Vcc – Pin 1 IC1
+12v – Pin 8 IC2, IC3, IC4
-12v – Pin 4 IC2, IC3, IC4
Ground – Pin 8 IC1

IC1 – 4049 CMOS Hex Inverting Buffer
IC2, 3, 4 – 5532 Dual Low-Noise OpAmp
D1, 2 – 1N4001
D3, 4, 5, 6, 7 – 1N4148
All 1uf caps 50v all others 25v unless
marked otherwise.
All resistors 1/4W, 5%

Channel 2 is identicle to Channel 1, and uses IC4b for the clipping meter and IC3 for the input/output driver. The input impedance of the TubeHead is about 20k ohms, which is consistant with most gear like Synths, Effects Processors, Mixers, EQs, and so on. 20k is too low for a proper match with high impedance sources like guitar pickups, but a few minor changes take care of this. To use the Tube Head as a instrument pickup preamp, remove the 47k* resistor and the 20pf capacitor from the feedback loop of the driving Op-Amp. Then change the 47k” resistor to 680k and the 22k resistor in the feedback loop of the driving OpAmp to 100k. Now the Tube Head can be used to warm up a cold sounding guitar amp or just provide a great preamp tone.

Designed/Manufactured by PAiA Electronics

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Tube Head Pre-amp Circuit

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Preview:

Preamp Section:

Download the complete scheme of Orange 125MK3 Guitar Mods from the following link:

125MK3 Guitar Mods Scheme

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An envelope follower/filter combination translates the typical dynamic properties of your axe into modulated timbral changes too, you could feel of it as an automatic wah-wah pedal.

Independent Initial Frequency and Sensitivity knobs provide you with the control you have to notice a wide range of effects and enable the Motion Filter to be put to use with either electric bass or guitar. You will not believe that so much funk and soul can be squeezed into a tiny box.

IC1 – 4136 Quad Op-amp
IC2 – 4066 Quad Switch
D1, D2 – 1N4148 or 1N914

Circuit Notes:
Connect pads marked “A” together. Offset can be a trimmer potensiometer which could be adjusted after around a quarter-hour of “burn in” time. Fine-tune it until you hear no popping when pushing the Cancel switch S1. There is certainly no need to play into effect during adjustment. Proper setting ought to be close to the center of the rotation.

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This A/B Box effect was originally designed for switching between different harmonica mics. This A/B Box featured low noise dual preamp for better performance.

IC 5532 types (example: NE5532, NE5532A, SA5532, and SA5532A which manufactured by Texas Instruments) are high-performance operational amplifiers combining excellent DC and AC characteristics. They feature very low noise, high output-drive capability, high unity-gain and maximum-output-swing bandwidths, low distortion, high slew rate, input-protection diodes, and output short-circuit protection. These operational amplifiers are compensated internally for unity-gain operation. These devices have specified maximum limits for equivalent input noise voltage.

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A/B Box Switch Circuit Pedal

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The EH Big Muff Pi effect circuit would probably be better making the change by a modern input-jack power and a? DPDT bypass switch. The types of transistors and diodes are unknown. It is likely that any high gain NPN transistor and diode 1N914 will work. Coupling capacitors marked with * have been reported at its best if it has changed to 0.1uF and the capacitors marked with ** changed to 1.0UF. The original transistors were labeled SPT 87-103, and diodes of origin have been marked or 525GY or 523GY (difficult to read.)

The Big Muff Pi is a fuzzbox produced in New York City by the Electro-Harmonix company, along with their Russian sister company Sovtek, primarily for use with the electric guitar. It is used by bassists as well due to the Big Muff’s low end frequency response.

The Big Muff Pi was the first overwhelming success for Electro-Harmonix’s line of pedals. Due to its reliability, its low price and its distinctive sound, the Big Muff sold consistently through the 1970s and was found in innumerable guitarists’ pedal collections. For example, David Gilmour and Carlos Santana (although CS owned one it is reported he did not use it) were some of first famous users of the pedal. David Gilmour famously used the Big Muff on the Pink Floyd albums Animals and The Wall and most recently on his 2006 On An Island tour. Other artists who used the Big Muff during the 1970s include Thin Lizzy, Kiss, Frank Zappa (FZ had it modified to produce a very non-typical BMP distortion), and Ronnie Montrose. Metallica bassist Cliff Burton regularly used the Big Muff for playing bass leads and solos.

