Contents of schematics-20000228

Note:

There is some duplication in this archive, some schematics show up multiple times in various formats. I know about it, you don't
need to mail me, I don't plan on fixing it right now, down the road yes - but not right now.

schematics-20000228/

File Description

3btone.ps Simple 3 Band Tone Control

4bandeq.ps PAiA 4 Band EQ, 35Hz to 15kHz range
ab3pcb.ps Angry Beard 3 PCB
angrybd3.ps Angry Beard 3, germanium fuzz pedal
axgrindr.ps PAiA Axe Grinder, distortion pedal
b_gsynth.pdf EH Guitar & Bass Microsynth
bclipper.ps Dan Armstrong Blue Clipper, distortion pedal
bigmufpi.ps EH Big Muff Pi, distortion pedal
biphase.gif Bi-Phaser
bl_delux.gif Fender Blues Deluxe
bosssg1.ps Boss Slow Gear SG-1, attack delay effect
brighten.ps 2 Frequency Brighteners
cln9powr.ps Ultra-Clean 9VDC Power Supply
controfz.ps Gretsch Controfuzz, distortion pedal
crybaby.ps Dunlop Cry Baby Wah-wah pedal
dodcomp.ps DOD Compressor 280A
dodenvf.ps DOD Envelope Filter 440
dodfx75.ps DOD FX25 Flanger
dodoverd.ps DOD Overdrive 250
dualpabb.ps Dual Preamp & A/B Box
dublbeat.ps Roland Double Beat, fuzz wah
eh16secd.ps EH 16 Second Digital Delay, partial
ehbsters.ps 5 EH Tone Boosters
ehfuzzwa.ps EH Fuzz-Wah (volume too)
electra.ps Electra Distortion, guitar overdrive module
eq.ps 10 Band Graphic EQ
fblender.ps Fender Blender, fuzz pedal
foxfzwah.ps Foxx Fuzz-Wah
fuzz001.ps Unknown fuzz pedal
fuzz002.ps Unknown fuzz pedal
fuzzface.ps Dallas Arbiter Fuzz Face
geuoctv.ps Guitar Effects Unit, octaver fuzz pedal
grnring1.ps Dan Armstrong Green Ringer, pseudo ring modulator
harmswtn.ps Harmonic Sweetener
ibnzbe10.gif Ibanez BE10, 7 Band EQ
ibnzpt90.gif Ibanez PT90, phase shifter
ibnzts9.ps Ibanez TS9 Tube Screamer, distortion pedal
jhfface.ps Dunlop Jimi Hendrix Fuzz Face
jordan.ps Jordan Boss-Tone
jordan_bosstone.gif Jordan Boss-Tone
jshfuzz.ps JSH Fuzz, model FZII
kaytrem.ps Kay Tremolo Model T-1
korgngt1.gif Korg NGT-1 Noise Gate
korgoct1.gif Korg OCT-1 Octaver
korgpeq1.gif Korg PEQ-1 Parametric EQ
korgphs1.gif Korg PHS-1 Phase Shifter
korgtnb1.gif Korg TNB-1 Tone Booster
lbgmuff.ps EH Little Big Muff, distortion pedal
maefuzz.ps Maestro Fuzz
mboomer.ps Maestro Boomerang, wah-wah
mboomer2.ps Maestro Boomerang 2, wah-wah & volume
mfuzrite.ps Mosrite Fuzz-Rite, distortion pedal
motionff.ps PAiA Motion Filter/Follower
mtsfuzz.ps Modified Tube Sound Fuzz
mu-tron3.jpga Mutron Mu-Tron III
mufffuzz.ps EH Muff Fuzz
mxrdistp.ps MXR Distortion +
mxrhott.ps MXR Hot Tubes
obphaser.ps Oberheim PS-1 Phase Shifter
octavia.bmp Bob Starr's Octavia
olsonns.ps Olson New Sound
panner.ps G. Forrest Cook's Voltage Controlled Panner
pcrat.ps ProCo Rat Distortion
pcratb.ps ProCo Rat Distortion Type B
pipebomb.ps Pipebomb, silly tone modifier
preamps.ps 3 Simple Preamp Circuits
purple.gif The Purple Pedal, distortion pedal
rd.ps Gibson RD-Artist
reverb.gif Spring Reverb Driver/Reciever
screverb.ps Stage Center Reverb Unit (spring)
shrdmstr.ps Marshall Shredmaster
smixer.ps Simple Mixer
smlstone.ps EH Small Stone Phaser Issue J
soulprch.ps EH Soul Preacher, compressor
spreader.ps EM Stereo Spreader
thrmndat.ps Theremin Information sheet
thrmnpcb.ps Theremin PCB layout
thrmnsch.ps Theremin Schematic
tonebstr.ps Everyday Electronics Tone Booster
toneccts.ps 2 Tone Control Circuits
tremoloc.ps Controllable Tremolo Circuit
tubedist.ps Tube Distortion Pedal
tubehead.ps PAiA TubeHead Preamp
tubemicp.ps PAiA Tube Mic Preamp
uniflash.bmp Bob Starr's UniVibe Lamp Flasher Circuit
univibe.ps Unicord UniVibe
unvbachk.ps R.G. Keen's UniVibe check plot Lamp Version
unvbaovr.ps R.G. Keen's UniVibe overlay Lamp Version
unvbapcb.ps R.G. Keen's UniVibe PCB layout Lamp Version
unvbbchk.ps R.G. Keen's UniVibe check plot LED Version
unvbbpcb.ps R.G. Keen's UniVibe overlay LED Version
uvspfuzz.ps R.G. Keen's UniVibe PCB layout LED Version
voxtb.ps Vox Tone Bender
voxtreb.ps Vox Treble Booster
 Simple 3 Band Tone Control
from Graff’s Encylcopedia of Electronic Circuits / Popular Electronics

R1 0.05uf

1uf 11k 100k 11k

-
+

+
R2

0.005uf
3.6k 3.6k

100k 0.022uf

1.8k 500k 1.8k

10uf
-
+

0.005uf +

10k

R1 is left up to the user depending on gain needs, R2 is unknown - experiment, the

op-amps are not critical, any standard ones could be used. This circuit was originally
intended for home audio use, but should be able to be hacked into an effect circuit
with very minor modification.
Name: Four-Band EQ Manufacturer / Designer: PAiA Electronics Revision: 9/21/95 Model # 9303
Originally designed by Jules Rychkebusch
10k 10k 10k 10k 10k 10k 10k 10k 100
6 6 6 6
Input -
8 -
8 -
8 -
8 Output
IC1a 5 +
IC2a 5 +
IC3a 5 +
IC4a 5 +

cut boost cut boost cut boost cut boost

10k 10k 10k 10k

100k

IC1b IC2b IC3b IC4b

2 2 2 2
- 1 - 1 - 1 - 1
3 + 3 + 3 + 3 +

10k 10k 10k 10k IC1 - IC4 : 5532

4k7 4k7 4k7 4k7
47k 47k 47k 47k 47k 47k 47k 47k

0.047uf 0.01uf 0.0039uf 0.0022uf

100k 100k 100k 100k

0.047uf 100k 0.01uf 100k 0.0039uf 100k 0.0022uf 100k

4k7 4k7 4k7 4k7

Freq. 35-680Hz Freq. 150-3kHz Freq. 450-8.5kHz Freq. 750-15kHz

12VAC
100 mA 1N4001 150 V+
+ +
Pin 8, IC1 - IC4
100uf 100uf 0.01uf

+ +
330 100uf 100uf
V-
1N4001 150 Pin 4, IC1 - IC4
 Angry BeardIII
0.22uf Normal

1M
0.022uf High 1k 0.22uf
330 ohms +9v
10uf 10k 10k
0.01uf 10k - OUT
+

+
2N44
IN 100k
0.0056uf
1M
20k
+9v
+

+ 20k
10uf
+9v

The op-amp can be any lownoise single op-amp, the original used a NE5534. The 2N44 could
probably be replaced by other PNP germanium transitors with out much change in sound. The
switching aspect has been left out of this schem, but you will probably want to add a bypass of
some type to this effect. The emphasis switch chooses a tone flavor, this could be expanded to
include a wider range of frequencies, but too small a cap value may cause oscillation. Any attempt
at taming the internal gain of this effect has been left out, but could be easily added. This can be
noisy depending on your rig, so a 10-15pf cap could be placed in the feedback loop of the op-amp
if your concerned about too much squeaking. -Jamie Heilman
[email protected]
Name: Axe Grinder Manufacturer / Designer: PAiA Electronics Revision: 10/28/95 Model # 5750

