 3 long springs, each of which consists of two springs
joined in the middle. Analogously, Accutronics considers this unit a 6-spring device. All Accutronics'
part numbers consist of 7 characters as described below.
1st character: type 4, 8, or 9
2nd character: Input impedance @ 1kHz
Type A B C D E F
4 8 ohms 150 ohms 200 ohms 250 ohms 600 ohms 1475 ohms
8 and 9 10 ohms 190 ohms 240 ohms 310 ohms 800 ohms 1925 ohms
3rd character: Output impedance @ 1 kHz

Type A B C
4 500 ohms 2250 ohms 10000 ohms
8 and 9 600 ohms 2575 ohms 12000 ohms
4th character: Decay time

1 = short (1.2 to 2 sec)
2 = medium (1.75 to 3.0 sec)
3 = long (2.75 to 4 sec)
5th character: Connector arrangement

A = input grounded, output grounded
B = input grounded, output insulated
http://members.tripod.com/~roymal/accutron.htm (1 of 3)2006-11-22 19:16:08

C = input insulated, output grounded

D = input insulated, output insulated
6th character: Locking device 1 = no lock
7th character: Mounting plane

A = horizontal,open side up
B = horizontal, open side down
C = vertical wall,long axis horizontal, connectors up
D = vertical wall, long axis horizontal, connectors down
E = vertical wall, long axis vertical, input up
F = vertical wall, long axis vertical, output up
The following table summarizes the above data for the most commonly available units:
PART PRIMARY LENGTH NUMBER INPUT OUTPUT

NUMBER USER OF IMPEDANCE@ IMPEDANCE @
SPRINGS 1KhZ/DC 1KhZ/dc
4AB3C1B Fender 17" 4 8ohms/.81ohms 2,250ohms/200ohms
4BB2C1B Acoustic/ 17" 4 150ohms/26ohms 2,250ohms/200ohms

SLM/Ampeg
4EB2C1B Peavey 17" 4 600ohms/58ohms 2,250ohms/200ohms
4FB3D1B Music Man 17" 4 1475ohms/200ohms 2,250ohms/200ohms

General
9AB2C1B Fender/ 17" 6 10ohms/.81ohms 2575ohms/200ohms

Boogie
9EB2C1B Peavey/ 17" 6 800/58ohms 2575ohms/200ohms

General
9FB2A1C General 17" 6 1,925/200ohms 2575ohms/200ohms
8AB2A1B Boogie 9" 3 10ohms/.81ohms 2575ohms/200ohms
8BB2A1B SLM 9" 3 190ohms/26ohms 2575ohms/200ohms
8DB2C1B Marshall 9" 3 310ohms/36ohms 2575ohms/200ohms

8EB2C1B Fender 9" 3 800ohms/58ohms 2575ohms/200ohms

FAQ List
FAQ
Q At what current level should I drive the reverb’s input coil?

AThat’s an important question. Too little current and the output will be noisy, too much current and the
core will saturate producing a muddy sound. A maximum current of 30 amp-turns is just about right (see
Tech Note)
Input Impedance Code Number of Turns Max current (milliamps)
A 124 242
B 538 56
C 600 50
D 688 44
E 1100 27
F 1700 18
Q There’s a lot of hum on the output of my unit. How can I reduce it?
A Hum is often the thorniest problem to solve when designing with spring reverbs. The reverb unit’s
coils, especially the output coil, are very susceptible to picking up hum from any power transformer.
You can test to see if this is your problem by unscrewing the reverb unit and moving it around. You will
almost certainly note that the hum gets loudest when the reverb is closest to the power transformer. This
problem is very difficult to complete eliminate, but you can usually get it down to acceptable levels by
the following:
● Mount the reverb unit and power transformer as far away from each other as possible.
● Mount the transformer and reverb unit on opposite sides of the chassis so the chassis can provide
some shielding.
● Try turning the power transformer at different angles–some should produce less noise than others.
● Try various orientations of the reverb unit.
● Try some shielding. Mu metal is the best material to use, but even thick aluminum (1/16" or
thicker) can help. It is often most effective to eliminate the hum at its source. Try placing pieces
of metal around the transformer. Try different size pieces at different spots and orientations both
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FAQ List
near the transformer and near the reverb unit. By playing around with shielding, you should be
able to produce a substantial reduction in hum.
● Use a toroidal power transformer. This type of transformer produces much less hum. You can
order toroidal transformers from Plitron www.plitron.com.
● Beware of ground loops. If the reverb tank is mounted on a metal part of the chassis, try isolating
it. Try connecting a 0.1 uF capacitor to a test lead and connect one end to the metal body of the
reverb tank. Touch the other end to different ground points on the chassis.
Q When I turn up the reverb control I get feedback. How can I stop it?
A The reverb unit can act like a microphone–especially when it is mounted in the same box as the
speaker. Vibrations via the air or through the panel to which the unit is mounted can cause the reverb’s
springs to vibrate, thereby setting up feedback. The first thing to try is to mount the reverb resiliently
with rubber grommets or the like. This tactic will help isolate it from panel vibrations. It may also help
to mount it on its own little subpanel to further isolate it from vibrations. If feedback via the air is the
problem, you can purchase a special bag in which the reverb unit can be mounted. They are available
from many of the places the sell the reverbs themselves.
Q I have an existing amp that doesn't have reverb. Should I try to add reverb to it?
A It depends. Do you have enough space for both the tank and the circuitry? If space is tight, will you
be forced to mount the tank too close to the power transformer, causing excess hum? Also, does your
amp's power supply have the necessary voltages and current available? If you have the space and the
voltages, you could give it a try.
http://members.tripod.com/~roymal/faq.htm (2 of 2)2006-11-22 19:16:18