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Electro-Harmonix (EH) Big Muff Pi

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The Axe Grinder is designed with a few key fetures in mind, it not only serves a wide range of distortion sounds clipping part of the effect, it also gives the user the ability to overload their amp with a greatly boosted clean tone.

The distorted tone and pure tones can be blended to adjust its extra. Moreover, the tone controls only affect the signal distortion, which leaves intact the pure signal. “Cancel” switch allows your guitar signal to circumvent the effect completely.

Potensiometer Function:

• 5k Pot – Tone Control
• 500k Pot – Distortion Intensity
• 100k Pot (by tone) – Distortion Level
• 100k Pot (by IC2c) – Clean Level

Switch Function:

• S1 – Cancel Effect
• S2 – Full Intensity

The Axe Grinder might be a pretty routine fuzz if it weren’t for a couple of subtle but significant features. Like a Distortion Intensity Knob that provides smooth control of clipping from just a hint when you really get in on to pure square waves when you even think of picking.

And the Distortion Tone, Distortion Level and Clean Level controls are like having a built in mixer and EQ, letting you precisely set the amount of distortion and its tone as well as the mix of clean and distorted signal. You probably never realized you could get so many sounds from a “simple” fuzz.

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Axe Grinder Pedal Circuit Diagram

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A pair of red LEDs work well for the clipping section. The shown OP-amplifiers are TL074 types with 3 of 4 amps used. Possible changes include changing resistors marked with a * on a 10K ohms potensiometer with dual-ganged pot for a tunable filter, and / or modify the resistance is marked by ** with a potensiometer of 2.5M ohms for a drive option.

The input of this circuit is amplified by the first op amp, in which the output goes to two different elements in this circuit. The bottom half of the circuit is the clipper segment. The amplified signal goes through four other op amps, in which the wet signal that comes out of the 4^th op amp in the clipper segment is clipped. This clipped signal is then outputted to a 10k trim potentiometer which controls the amount of clipped signal is added to the original amplified signal. The last op amp is an adder in which the original amplified signal and the wet clipped signal is added up and sent to the output.

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Harmonic Sweetener Effect

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The transistor marked ” * ” has no markings other than three stripes: green, blue and white from top to bottom. It is probably a log gain NPN used as a dual diode with the anodes connected together at the base of the final transistor.

The continuity test on the device shows no conductivity except that the topmost pin conducts when it is positive of the pins in the middle and other side; otherwise, no conduction. This? is I would expect if it were an NPN with the same pinout (base, collector, emittor) as the other transistors.

This circuit operated with 9V supply. Use battery or regulated power supply for better result.

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This tube sound fuzz mods circuit is taken from the book of Electronic Projects for Musicians by Craig Andertons. This circuit applies a CD4049 Hex inverter, which consists of six inverting units. Only two are being used in this circuit, so the others are disabled by connecting their inputs to the positive voltage source and leaving the output disconnected. Components with a * are suggested values, substitutions can be made freely within 30%.

This layout also uses various pins than the original schematic diagram for aesthetic purposes, the sound isn’t influenced by these modifications. Layout populated as “Tube sound fuzz”, replace components with “Llama” components if implementing those mods.

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Hex Sound Fuzz Guitar Effect

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This is the simple spring reverb guitar effect circuit that can be built low cost and just requires a minimal amount of electronic parts and of course need minimum space for the circuit it self. The circuit also easy to built, it need 9V DC supply to work.

The operational amplifier (op-amp) is a quad type by using RC4136N IC (datasheet here), the pinout for a 4136 is shown on above diagram, but others may be substituted. The bypass caps C1 and C2 can be from 10 to 100 uf. The resistor marked with a * may need to be lessened if you experience distortion in your reverb, lower this to achive maximum signal with no distortion. Many spring reverb units may be used with this circuit, the original article suggested an accutronics model. Many reverb units also use RCA style jacks for in”s and out”s, be prepared for this. The cancel switch will shut off the reverb effect without any clicks or pops. All resistors are 1/4 or 1/2 watt, 5% tolerance, and all caps are rated at 10 or more volts.

This Stage Center Reverb guitar effect circuit diagram taken from from Guitar Player 1976 by Craig Anderton

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