S1 - Cancel Effect The Axe Grinder has been designed with a

12 couple of key fetures in mind, it not only allows
S2 - Full Intensity 11 10 a wide variety of distortion tones from the
5k Pot - Tone Control
500k Pot - Distortion Intensity IC2a 500k clipping part of the effect it also allows the user
+9v to overload thier amp with a greatly boosted
100k Pot (by tone) - Distortion Level
100k Pot (by IC2c) - Clean Level clean tone. The distorted tone and the clean
100k S2 tone can be blended together for additional
S2 is a switch integrated into the 500k pot, 10k sound tailoring. Also the tone control only
and is wired such that rotating the pot fully affects the distorted signal, and leaves the clean
will allow you flip the switch and kick in the signal untouched. The "cancel" switch lets
15pf
full intensity of the distortion. S1 your guitar signal bypass the effect entirely.
+9v D2
+9v
D1, D2 - 1N914 or 1N4148
10M 1 0.1uf 10k D1
11
1uf All polarized caps 16v
- 3 8 10k
IC1a -
10

+
+
2 7 IC1b +
In 0.1uf 9 10k
10M
1uf 4k7
+4.5v 14
100k -
1k
12

+
5k 13 +
13 1uf Out
10k IC1d
1 2 0.1uf
+4.5v

+
+9v
12k IC2b 1uf 1uf 10k
+

+
100pf
IC1 - 4136 Quad Op-amp
+9v +9v IC2 - 4066 Quad Switch
0.1uf 10k 220k
5 IC2c
10k 6 NC
-
4 3 4
+
5
IC2d 6 14
10uf +4.5v +
10
IC1c NC
9
NC
+
10k 10uf 10M
+4.5v 8 7
100k NC
 +V
C5
0.0018
R15
3.3M
R14 R16 27K
+V 100K
R13 SQUELCH
15K -V -V
1
J1/INPUT 8 A2A 700 HZ LOW PASS FILTER
A2B 3
1/4" PHONEJACK R2 R7 R8 R9
3 2.2K 3.3K 33K FULL WAVE RECTIFIER 4
1 5 C4 A3A
4.7K R10 R11 R12
2 7 2
6 10K 10K 7.5K 1
R1 RC4558 C1 C2 C3 0.47 3
68K 0.1 0.022 0.0022 RC4558 TANT.
4 PRE- RC4558
AMP D2 1N914
GAIN R5 1N914 D1 8
-V R3 13K
10K 2 6 +V
R4 GUITAR 7
470 R6 5
100K LIN A3B C12
RC4558 0.47
TANT.
C13
D4 D5 D6 D7
1N914 1N914 OCTAVE 0.082
100K LIN R26
1N914 -V 1N914 R28 R27 820
4 4.7K
R29
SMOOTHING FILTER A4B 8.2K
R19 R20 R21 R22 LOG AMP 4
R18 5 A4A C11 -V
27K 7 R24 2 1.0 TANT.
560 3.3K 2.2K 22K C10 6 1
0.1 1K TRIGGER A7A
-V C8 C9 3 R31 4 RC4558
C7 2.2 1.0 RC4558 R25
R23 22K RC4558 100K LIN
4.7 2 STOP DETECTOR
A6A TANT. 47K R30 1
C6 4 8 2.2K
R17 3
2
1 A5B +V -V +V NORMALLY LOW
2.7K D3 1N914 R33
1.0 3 5 R32 330 8 PULSES HIGH
AT END OF
7 390K
RC4558 6 A5A SQUELCH NOTE
8 +V
8 SMALL SIGNAL
SQUARE WAVE SHAPER RC4558 3 DETECTOR -V
1 +V
+V 2
PEAK FOLLOWER A7B
R42 R43 RC4558 RC4558
R41 820K 1K 4 R44 5
220 330K 7
SQUARE WAVE 6 7
MODULATOR -V
-V R45
A6B 470 ATTACK DETECTOR
D8 1N914
Q1 R39
5 NORMALLY -8V
7 C16 PULSES HIGH ON
6 4.7 120K D10 ATTACK
2N5087 1N914
RC4558 0 TO -7V DEPENDING
ON SIGNAL 6 HIGH ON SILENCE
D11
+V 1N914
R38 D9 1N914
22K R40

7 A8
C14 1 6.8K
R34 3 8 SQUARE WAVE 1
2.7K 6 R36 TO SUB-OCTAVE TRACK & HOLD MODULATOR (A18) & OUTPUT
1.0 R35 2 5
C15 100K LIN
0.047 CA3094 R37 2 4 5 ELECTRO HARMONIX
10K 5 TO VCF (A10)
4 (or EH1040) 13K DESIGNED BY: D.COCKERELL
3 TO ADAPTIVE SCHMITT TRIGGER REVISION: 12/12/78
-V Title
6 ELECTRO HARMONIX BASS MICRO SYNTHESIZER
SQUARE WAVE SHAPER TO VCA SWEEP GENERATOR
Size Document Number REV
* ALL CAPACITOR VALUES IN MICROFARADS 7 A DRAWN BY: FABIAN P. HARTERY 1
TO VCF SWEEP GENERATOR
Date: September 28, 1996 Sheet 1 of 3
 ADAPTIVE SCHMIDT TRIGGER -V
A15B
R46 R47 RC4558 R49 4 A15A
3 5 D13 220 RC4558
3.3K 3.3K 7 2 R53 SUB-OCTAVE TRACK &
6 1 HOLD MODULATOR
1N914 R48 C19 3 47K -V +V
D12 10K 4.7
1N914 TANT. 1 +V
1 A17B A17A
8 0 CD4013 6 CD4013 R57 CA3094
C17 12 Q 5 D 1 27K 7 (OR 1EH1040)
0.0033 +V R S Q Q2
CLK 11 3 CLK 3 8 2N4302
6
+V 13 9 2 R58 2 5 C22 0.0033 C23
Q S D R Q 470 R61
R50 A16B A18 100K LIN
6.8K A16A RC4558 -V R55 SUB-OCTAVE
8 RC4558 C20 8 4 3.9K 4 1.0
R52 4.7 6 R54
3 D15 220 7
1 TANT. 5 -V -V
C18 2 47K S-R FLIP FLOP R56
0.1 1N914 & DIVIDE BY TWO 47K R60
D14 R51 SPECIAL NOTE: PIN 14 IS CONNECTED TO
4 1N914 10K THE POWER SUPPLY GROUND AND PIN 7 IS C21 27K
CONNECTED TO THE -V SUPPLY. 0.1 R59 R62
470 12K R63
-V -V 10K

+V 7 SWEEP RATE -V
R74 R64
+V R73 100K LIN C24
STOP FREQUENCY U9A 10K 0.082
8 RC4558 D16 D17 2.2K
R65 R66 3 1N914 1N5235
100K LIN 3.3K 1 6.8V R70
2 22M
R67 -V -V -V
820 R68 R69 -V -V R79 -V
4 1K +V 12K A10 R75 A11 3.3K A12 R83
-V +V CA3094 3.3K CA3094 4 R80 CA3094 3.3K R84
Q3 /EH1040 4 R76 /EH1040 8.2K /EH1040 4 8.2K
-V 2N5087 R71 8.2K 2 5 R81
680K 7 A13 2 5 R77 6 2 5
1 6 3 8 47K 6
3 8 3 8 1 R82 3 8
6 1 47K 1K 1
R72 0.0033
START FREQUENCY 1K 2 5 0.0033 R78 7 C26 0.0033
R92 R93 R95 7 C25 1K 7 C27
CA3094
100K LIN (OR EH1040) 4 D18
3.3K 4.7K 1N5235 C28
R94 R105 6.8V 10 2
820 1 -V TANT. +V
1K +V +V R87 330K RESONANCE +V
-V S1 4 R86 100K LIN
FOOTSWITCH R85
J2/OUTPUT C29 R88 47K
1/4" PHONEJACK 1 7 A14 1.0
-V 5 47K
8 3 R96 R89 4.7K
R104 6 47K
1K 5 2 TANT.
R97 R91 R90
1K 470 1K
+V R98
47K 4
R100 R99
22K 47 CA3094
-V (OR EH1040)
2N5088 Q4 VCA
2N5088 Q5 2N5088
R102
6 Q6 D19
8.2K 1N914
R103
820 R101 ELECTRO HARMONIX
C30 100K LIN
10 ATTACK DESIGNED BY: D.COCKERELL
DELAY REVISION: 12/12/78
-V Title
TANT. ELECTRO HARMONIX BASS MICRO SYNTHESIZER
Size Document Number REV
* ALL CAPACITOR VALUES IN MICROFARADS B DRAWN BY: FABIAN P. HARTERY 1
Date: September 28, 1996 Sheet 2 of 3
 2N6110 NORMALLY TOO
HOT TO TOUCH
R109
12K
Outboard, a.c. transformer (+9 Vdc RELATIVE TO A1, PIN 2)
Q5 2N6110
120 Vac Primary +V
24 Vac Secondary P1
R108 R111
1K 680
8 A1A
N.C.
PHONEPLUG 3
1 R107 R110 D20
D22 2 4.7K LED
1N914 5.6K
RC4558
4
- +