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Custom Built Supercharged Champ Head
This one has a 125CSE ,cloth wire, customs aluminum knobs, and a single point grounding system and master
volume. It would make a fantastic Harp Amp. A Hammond black powder coated cover is available for a real
retro look. It is QUIET!!!!! - Assembled with Hammond cover and bottom plate $379 plus shipping - $345
without cover and bottom.
Custom Hand Wired Supercharged Champ
Quantity: 1
Add To Cart
Here are some nice comments and photos from recent "Champ Head" Builders
William Jahnkow's Very Nice Champ Head in a Homebuilt Enclosure
Thanks - William for finding the schematic error!

Mark Austin's nice Champ Head Project
Here are some pics of my Champ head, feel free to use any of this in your marketing. I really enjoyed building
the champ head. Your directions are very good and it was a very manageable project. It's a great way to get a
better understanding of amplifiers, too. This circuit puts out fantastic tone. In fact, now I realize how much my
original '64 Vibro Champ is suffering from quite a few tired parts and even design shortcomings. A handmade,
point to point amp simply puts out better sound than a 40 year old amp with a 40 year old transformer, tired
caps, worn speaker, etc. I like old amps as much as the next guy, but stabilizing one of these beasts to get the
hum down and the tone back is neither cheap nor easy. If money is a consideration, your champ head is really
a no-brainer. Thanks for the kit! Mark, Austin, TX

Pictures of Mark's "Champ Head"
The two beautiful images

below are Ray Soave's
"Champ Head" in his own custom enclosure. This was Rays first amp
project!!
Some of Ray's comment are "I've attached a couple of photos of my Champ. First amp build; first cabinet build
(a friend helped me with the finger joints). I love it. It sounds great in the living room (my wife thinks it's cute)
with a lap steel and a Deluxe Memory Man."

Here is a very nice MINI Amp built from our parts kit by Charles Osthelder.
Charles reports that the amp sounds great and he uses a 4 x 12 speaker cabinet!
Here are some of Charles's comments:

"This is a wonderful little tone machine! I can wait to record with it. It screams
with the Les Paul and sounds very nice with my Strat. Best of all, it doesn't leave
my ears ringing!"
"It's not like I've got poor amps to compare to- Marshall Super Lead 100 (1979
vintage) Fender Tweed Deluxe-like DuKanes that I refurbished, a Champ and
several homebrew miniamps based on LM386 IC's. My STF Miniamp is the new
Number 1 in my studio!"
STF Electronics
FEATURING
The Following High Quality Suppliers
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STF Catalog Index Page
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New Project Page

Links to our Suppliers
Links to Other Audio Pages
Special Payment Form
Use the following Order Form for purchasing items that have been quoted by STF Electronics. If you have a
request for items that do not have a "add to card" button - email STF Electronics for a quotation including
shipping. STF Electronics will return an email quotation and you can enter the quoted amount on the secure
form and pay with any credit card. Just click on the blue Text below. If you have any questions about using this
service - please email us.
STF Secure Order Form for Non-Shopping Cart Purchases
Click Here to Send us an Email
ORDERING INFORMATION
To Place an Order, - Use the Shopping Cart or Contact us via EMAIL
STF Electronics
171 Springlake Drive
Spartanburg, SC 29302

View Cart
STF Electronics is a part time business. We have been in operation for over 10 years and have hundreds of
satisfied customers. We offer free advise and assistance via email. Please email us with your special requests or
needs. Thanks. Pat Bunn
Email us your order for prompt service
We will get back with you promptly for payment instruction!
Thanks for Visiting Our Website. We welcome your comments
and Suggestions.

