I decided that I should build a Phaser using my PIC DDS LFO. I designed a PWM version using CD4066 analog switches but this had issues. It just drew to much current and had some noise artifacts. I got it working but it became more complicated than I liked. However, the design was easily modified to use a homemade vactrol. The vactrol uses four photcells glued together to make a square and then the LED is glued right in the center. The whole thing is then covered in a piece of heat shrink, electric tape or whatever. Performance is excellent and the circuit is simple. Of course the DDS can be replaced by some other conventional LFO circuit. The main issue is operating the LDR’s in a good range to get even and adjustable notch sweep. With this design, the sweep is adjustable and you can even eliminate one notch by pushing its position sub audio. The sweep controls the level of illumination of the LDR’s and thereby adjusting the total range of phase shift. The LFO uses my PIC DDS circuit and generates a Sine wave envelope. The code can easily be changed to generate other wave forms. I am going to include a link to the a zip file containing all of my source code. This was all compiled using MikroC. The program is small enough to compile in the freeware version of MikroC or you can just use my compiled hex file.
More detail on the PIC DDS is available on this blog in earlier post.
Link to source code and hex file: http://www.filedropper.com/ldrphaserdds
This is a simple but nice sounding reverb based on the FV-1 dsp chip. Lots of low pass filtering gives a nice washy sound. You can adjust from a small room to a large hall. The unit provides about a 75/25(dry) max reverb. Anything more than that is useless. Check out the stomp amp demo for how it sounds…same reverb, but just with just one fixed room setting.
The switch mode power supply keeps the current down to 30mA so you can use a battery if desired. You can use a linear regulator and it will work great, but then the current consumption doubles.
I have enjoyed my PW modulated compressor and decided to make a feedback(the original was feed forward) version with improved attack and shorter decay response. The result is excellent – I love this version. I use a Zetex current monitor IC as a full wave rectifier and this lets me really speed up the attack. So the response is super fast, very low noise, very low distortion, and very large dynamic range.
This is an idea I have had for a long time and I finally designed one. The results are excellent. The amp uses a surface mount car stereo power amp IC and can produce 25 to 30 watts with a 16V-18V supply into a 4 ohm speaker. The circuit fits in a 1590bb enclosure and has Reverb, Bass, Treble and Gain controls. The tonal response is tailored for guitar in the OP amp stages, along with the James/Baxandall tone stack. The James/Baxandall is a versatile choice because it provides boost and cut. I find it a better choice then the “beef stew” fender tone stacks. Reverb is provided by means of an FV1 DSP IC. It can be omitted easily if desired. The Power amp IC is bonded to the case to provide heat sinking when it is cranked up. I used a piece of 1/2 inch copper pipe -reshaped to be the heat sink. As I have done with some of my earlier amplifiers, I have employed negative feedback from the speaker back to a discrete stage driving the final amplifier. This is a common practice in tube amps to flatten the tonal response of the output transformers and so it is unconventional to apply it here. I find it affects the over all sound in a pleasing manner. The amount of feedback is small and could be increased or removed (this will affect the bias of the JFET Q3) All of the signal chains are low impedance (except the input) and gain distribution is such that the amplifier is very low noise. The amp powers up when the input is plugged in. The output is not ground referenced so the output jack is isolated from the case -(which is grounded via the heat sink). All you need is a tool battery or 12-18V power supply and a speaker cabinet and you can blast away. The mosfets used for polarity protection and power switching are just high current PMOS devices and not special – lots of other devices will work here. The op amp is a low noise type with a wide supply voltage range – others will work here also.