J1/POWER C32
C31 10
BR1 100 R106 25V
W02M 35V 15K

1/8" PHONEJACK
POWER JACK-ISOLATED A1B
(SOME NON-DOMESTIC MODELS) 6
24 VAC 7
5 C33
10
RC4558 25V

D21
1N961B
10V

-V
(-10 Vdc RELEVANT TO A1, PIN 2)

ELECTRO HARMONIX
DESIGNED BY: D.COCKERELL
REVISION: 12/12/78
Title
ELECTRO HARMONIX BASS MICRO SYNTHESIZER
Size Document Number REV
A DRAWN BY: FABIAN P. HARTERY 1
Date: September 28, 1996 Sheet 3 of 3
 +V
C5
0.0018
R15
3.3M
R14 R16 27K
+V 100K
R13 SQUELCH
15K -V -V
1
J1/INPUT 8 A2A 700 HZ LOW PASS FILTER
A2B 3
1/4" PHONEJACK R2 R7 R8 R9
3 2.2K 3.3K 33K FULL WAVE RECTIFIER 4
1 5 C4 A3A
4.7K R10 R11 R12
2 7 2
6 10K 10K 7.5K 1
R1 RC4558 C1 C2 C3 0.47 3
68K 0.1 0.022 0.0022 RC4558 TANT.
4 PRE- RC4558
AMP D2 1N914
GAIN R5 1N914 D1 8
-V R3 13K
10K 2 6 +V
R4 GUITAR 7
470 R6 5
100K LIN A3B C12
RC4558 0.47
TANT.
C13
D4 D5 D6 D7
1N914 1N914 OCTAVE 0.082
100K LIN R26
1N914 -V 1N914 R28 R27 820
4 4.7K
R29
SMOOTHING FILTER A4B 8.2K
R19 R20 R21 R22 LOG AMP 4
R18 5 A4A C11 -V
27K C10 7 R24 2 1.0 TANT.
560 3.3K 2.2K 22K 0.056 6 1
1K TRIGGER A7A
-V C8 C9 3 R31 4 RC4558
C7 1.0 0.47 RC4558 R25
R23 22K RC4558 100K LIN
4.7 2 STOP DETECTOR
A6A TANT. 47K R30 1
C6 4 8 2.2K
R17 3
2
1 A5B +V -V +V NORMALLY LOW
2.7K D3 1N914 R33
1.0 3 5 R32 330 8 PULSES HIGH
AT END OF
7 390K
RC4558 6 A5A SQUELCH NOTE
8 +V
8 SMALL SIGNAL
SQUARE WAVE SHAPER RC4558 3 DETECTOR -V
1 +V
+V 2
PEAK FOLLOWER A7B
R42 R43 RC4558 RC4558
R41 820K 1K 4 R44 5
220 330K 7
SQUARE WAVE 6 7
MODULATOR -V
-V R45
A6B 470 ATTACK DETECTOR
D8 1N914
Q1 R39
5 NORMALLY -8V
7 C16 PULSES HIGH ON
6 4.7 120K D10 ATTACK
2N5087 1N914
RC4558 0 TO -7V DEPENDING
ON SIGNAL 6 HIGH ON SILENCE
D11
+V 1N914
R38 D9 1N914
22K R40

7 A8
C14 1 6.8K
R34 3 8 SQUARE WAVE 1
2.7K 6 R36 TO SUB-OCTAVE TRACK & HOLD MODULATOR (A18) & OUTPUT
1.0 R35 2 5
C15 100K LIN
0.047 CA3094 R37 2 4 5 ELECTRO HARMONIX
10K 5 TO VCF (A10)
4 (or EH1040) 13K DESIGNED BY: D.COCKERELL
3 TO ADAPTIVE SCHMITT TRIGGER REVISION: 12/12/78
-V Title
6 ELECTRO HARMONIX GUITAR MICRO SYNTHESIZER
SQUARE WAVE SHAPER TO VCA SWEEP GENERATOR
Size Document Number REV
* ALL CAPACITOR VALUES IN MICROFARADS 7 A DRAWN BY: FABIAN P. HARTERY 1
TO VCF SWEEP GENERATOR
Date: September 28, 1996 Sheet 1 of 3
 ADAPTIVE SCHMIDT TRIGGER -V
A15B
R46 R47 RC4558 R49 4 A15A
3 5 D13 220 RC4558
3.3K 3.3K 7 2 R53 SUB-OCTAVE TRACK &
6 1 HOLD MODULATOR
1N914 R48 C19 3 47K -V +V
D12 10K 4.7
1N914 TANT. 1 +V
1 A17B A17A
8 0 CD4013 6 CD4013 R57 CA3094
C17 12 Q 5 D 1 27K 7 (OR 1EH1040)
0.0033 +V R S Q Q2
CLK 11 3 CLK 3 8 2N4302
6
+V 13 9 2 R58 2 5 C22 0.0033 C23
Q S D R Q 470 R61
R50 A16B A18 100K LIN
6.8K A16A RC4558 -V R55 SUB-OCTAVE
8 RC4558 C20 8 4 3.9K 4 1.0
R52 4.7 6 R54
3 D15 220 7
1 TANT. 5 -V -V
C18 2 47K S-R FLIP FLOP R56
0.1 1N914 & DIVIDE BY TWO 47K R60
D14 R51 SPECIAL NOTE: PIN 14 IS CONNECTED TO
4 1N914 10K THE POWER SUPPLY GROUND AND PIN 7 IS C21 27K
CONNECTED TO THE -V SUPPLY. 0.1 R59 R62
470 12K R63
-V -V 10K

+V 7 SWEEP RATE -V
R74 R64
+V R73 100K LIN C24
STOP FREQUENCY U9A 10K 0.082
8 RC4558 D16 D17 2.2K
R65 R66 3 1N914 1N5235
100K LIN 3.3K 1 6.8V R70
2 22M
R67 -V -V -V
820 R68 R69 -V -V R79 -V
4 1K +V 2.2K A10 R75 A11 3.3K A12 R83
-V +V CA3094 3.3K CA3094 4 R80 CA3094 3.3K R84
Q3 /EH1040 4 R76 /EH1040 8.2K /EH1040 4 8.2K
-V 2N5087 R71 8.2K 2 5 R81
680K 7 A13 2 5 R77 6 2 5
1 6 3 8 47K 6
3 8 3 8 1 R82 3 8
6 1 47K 1K 1
R72 0.0033
START FREQUENCY 1K 2 5 0.0033 R78 7 C26 0.0033
R92 R93 R95 7 C25 1K 7 C27
CA3094
100K LIN (OR EH1040) 4 D18
3.3K 4.7K 1N5235 C28
R94 R105 6.8V 10 2
820 1 -V TANT. +V
1K +V +V R87 330K RESONANCE +V
-V S1 4 R86 100K LIN
FOOTSWITCH R85
J2/OUTPUT C29 R88 47K
1/4" PHONEJACK 1 7 A14 1.0
-V 5 47K
8 3 R96 R89 4.7K
R104 6 47K
1K 5 2 TANT.
R97 R91 R90
1K 470 1K
+V R98
47K 4
R100 R99
22K 47 CA3094
-V (OR EH1040)
2N5088 Q4 VCA
2N5088 Q5 2N5088
R102
6 Q6 D19
8.2K 1N914
R103
820 R101 ELECTRO HARMONIX
C30 100K LIN
10 ATTACK DESIGNED BY: D.COCKERELL
DELAY REVISION: 12/12/78
-V Title
TANT. ELECTRO HARMONIX GUITAR MICRO SYNTHESIZER
Size Document Number REV
* ALL CAPACITOR VALUES IN MICROFARADS B DRAWN BY: FABIAN P. HARTERY 1
Date: September 28, 1996 Sheet 2 of 3
 2N6110 NORMALLY TOO
HOT TO TOUCH
R109
12K
Outboard, a.c. transformer (+9 Vdc RELATIVE TO A1, PIN 2)
Q5 2N6110
120 Vac Primary +V
24 Vac Secondary P1
R108 R111
1K 680
8 A1A
N.C.
PHONEPLUG 3
1 R107 R110 D20
D22 2 4.7K LED
1N914 5.6K
RC4558
4
- +