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GuitarNuts.com - The Internet Home for Wayward Pickers
Late in 1995 I purchased my first electric guitar, a Korean Squier Stratocaster that
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when I discovered that even many "high-end" guitars costing hundreds or even thousands of dollars were
wired no better than that cheap Squier. Naturally I shielded and wired that Strat properly and it became so
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From those humble beginnings GuitarNuts has steadily grown as I am able to add new features to the
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DIY - Guitar Wiring, Humbucking Pickups, Modifications, Guitar Effects Schematic

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DIY - Guitar Wiring, Humbucking Pickups, Modifications, Guitar Effects Schematic

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Guitar Wiring - Humbucking Pickups, Modifications, Guitar Effects Schematics

Christian Music Web - HOME Artist / Band Official Web Sites

Guitar Wiring - Modifications, Schematics. Installation of humbucker Pickups

http://www.christianmusicweb.com/Guitar_wiring.html (1 of 8)10/24/2004 12:52:32 AM

http://www.christianmusicweb.com/Guitar_wiring.html (2 of 8)10/24/2004 12:52:32 AM

http://www.christianmusicweb.com/Guitar_wiring.html (3 of 8)10/24/2004 12:52:32 AM

http://www.christianmusicweb.com/Guitar_wiring.html (4 of 8)10/24/2004 12:52:32 AM

http://www.christianmusicweb.com/Guitar_wiring.html (5 of 8)10/24/2004 12:52:32 AM

http://www.christianmusicweb.com/Guitar_wiring.html (6 of 8)10/24/2004 12:52:32 AM

Your Friend, Jim

GuitarElectronics.com Many diagrams and they sell parts !

http://www.seymourduncan.com You can email their helpful tech support

http://www.christianmusicweb.com/Guitar_wiring.html (7 of 8)10/24/2004 12:52:32 AM

http://www.christianmusicweb.com/Guitar_wiring.html (8 of 8)10/24/2004 12:52:32 AM

Vintage Guitar Effects Schematic Archive

Guitar Modification, Pickups, Wiring

Build a Quality Condenser Microphone !

Effectronics- The site for do-it-yourself effect building

http://www.christianmusicweb.com/effects_schematics.html (1 of 3)10/13/2005 2:10:23 PM

DigiTech RP100 Guitar Multi Effects Pedal $99.95

DigiTech RP200 Guitar Multi Effects with an expression pedal $149.99

Boss DS-1 Distortion Pedal $35.99

Dunlop Original Crybaby $69.99

http://www.christianmusicweb.com/effects_schematics.html (2 of 3)10/13/2005 2:10:23 PM

Boss CH-1 Super Chorus $71.99

Christian Music Web - HOME Artist / Band Official Web Sites

http://www.christianmusicweb.com/effects_schematics.html (3 of 3)10/13/2005 2:10:23 PM

Schematics -- collection from 1997-1998

Boss GE-7 Equilizer - courtesy of Jon Halverson.

http://www.geocities.com/CollegePark/Library/1355/schematics.htm (1 of 4)10/13/2005 2:11:34 PM

Ibanez STL Super Tube - courtesy of Erik Cartwright.

Matchless Hotbox - distortion/overdrive unit using 12AX7 tubes.

Matchless Vibrobox - tremolo/preamp also using tubes.

http://www.geocities.com/CollegePark/Library/1355/schematics.htm (2 of 4)10/13/2005 2:11:34 PM

Vox Treble Booster(modified) - sent by Jason Andersen.

Dunlop JH-1 Jimi Hendrix Wah (drawn by Giovanna Contini)

http://www.geocities.com/CollegePark/Library/1355/schematics.htm (3 of 4)10/13/2005 2:11:34 PM

4-Transistor "Electra" Distortion - courtesy of Joe D.

Cookbook Circuits (all contributed by Matt) -- Fuzz -- Phase Shifter -- Tremolo

Gustav C. Smalley Circuits (GCS) (gussmalley "at" hotmail.com)

GCS JH2 Fuzz Mod.

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Parent Directory 27-Dec-2005 21:50 -

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