Things to consider when building:
The amp IC I used was a surface mount version – and I flipped it upside so I could bond a heat sink to the ground. there is also a leaded version available
Decoupling is critical – especially for power amp – the double decoupling caps on the schematic are one set at each of two VCC pins on the power amp
Capacitors C3 and C11 weight the amplifier to tonally for guitar – these can be changed making both 10uF for example will work fine. If you want to use a Bass guitar make C3 at least 4.7 uF
The passive tone stack was chosen to attenuate gain so that the FV-1 would not be overloaded. Other tone stacks can be substituted just keep this in mind if you use the FV-1
The Stomp Amp along with some other pedal designs of mine
The Tube Screamer is a classic all around great sounding distortion, even though the stock circuit is not very complex, by eliminating the JFET bypass switching and utilizing true bypass you eliminate quite a few parts. Even more, you can eliminate the input and output follower stages a number of coupling caps and bias resistors. With just one op amp and less than 25 parts, you can make a tube screamer that sounds just great. In my implementation, I changed some values in the filter section to suit my taste and on the first stage I used BAT46 shottky diodes. These diodes have substantial reverse leakage- so you have to lower the impedance of the feedback pot and resistor that controls the the drive gain. That is why I used a 50k pot and 100 ohm resistor. I used the shottky because they start to clip much sooner and you can get a really insane amount of overdrive. Regular silicon diodes work just fine. The original stock values can be used and can be found on the web.
I designed a low pass type envelope filter using a Fliege filter topology . The result was a really easy to build filter that provides1st order low pass ..all the way up to 2nd order low pass with extreme bandpass peaked low pass(high Q, resonance…etc). I really like this pedal.
Demo Sound Clips:
Short attack, max intensity:
Mid Attack, low intensity:
Long attack, high intensity:
This filter topology has some nice features, such as:
Fixed stable gain of two in the pass band, regardless of Q
Highly adjustable Q
Uses only two op amps
Low parts count in general
Well suited for single supply operation( in my case I just direct coupled the input to a half supply biased input stage)
It also has a couple of drawbacks:
It requires three LDR’s unlike the Mutron for example which only uses two
I could not get a TL072 to work well in the circuit. I needed to use a higher bandwidth, rail to rail type op amp, but there are plenty of amps that work well.
The OP Amps I tried were the OP213(works fine but expensive), OPA1652, and the TS922. These are all low noise, high bandwidth devices. The TL072 broke into oscillation and distorted. Maybe someone else can get it to work? I don’t have time to figure out the problem but I assume there is some sort of undesired phase shift making an oscillator out of the thing.
The LDRs can be commercial units but I just built some from scratch – they were easy and cheap to make. I used flat faced green LED’s and small CDS photo-resistors. I super-glued them together and then just cover with heat shrink to make them light tight. It took me about ten minutes.
LED glued to photocell:
The parts I used are: LED digikey part # VAOL-5701DE4-ND and photocell digikey part # PDV-P9008-ND
Pretty simple – A emitter follower buffers the input and provides 1/2 supply bias for the the filter op amps. The Filter uses two LDRs for the filter sweep and one more for the intensity or Q of the filter. When LDR3 is .707 the vaulue of the other LDR’s (1 and 2), you get an ideal 2nd order low pass characteristic. When LDR3 is higher you get bandpass peaking and this can be quite extreme. As the filter sweeps, the ratio between the LDRs must be the same, that is why you need the third one and not just a variable resistor.
The LDRs are driven by a current mode amplifier and a simple diode peak detector. I used a LM358 for this but the the OP213, OPA1652 and the TS922 used in the filter section will also work. The design provides a sensitivity control, intensity(resonance) control and an attack control. The attack control really makes it easy to dial in the sweet spot of the filter and get very snappy or very slow plodding whah whah effects.
Here is an easy to build envelope filter using a MAX7410 switch Cap 5 pole low pass filter. You can only get low pass effects so its not as versatile as a mutron III, but you can get a nice range of effects from subtle wah to classic Jerry Garcia funk. Unlike a Mutron, you can adjust the attack which is a a very useful feature.
I have completed the PWM compressor design and created a layout to fit a 1590B enclosure. The design has been simplified some and has excellent performance both in feed forward or feedback mode. I removed the full wave rectifier circuit. A simple compensated peak detector works fine. I also implemented a analog switch instead of the PFET. It provides a little more duty cycle range and significantly more input headroom.
I did some experiments and found the PFET switch has a limitation of about 1.6 volts total swing it can tolerate without clipping (using a 470 ohm load) you can get about 2 volts max with a higher load of 4.7K or so. This is perfectly fine for most guitar applications.For more headroom you can use a an analog switch such as the TS12A4515. A number of manufacturers make this device. It is a normally closed analog switch. Of course others will work also. Using this as a switch basically makes the supply rails the headroom limit. I am going to play with the circuit some more and come up with a board layout and will post my final design in a few weeks.