J1/POWER C32
C31 10
BR1 100 R106 25V
W02M 35V 15K

1/8" PHONEJACK
POWER JACK-ISOLATED A1B
(SOME NON-DOMESTIC MODELS) 6
24 VAC 7
5 C33
10
RC4558 25V

D21
1N961B
10V

-V
(-10 Vdc RELEVANT TO A1, PIN 2)

ELECTRO HARMONIX
DESIGNED BY: D.COCKERELL
REVISION: 12/12/78
Title
ELECTRO HARMONIX GUITAR MICRO SYNTHESIZER
Size Document Number REV
A DRAWN BY: FABIAN P. HARTERY 1
Date: September 28, 1996 Sheet 3 of 3
 Blue Clipper

v+

20k
v+
.047uf 5
+ 7 8.2k
+
Input 1/2 4558
6
- 4.7uf
240k
D1 D2 10k

.033uf 50k ?
150k
240k
Output
D1, D2 -Pick an element
+
4.7uf Supply -9v. Battery
 ELECTRO-HARMONIX BIG MUFF PI

15k 15k 15k

0.1** 0.1**
500p 1u*
+ +
500p 1u* 500p
470k 1uf* 470k 470k
39k
100k
+

+
1u 8.2k 8.2k
100
100k 1k 100k 100 100
Sustain
+

390k 10k
9V
1u*
+

0.01
39k
Tone Volume

0.1
100k

0.004 100k 100k 2.2k

OUT
IN

The EH Big Muff Pi would probably be improved by modern input-jack power switching and a DPDT bypass switch.
This is the original schematic. The diode and transistor types are unknown. Probably any high gain NPN and 1N914s work.
Coupling caps marked by a * have been reported to sound better if changed to 0.1uf as have the ** marked ones if changed
to 1.0uf. The original transistors were marked SPT 87-103, and the original diodes were marked 525GY or 523GY (hard to
read).
 BOSS Slow Gear SG-1 Attack Delay

2SC932
IN 1k 0.1 +9V
22k 1u 1u 1m 2SC932
1k 1u OUT
220k +
470k
1u 1u 1m
+4.5V 100k
3.3k 1M 10k
10k
100k "Sensitivity" + +
0.5u

+9V
47u 47k
1k +4.5V 1k 10k
trimmer, 25k? 20k "Attack"
+ 10 4.7k
+
220k
0.001
1uf
+ 100k
0.022 -
+

390k
1uf 0.047
1M 100k
3.9k 4.7k
+
+ 10
1u +9V

56k 56k
1k 1M
47p 47p
470k
"Check" 1k
"Cancel" 47p 100k 100k
22 +
1u 56k 56k

47p

9V +9V +4.5V = 2SK30A

22k
+

+ + = 2SC1815 unless otherwise marked

30u 22k 10
= silicon signal diode, 1N914 OK

The SG-1 is an attack delay unit. A struck note is at first inaudible, then fades up, similar to a reversed tape
recording.
 Frequency Brighteners
+9v
47k 1uf 100k

+
1M
1uf
22k
IN 2N3904 0.0047uf
+

0.01uf
100k 15k
1.8k 100k**
100k*

+
nc 0.1uf 1uf 0.047uf
2.2k +9v
10k 100k
+9v
6.8k 0.47uf 1M 47k
OUT OUT
2N3904

+
120k All Signal Brightener 4.7k 1uf
0.22uf
IN 2N3904

62k 0.15uf
5k
1k

High Frequency Brightener

These two effect modules are not actually "guitar" effects per say, but rather synth modules that will work on any
analog signal. The input and output impedances may need altering depending on your needs. The high frequency
brightener is nothing more than a simple treble booster with a gain control (1k) and an intensity control (5k). The
all signal brightener, however, has a seperate control for brightening the low end (100k*) as well as the high end of
the frequency spectrum (100k**). The 10k trimmer is a set and forget type adjustment. Set it so the circuit breaks
into oscillation, then back up the setting to the point where the oscillation just stops. These two modules were
excerpted from Music Synthesizers - A Manual of Design and Construction by Delton Horn; TAB Books, 1984.
 Ultra-Clean 9vdc Power Supply
Designed by Rick Barker

LM317T +9v out

110VAC 25VAC Vin Vout
+ Vadj +

vref
274 2k
ladj r1a r1b
1000uf +
10uf 2k 6.81k
0.1uf r2a r2b 470uf
0.1uf

= 1N4002

LM317T
274 2k
R1= r1a || r1b = 241 ohms
R2 = r2a || r2b = 1456 ohms
Adj Vin Vref = 1.25V
ladj = 50uA
Vout Vout = Vref(1+r2/r1)+ladj*r2 = 9.35VDC
 To pin 11, V+, on both opamps

100K
25pF 25pF
12 12
4 4
3 10K 0.1uF 220K 3
0.47uF
5 5
10 10
+
6 6
0.1
9V 0.47uF
100K 1N4001 1N4001 10K 100K
uF 220pF
Distort
220K 330K
100
IN

+
10uF 10K
Boost

OUT

Gretsch Controfuzz Model No. 7798

The Gretsch Controfuzz is a variant of the op-amp-driving-diode-clipper type of distorter. The only unusual features are that the distortion is run at high
boost all the time in the first opamp, and then subtracted from the dry signal in the second opamp. The amount of distortion mixed in is determined by the
"Distort" control, and the overall volume level when the distortion is switched in is set by the "Boost" control.

The op amps are both type 748, which needs a compensation capacitor (25 pF in this case) to be stable. Other modern opamps should work.
 Dunlop Cry Baby Wah Wah

.001uf

?
1/2 S1
.001uf Out
1k

+ .0011uf D1

9v 22k 1k

- 470k
Q2

68k 470k
.01uf
In Q1
1/2 S1 +
10k
4.7uf 82k
470

1.5k 33k

660mH
-D1 is a 1n4148
.01uf
-S1 gives true bypass
-Q1 & Q2 are 2n3904
 DOD Compressor 280A

+
+9V

0.05uf
VTL5C2
3M 4.7k
22k
IN
500k
- 100k
0.05 uf
+
+9V
0.01uf 10k
0.05 uf 0.05 uf
470k - 47 uf
+ +
+ 220k 220k
22k +9V
10uf
22k
Bypass
OUT Q1, Q2 = NP4124

Op amps are LM358

100k

This is the original schematic, but it looks funny to me. I think that there should be a 100k resistor at the
(-) input of the second opamp to make it a pure inverter. As it is, that stage would have a very large
voltage gain, unbalancing what I think works as a full wave rectifier/current source for the LED in the
compression feedback loop. I would expect that the proper circuit is as shown in the fragment below.
I think the VTL5C2 LED/LDR module could be replaced with a CLM6000 if you could find one of those.
3M

- 100k
+ 100k
+9V
0.05 uf
-
+

22k +9V
22k
 DOD Envelope Filter 440

220k
+

Battery, 9VDC 22k

100k
+ 0.02uf
22k
10uf 0.02uf

IN 0.01uf 10k 100k +

-
220k

430k
OUT 0.05 uf
100k

22k

+
10k + D 100k
-
100k RL
0.1uf
4.7uf +
1uf
22k
470k

1N4148

Opamps are each 1/2 of TL022dual low power opamp. LED/LDR module is unknown, but is
probably a Vactec VTL module with LED to center-tapped LDR.
 NON-POLARIZED

15 UF 10K
Q1
J111 U3B
4 U3A
6
1N4001 47 UF 56 UF 10 UF 7 2 4.7K
22K 5 1 1N4148
220K 3
22K 100K TL022C
Q2 100K TL022C
2N5089 8 220K 1N4148
22K 180K WIDTH
2K VCC 5K
10K
100K 4.7K
(*) PLUGGING INTO THE INPUT 100K
JACK CREATES THE CIRCUIT SPEED
GROUND. 500K
150K
VCC 100K
+ P1
0.0023 100K
9Vdc 27K
150K
100K 10K 10UF
VCC 330K
470K MN3007 MN3101 Q3
IN (*) 1 8 1 8 2N4125
8 U1A
470K 2 7 2 7
3 10K 47K
0.01 1 3 6 3 6
2 1K
0.047 4 5 4 5 25 PF 33K
62K TL022C 0.001 120PF 4.7K Q4
10UF 22K 4
47K
2N4124
1N4148 1N4148
33K 0.022
62K
REGENERATION
500K U2B 100K 4 U2A
Q5 2 0.005
OUT 5 J113 1
7 3
6 0.047 33K 33K 33K
1 UF 1K U6 TL022C
TL022C 47K 9 3SN 8 120PF
100K 10K 12 3Y 3A 10 0.001
1N4148 11 3SP 1M VCC
0.0063 1M 7 VSS
0.047 8 2DN 6
47K 13 2A
14 2DP PARTS DESCRIPTION:
VDD
120PF 4 1SN
5 1DN 1A 3 TL022C LOW POWER DUAL OPAMP; (TEXAS INSTRUMENTS)
1 1DP
10K 2 1SP MN3101 CLOCK GENERATOR FOR BUCKET BRIGADE DEVICE /BBD
U1B 100K
Q6 CD4007 MN3007 AUDIO SIGNAL DELAY, 1024 STAGE LOW NOISE BBD
OUT 5 (5.12-51.2 msec delay)
7
6 CD4007 DUAL COMPLEMENTARY PAIR WITH INVERTER; (RCA)
1 UF 4.7K 2N5089
TL022C 1M MN3101/MN3007 MANF. PANASONIC; THESE ARE EQUIVALENT
100K 10K TO ECG1639/ECG1641 RESPECTFULLY.

47K MOMENTARY SWITCH

USED TO ENGAGE EFFECT
0.047 Title
120PF DOD FX75 FLANGER (10-15-84)
A COMMON POINT (OR JUNCTION) IS ILLUSTRATED BY >> Size Document Number REV
WHEN THIS IS NOT SEEN, WIRES WHICH CROSS OVER EACH B DRAWN BY: FABIAN P. HARTERY 1
OTHER ON THIS SCHEMATIC ARE "NOT" CONNECTED.
Date: November 20, 1994 Sheet 1 of 1
 DOD Overdrive 250
+

500K 9V
Reverse
Log
4K7 0.05uF 1M
IN

0.001uF
2
7 10K
-

+
6
3 100K
+ 4
10uF
0.01uF
10k
741
20K 1M

20K
+

OUT
10uF

The DOD Overdrive 250 is Yet Another 741With Two Diodes On The Output. It is almost
exactly the same as the MXR Distortion Plus, and a number of other units.
 Dual Pre-Amp & A/B Box
Designed by Rick Barker

20k 20k

6.8uf 20k 100k

1/2 5532
2 6.8uf 20k
+

1/2 5532
-
1 2
+

IN A 3 -
1

+
+
8 3 +
8
10uf

0.1uf 0.1uf

A
20k 20k
B OUT
100k
6.8uf 20k 1/2 5532
6 6.8uf 10k 5532
+

1/2
- 7 6
+

IN B 5 - 7
+

+
4 5 +
4
10uf

10uf + 0.1uf
10k 10k
100ohms

+ +
0.1uf 50uf 0.1uf 100uf

This low noise preamp & a/b box was originally designed for switching between different
harmonica mics.
 Roland Double Beat
IN OUT

+9V 10uF

+
9V Batt 120K 22K
820K 330K
2K2
0.01 0.1
1M 150K
2SC1000 2SC1000
0.1 47pF 2SC1000 250pF
Fuzz
150K Tone
220K
1K2 Select
+ 0.0068

470K 1uF
+ 1uF 1K 1M
470K 0.0068
22K
22K 10K

Fuzz Section

+9V

1K
20K 470K
1K5

47K 0.01 2SC828

470K
0.01
68K 0.22 0.22
2SC1000 0.5 H
33K

470 10K
+
10uF 100K
150K

Wah Section

The Double Beat is another of those funky, funky Fuzz Wahs. The wah function is pretty standard, if a little quiet because of the resistive divider
in front of the wah section cutting the signal down. The Fuzz secttion is pretty good, though. It has a good sound - no surprise as the first section is
a lot like a Fuzz Face, but is followed up by yet another gain stage to distort even more. The three fuzz tone selections are RADICALLY different from
each other.
Name: 16 Second Digital Delay Manufacturer / Designer: Electro-Harmonix Revision: 12/9/95 Model # EH7875-2A

IC1 - TL082 IC9 - 571 IC7, IC8 - Unmarked ?

IC2 - 4558 IC11, IC4 - Unmarked Dual Op-Amp, probably a 4558
Q1, Q4 - 2N5087 D1, D2 - Signal Diode ?
Q2, Q3 - 2N4859A D3, D4 - 6.8v Zener
+5v
B/O
IC1a Blend
6 10uf 10k Lin s 100k
0.1uf -
7 D2 1M B
1k
5

+
+ g

100k
100k
d Q4 2 IC1b 150
Input 10k 0.047uf -
1
150k Q3
3 +
Output
Direct A
Output Q2 10k 1uf 3k9
d
+5v g 10k Lin

+
Q1 s
100k
RO 1M D1 10k 47k 47k
100k 6
-
0.0068uf 47k +
3k9 7
47k 10uf +10v
0.047uf 5 + 47p 5 FCK
10k
IC2a 2 IC2b 10uf 13 5 3
-
1 11 18 6 IC11a 10uf To
47k 3 2

+
+ -
7 8 7 A/D
IC7

+
1M5 16 IC9b +
D3 7
9 5 27k Input
10uf 1 6
+ 4 14 15 47pf
+
D4
0.47uf
tant 12k
-10v
+10v 5 FCK
47pf
5 3 0.033uf 2 - 10uf 12k
1 7 8 5 IC4b 10uf
From 2 +
7

+
3
+

D/A 6 8 +
IC9a 5 6 A
IC8 3 -
7 8k2 8k2 IC4a
Out 47pf
1 6 680pf 1

2M7
+ 47k
0.47uf
-10v tant
10k 0.0068uf

1/
 ELECTRO HARMONIX BOOSTERS

+
430k 10k 100k 10k
0.1uF 0.1uF + 9V
50uF
0.1uF
2N5133 2N5133
In 0.1uF

In
43k 390 100k Out 100k 100k
Out
100k 2.7k

LPB-1, LPB-2, EGO

Other variations on the LPB-1 include a BC239 Muff Fuzz / Little Muff Pi (early)
with a 100k resistor from base to ground and a
1M resistor between base and collector.

+
430k 10k 0.1uF
+

430k 10k
0.002uF In
2N5133 +
0.002uF 3.3uF
27k
2N5133
+
3.3uF 43k
10k 390
In Out
0.1uF
43k 390 100k Out

Mole/ Hog’s Foot (Old Version)

Screaming Bird/Tree

+9V

220k
In 0.1uF +9V
10k 100k 1M
+ 10k 100k 1M
- +
220k -
100k 0.22uF 0.02uF 2200pf
0.22uF 0.02uF 2200pf

270k
+9V 0.022uF 100k
27k
22k
+ +9V
10uF
+
+

5uF 27k
1uF
+

9V

Out 2N5087
100k

Hog’s Foot (new)

 Electro Harmonix Fuzz-Wah
(Actually Fuzz-Wah/Volume )

Out
1/2 S1 1/2 S1 S2
In
.022uf
470k D1
- 100k
D2 -S2 gives just fuzz, just
9v
6 wah-wah / volume, or
- 10k
+ 7 2 fuzz into wah-wah /
1/2 1458 - .1uf
5 1
+ 1/2 1458 volume
4 3
-Q1 & Q2 are 2n3565 + 100k -S4 sets tone of filter
8
-Fuzz bypass S1 has -D1 & D2 can be any
been improved to signal diode
provide true bypass 10uf
+
680k
-S3 chooses volume 680k
1/2 S5
or wah-wah
-S5 provides for
sweep reverse 100k

1/2 S5

.0033uf 100k 33k

.01uf 1k S3
.047 + 22k
S4
1.5k
.1uf 10uf 470k 500mh

68k
Q2
.0022uf Q1
470k
.022uf
.22uf .22uf 470 ohms
10k

Model 3006
Name: 16 Second Digital Delay Manufacturer / Designer: Electro-Harmonix Revision: 12/9/95 Model # EH7875-2A
+12v

XA0140 +10v C
4
R +5v
7812 0.0022uf 10M
W - + + +
100uf 10uf 2 IC10a
3 4k7
Red 35v CLIX 12 +
1
120V R 2 -
White 100uf + + + +5v
33uf A 12k
100V 35v 5.1v 33uf
47 10k lin 100k 100k
7815 -15v Click
Black Y
1 Select 0.068uf 2N5088
0V +5v 100k 100k
Click
Out
- + 7805 8 -15v 22k
+ + +
Y 470uf 470uf 10uf
10v B
10v 22k
11
+5v D Resistors marked # are 1% types.
IC10 - LM358
IC12 - unmarked, CD4049 perhaps?
# 1k87
+12v to pin 8 on IC1, IC2, IC4, IC5, IC6,
IC10, IC11, IC43, & IC44 pin 13 on IC9,
Foot SCK A2
Switch +5v & IC3
82k # 1k37 10 9 1uf +10v to pin 5 on IC7, & IC8

+
4k7 +5v to pin 20 on the ADC0804 a pin # I
0.01uf coudn’t read on IC12 pin 14 on IC13,
6 20 4 3
Bypass -
7 6 vcc clk wr rd
2
IC14, & IC21 through IC24 pin 16 on
# IC10b in+ C
+
+
cs 1 IC15 through IC18 pin 3 on IC19 pin
30k 5 10k
Reciac 1uf D.gnd 10 8 on IC20, & IC30 through IC41 pin 20
9
# +5v vnff/2 ADC0804 on IC27, & IC42 pin 5 on IC28 pin 12 on
15k 16
Rev 7 A.gnd
IC29, & IC3 pin 7 on IC44 pin 9 on IC19
in- 15
# 8 msb -15v to pin 4 on IC1 through IC4, IC10,
7k5 +
10k IC11, IC20, IC43, & IC44 pin 17
Slow 11 12 13 REV 14 1uf
B/O on IC42
# 680 3
3k74 IC12a 1k 1k IC12d -10v to pins 1 & 6 on IC7, & IC8
RO
3 6 13 11 10 8
F/S 14 13 REC
7 + + + All diodes were unmarked.
22uf 22uf 22uf IC12c 680
IC12b
+5v
2/
 ELECTRA DISTORTION

+9 V

4.7K

2.3M
OUT
0.1uF
IN 2N3904
0.1uF
470
Ge Ge

This distortion was posted to the net by Bruce E. (?), [email protected] on 5/14/94.
It is supposed to sound amazingly like a Tube Screamer. With the exception of the diodes,
the circuit is the same as the circuit for the Electra Power Overdrive module, which was
fitted inside some Electra guitars in the 70’s. It’s important to use germanium diodes to
get the right sound. Silicon is supposed to produce more power and less distortion. Ge
gives 0.4 volts of signal out, Si gives 1.4 volts. The values of the collector and emitter
resistors can be changed to give more or less gain and distortion. The unit is not just a
hard diode clipper, as the diodes load the output of the transistor and modify its gain as
they turn on, giving softer clipping than you would expect.
 REPEAT CIRCUIT IN BOX FOR ALL FREQUENCIES.
THE TABLE GIVEN BELOW SPECIFIES COMPONENT
VALUES FOR C1 AND C2.

C1

Vin 10K 100K 10K

C2
1M 1M
+V THIS OPAMP IS COMMON TO ALL OUTPUTS
+V

100K
Vout

3.3 UF
2.4K

-V
-V

* A SUGGESTED OPAMP WOULD BE A TL082 OR SIMILIAR LOW NOISE OPAMP

CHANNEL
CENTRE
FREQ.
(IN Hz.) C1 C2

32 180nF 18nF
64 100nF 10nF
125 47nF 4.7nF
250 22nF 2.2nF
500 12nF 1.2nF
1000 5.6nF 560pF
2000 2.7nF 270pF
4000 1.5nF 150pF
8000 680pF 68pF
16000 360pF 36pF

FROM ENCYL. OF ELECTRONIC CIRCUITS (VOL. 2)

DESIGN FIRST PUBLISHED IN
ELECTRONICS TODAY INTERNATIONAL
Title
TEN BAND GRAPHIC EQUALIZER
Size Document Number REV
A DRAWN BY: FABIAN P. HARTERY 1
Date: February 16, 1995 Sheet 1 of 1
Name: Fender Blender Manufacturer / Designer: Fender Revision: 11/18/95 Model #

+9v

150k

10k
47k

100k
220k
3k9

8k2

10k

47k
Q2
10uf D1 10uf 10uf 0.003uf

+
Q1 0.001uf

+
15k 0.1uf Q5
0.1uf +
10uf

120k

10uf 10k
10k
In Q4 10uf
D2
Blend
1k5

820
Q3 100k

125k
27k
10uf D3

10uf
+
+

10k
Tone

27k
10uf

50k
680

150k
+

27k
D4

820

18k
3k9
0.05uf
560k

8k2
150k

9v 0.1uf
+

+
10uf 100k
Sustain
0.1uf Out

All resistors 5% (many of the orginals were actually 10%) 1/2W

All capacitors minimum 25V
Q1 & Q2 - 2N3391A
Q3 to Q5 - 2N3391
D1 to D4 - 1N276
Original switching scheme was a spdt, not true bypass. This effect would benefit from a true bypass mod.
The effect itself is a distortion with octaving.
 FOXX FUZZ-WAH

IN FUZZ
BYPASS

+9V +9V +9V +9V +9V

OCTAVE +9V +9V
47k 100k
4.7k
470k
0.1 film 10k
150k 10k

+ + 3300pf

+
1k TONE
DRIVE
1000pf 50k 22k 4.7k 50k

+
100k
+

100k
47k
100k
15k
+ 50k
0.047uf 47k 1.5k
0.1film 4.7k
100k 220 1k

FUZZ
VOLUME

WAH BYPASS

+9V +9V
WAH
OUT 100k 1k
WAH TONE SELECT
log 22k
0.22 470k 0.22 0.01

0.047
470k
+ .0.0033
0.01
+9V 68k
0.0047

100k
+ 10k
0.047
33k
0.1
220
0.5H

1.5k
"5103 TDK".

The Foxx Fuzz Wah includes a fuzz, an octave effect, a wah pedal, and in later versions a volume pedal al l in the same box.
The box, by the way, is covered in blue or red no-fooling stiff plastic fuzz. The wah has four different resonant frequencies
selected by a rotary switch. The inductor should be relatively easy to find, as it looks to be a somewhat standard part.
The volume pedal action is the default when wah is bypassed. Max volume is with the pedal all the way back, very odd.
- All transistors 2N3565-R249, NPN silicon in little plastic button packages.
- All diodes germanium
- All unmarked electrolytic capacitors 10 uF, 16Vdc.
The fuzz and octave section MAY be a copy of the Octavia pedal.
Note that the Wah pot is log (audio) taper. The wah sound is really sensitive to the positioning of the wah pot’s rotation in
the rack-and-pinion.
Fuzz 001 - Unknown Commerical Source
1n42

100k
470pf

+9v
0.1uf 100k
6 8 10k 0.1uf 100k
-
4558 1 0.1uf
5 + 7
-
2 4558
+
3 4
+ 47k
9v 1M 10uf Log
1M
+

+9v
 Distortion Booster

+9v
100k 10k 0.1uf

0.01uf
Out
Q1 Q2 D1 D2
In

100k 100k
3k3
+

+9v

Q1 and Q2 are BC108

D1 and D2 are silicon or germanium (pick your favorite flavor) signal diodes.
-make unknown...
 Fuzz Face
Dallas Arbiter
470*

-
0.1uf
9v 33k 8.2k

Q2 500k
2.2uf 1/2 S1
+
IN Q1 OUT
1/2 S1
100k

20uf
+
1k

There are apparently two similar versions of the fuzz face. In one Q1 and Q2 were PNP germanium AC128 or NKT275 types in the other they were NPN sillicon
BC108C types. Now depending on which type you choose to build will influence some of the other components. For a PNP version the schematic is as shown, but if
you build the NPN version then the 470 ohm resistor marked by a * must be changed to 330 ohms and the battery and all the polarized capacitors must be reversed.
The original schematic is not exaclty what is shown above, it had a very complex switching system which has been simplified (nothing has been lost don’t worry) and
a unique grounding setup. Aside from that the schem is exact with minor differences in components on various units (eg. some had the 0.1uf cap listed as .047uf, which
shouldn’t make a difference as long as you feed a high impedance amp). The transistors are hard to find, the thing to look for is germanium transistors with a decent
gain factor (gain > 80). Note silicon transistors will clip harshly and may not sound good, though 2n3906 has been said to work.
 Guitar Effects Unit
(Octaver-Fuzz)
extracted from ETI-Canada, January 1980

+9v 10k

10k
6.8k
10k
10k +9v
D1 D2 10k
+

-
a -
1.0uf +
b
+
680k 1M 100k
560pf
-9v 1k
Q1
+

IN 1.0uf 39k
8.2k
Fuzz Struzz 1k
270ohms
820 S3
ohms

S2
OUT +
On +
-9v +9v

9v S1 9v
Off

Q1 is MPS6515
DI and D2 are 1N4148
The IC is any lownoise dual op-amp, shown is the 4558.
Switching could be improved with a full bypass mod.
The GEU is good sounding octave fuzz, with an optional mode of just fuzz. The fuzz is a fully rectified signal and is
quite chewy. For some the Fuzz alone might not be loud enough, this can be fixed by raising the value of the 820 ohm
resistor and lowering the 39k one. Or one could just replace both with a normal volume pot for a more standard
approach. The "struzz" is the fuzz with an octave higher signal mixed in. Good for singal notes and leads.
Name: Green Ringer Manufacturer / Designer: Dan Armstrong Revision: 9/23/95 Model #

+9v
+
160k 18k 10k 22k 10k 47k 100uf
0.047uf *

+
0.047uf 0.1uf
2SA666 Tantalum Output
Input 2SC828 66k
2SA666
66k
560k 6k2 10k 0.047uf 22k
+

+9vdc

The transitor marked "*" has no markings other than three stripes; green, blue, white, from top to bottom.
It is PROBABLY a low 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 what
would be expected if it were an NPN with the same pinout (base, collector, emitter) as the other transistors.
 Harmonic Sweetener

100k
10k
1uf 100k
2
10k
+

- 1 13 10uf
In 3 - 14

+
1M +
12 +

10k 1M Out
10k

10pf
10k
4k7* 4k7

5 4n7 4n7
- 7 3 10k
4n7 4n7 6 +
- 1 1M**
2 + 10k
2k2 22k
8 10k
- 10 13
4k7* 15k 4k7 9+ -
14
22k 12 +

100
+15v + to chips (4) A couple of red led’s will work nicely for the
+
10uf clipping section. The op-amps shown are
TL074 types with 3 of the 4 amps used.
100
- to chips (11) Possible modifications include changing the
-15v
resistors marked * to a 10k dual-ganged pot
+ 10uf
for a tunable filter, and/or changing the resistor
marked ** to a 2.5 M pot for a drive option.
 TS-9 Tube Screamer
+9V +4.5V

10k
1k
.02u 1k 1uf/50v 1k 100k
1uf/50v + np*
np*
- + "Level"
10k 0.22 + -
51p tant 1k +4.5V
510k 20k
10k 0.1 +4.5V 220ohms

+
IN "Tone"
+4.5V 500k
4.7k 0.22
"Drive" tant
.047u 51k OUT
+9V
+4.5V
510k 510k
9V 10u +
+

2SK30A
+9V 2SK30A 510k 470ohms 100k
0.1 10k
1M* 1M*
+4.5V +4.5V
.047
47
+ + 100 +9V
62k 56k* .047 56k*
22k 3.6k
cr2 cr1
10k
1M 3V
1M
In/Out 22
56k 56k

1000p

1000p
100

Opamps are in a dual 8 pin dip, 4558. All transistors 2SC1815. All diodes silicon signal diodes, 1n914 or similar.
np* = nonpolorized resistors denoted by * marked as 1M on original might be 22k and those marked as 56K
might be 10k. crf1 and cr2 are a special cap and resistor in parallel, the cap is 51p the resistor is 56k.
 Jimi Hendrix Fuzz Face
by Jim Dunlop

9v 470
+

+
1N5239B 100uf
9.1v 6v

In
330 0.01uf Out

43k 10k
500k "level"
2.2uf 100
Q2
Q1
+

1n
68k

180k 47pf "fuzz"

1k +
22uf

Q1 & Q2 are MPSA18 Model JH-2

 Jordan Boss-Tone
+9VDC

18K
560K
0.022uF
0.022uF
47pF
Input
18K
10K
560K
Output
100K 2N2222
0.022uF -or-
2N4124 1N914/1N4148
150K
-or-
similar

The Jordan Boss-Tone is another distorter from the Inna-Gotta-Have-A-Fuzza era of effects. This
circuit fragment shows only the effects circuit, not the in/out switching and the battery circuit. A DPDT
stomp switch and input-jack battery switching would finish this up nicely. Like many others, the
circuit is based on a collector voltage feedback single transistor circuit with a second transistor as a
buffer following the first gain stage. Others in this genre are the Vox Tone Bender and the venerable
Fuzz Face, although these do not have a diode-clipping limiter after the gain stages.
 JSH Fuzz

9v
+

6.8k
1n2 0.1uf
1M 33k
50k Log
0.1uf Q1 Q3
0.1uf 4.7k Q2 OUT
IN
Si*
10k
22

150k
1k

+
22uf

*pretty much any silicon signal diode can be used here

Q1 - BC238B
Q2, Q3 - BC239C
Model FZIII
 1K2 9VDC
4K7 470K
10K 10K
100K 0.01uF
+ 68K 33K 0.1uF 33K
10uF
+

0.22uF OUTPUT
+

4.7uF 4.7uF 33K INPUT

33
2SC828R

1K
100K 47K 43K

3X 2SC828P

Kay Tremolo Model T-1

The Kay model T-1 tremolo is a very simple circuit. A twin-T oscillator circuit drives two bipolar transistors
to load the signal down after it is amplified by a single input stage. The sound of this is more like the
"repeat percussion" effect of Thomas Organ Vox amplifiers than the smooth variation in loudness of tube
based amplifier tremolos, but it is a useful sounding effect; just different. The pedal itself is a cheesy plastic
case with a wah-pedal like treadle which controls the speed of the oscillator. There is no tremolo depth
control, and the in/out switch is not shown on the schematic from the inside of the case, although it is a
very conventional DPDT bypass. The bypass was unique in that you had to slide a switch manually, no
stomp switch on this one.
 Electro-Harmonix Little Big Muff

8.2k 10k 15k

0.1u* 0.1u*
560p 0.1u

+
560p 0.1u 560p

10u 470k 470k 470k

+

33k 10k 8.2k

43k 100 100k 150 100k 150

+

+
430k 15k 470u
9V
0.1
0.01

39k
Volume

100k 0.1
100k
Tone
100k 6.8k
0.004 22k
OUT
IN

The EH Little Big Muff could probably be improved with modern input jack power switching and a DPDT bypass.
This is the original schematic. The diode and transistor types are unknown. Probably any high gain NPN and 1N914s work.
The caps marked with a * have been reported to work great at 1.0uf.
 Maestro Fuzz

+ 470k

100k 330k 0.0047uF

0.047uF 33k
470k
0.001uF 50k
47k 18k

In 33k 0.01uF 33k

470k 0.1uF 3.3M
8.2k 0.1uF Out
Fuzz Amp 50k

0.002uF 3.3k 100k 0.1uF 50k

Squelcher

Impedance Matcher Fuzz Preamp

The Maestro Fuzz is reputed to be the fuzz used in the recording of the Stones’ "Satisfaction". The
transistors are house numbered "991-002298" and the diode is house numbered "919-004799".
They are probably all germanium devices. The use of a squelch device is somewhat unique, possibly
put there to tame hiss and noise during quiet passages between notes. The two 50K pots which
have their wipers connected by resistors are wired so that as one increases, the other decreases,
giving a pan from one point in the circuit to another, probably changing the amount of distortion.
The last 50K pot is an output level control.

This unit could probably benefit from a modern DPDT switch setup to completely isolate the circuit
when it is switched out, and a modern input-jack power switching arrangement.
 Maestro Boomerang
(Wah-Wah)

10k 620k
9v
1uf
+ 1/2 S1 Out
- 1uf
+
.047uf 48k 1.5M 25k Q2
In Q1
+

1/2 S1 120 6uf

4.7k
47k
500mh

-Transistors Q1 and Q2 were .01uf

designated P-2356
8.2k

Model EG-1
 Maestro Boomer 2
(Wah-Wah / Volume)

10k 820k
9v
1uf
+ 1/2 S1 Out
- 1uf
+
25k Q2

1.5M

.047uf 48k
.1uf 56k
In Q1 +

6uf 10k
1/2 S1 120 S2
1k
47k
500mh

-Transistors Q1 and Q2 were .01uf

designated 991-002873
8.2k
This was undoubtably an
inventory number, a replacement
transistor will probably have
to be used.
-S2 is used to switch the pedal
between its modes of wah-wah
(off as shown) and volume (on). Model EG-2
 Mosrite Fuzz-Rite

470k
.05uf
470k 470k
350k 470k

.05uf .002uf .002uf

TZ82 TZ82

33k

Input Output

- +
9v
Name: Motion Filter / Follower Manufacturer / Designer: PAiA Electronics Revision: 10/29/95 Model # 5720

Initial Frequency

+V +V
500k
100pf

1M 6 11 Sensitivity
-
4 A
IC1a 0.1uf 1M
1 3M9
+
5 7 150 1uf D1
+

In -
3

+
1uf 500k 2 2N4124
+
1M IC1b + 47k
D2 1uf
+Vr +
1uf 10
A
0.01uf 0.01uf +V

10k
1uf 1M
8 100k 100k
+

-
10k
10 14
1M 9 - 12 14 10
+ 5
IC1c 13 1
+
12
IC1d 13
+Vr 2
+Vr IC2 1k
4
9v Out
3
100uf
1N4001 100
+
IC1 - 4136 Quad Op-amp 7 11
+

+V S1
IC2 - 4066 Quad Switch
500k +Vr D1, D2 - 1N4148 or 1N914
1M Connect pads marked "A" together.
Offset 0.05uf Offset is a trim pot that can be adjusted after roughly 15 minutes of
"burn in" time. Adjust it until you hear no popping when pressing the Cancel
switch S1. There is no need to play into effect during adjustment. Correct
setting should be near the middle of the rotation.
 Modified Tube Sound Fuzz
by M. Hammer

510pf*
+ 2k2
10uf
-
47k 1500pf*
390pf* 390pf*
+

In Bright
0.1uf 4700pf
v-
470k 10k
100k 100k 100k -
100k 3k9 100k 3k9
+ +
ICs are any low noise 10uf
0.1uf
dual op-amp and a 4700pf v+
v- v+
CD4049. Dual-ganged
10k Out
Tone

This circuit is a spin off of Craig Andertons Tube Sound Fuzz from his book
Electronic Projects for Musicians. This only uses 2 stages of a CD4049 hex inverter/buffer
the rest were left out of the schematic to keep it simple. Components with a * are suggested
values, substitutions can be made freely within 30%.
 Muff Fuzz
Electro Harmonix

470k
D1

1/2 S1
1/2 S1
D2
.01uf 100k
6 Out
- 10k
In 7 2
- .1uf
1/2 4558 1
5 +
- 1/2 4558 100k Audio
3
4 +
8
9v

+
680k
10uf D1, D2 - Select an element to taste
+ 680k
 MXR Distortion +

AC V+
Adaptor
For subtly different sounds try replacing D1 + D2 with 1n34’s
+ for fuzzy sounds, 1n4148 for more buzz, LEDs for more crunch,
1M
or a 1n34 array like this:
9v

+
- 1uf 1M
25v
1M The original diodes were germanium 1N270 types.

In .01uf 10k
+ 10k
+
741
.001uf - 1uf
.047uf 35v Tant. .001uf
4.7k D1 D2
1M 10k
1M
1M

8-10pf

1/2 S1
Out

2.2k
-Components connected by dotted lines signify modifications
V+
for click prevention (1M resistor) and oscillation (cap in feedback
loop). 1/2 S1

-Effect could be improved with true bypass switching.

 MXR Hot Tubes Distortion
IN OUT

22pf

75k
20k
+9v 0.1uf + -
- +
20k
+

1M 120k +
1uf
+ 47pf
30uf

22pf
220k 1m
220k 0.1uf 150k
8k2 0.015uf 0.22uf 15k

+
+ 470k 4.7uf
220k 1uf 1m5 2m2

unknown value
unknown value
10K?
100k?

+ = 1/2 of dual 741 or 4558 opamp; +v on pin 8, -v on pin 4

-

= 1/6 of CD 4049 CMOS inverter. Vdd on pin 1, Vss on pin 8

The MXR Hot Tubes is a commercial cousin of Craig Anderton’s "Tube Sound Fuzz". It differs in that it uses a dual
opamp input buffer, more stages, and more filtering. Also, there appears to be a DC offset in the bias points of two of
the inverter/distortion stages.
 4.7K
-15
+15 10K 10K
1M
2N4302
100K 100K
10K

IN 0.33uF 10K 4.7K OUT

10K
2N4302
+15 +15 +15
33K 1M
10K
-15
4.7K

4.7K
100k 100k 100k 100k 100k 100k

100k +15 100k 100k +15 100k 100k +15 100k

6 2 6 2 6 2
8 8 8
7 1 7 1 7 1
5
- 3
- 5
- 3
- 5
- 3
-
+ + 4
+ + 4
+ + 4
0.01uF 0.01uF -15 0.01uF 0.01uF -15 0.01uF 0.01uF -15
100k 100k 100k 100k 100k 100k
1M

-15 +15
10K
selected DC offset
Oberheim PS-1 Phase Shifter
+15
-15
0.33uF
100K 4.7K 1M
6
+15
2 7
8
1 5
- -15
10K - + 4
220K 10K
3 + 10K -15 10K
10K
Medium Fast 150K 150K
+220uF 4.7K
33K 33K
Phase Phase 10K 33K
FET Bias
Osc.
P1069C
2N4302
Ampl.
+ 4.7uF 10K
-15 +15 1M 1M 10K

1N4002 (4X)
All IC’s are 1458 dual op amp. All bipolars are 2N3638A.
270 (Pin 8
+15 0f IC’s)
Blk Red +470uF Adjustment procedure:
AC Switch, 1N965
Power Wht 25v 1. FET Bias: With Osc.Ampl. trimmer fully counterclockwise, adjust FET Bias so that
Ind, Fuse +470uF 1N965 audibile phasing sound is in the middle of its range.
25v
115 VAC (Pin 7
Blk
Grn -15 2. Osc. Ampl.: Adjust for desired depth of phasing sound.
Of IC’s)
270 3. Output Offset: adjust for minimum "click" when Off/Slow Phase switch is operated.
 Olson New Sound

No bias?
Leakage bias?
Battery polartiy?

1.5v
+

0.003uf 10k 10k 0.003uf

1uf 100k 1M
In 1uf
10k 15k 5k 47k Out
1M

= 2SB175 Runs on one 1.5v battery!

 ProCo Rat Distortion

47
9v & pin 7
9v Adpt. + 150k Log
100uf 1N4001 33k 0.001uf
4.5v
+
100pf 47uf
+

33k
9v 4.5v
BF245A +9v
100k
Input 4 1k 100k Log 1.5k
0.022uf 1k +
6
+

3
-

2 8 1 4.7uf
+ 1nf 35v 0.0033uf
1uf
1k 30pf
1M

560 47
+9v
+ +
4.7uf 2.2uf
Output BF245A
10uf

100k Log 0.022uf

+

10k 1k 1M

IC = LM308
Diodes = 1N4148
 ProCo Rat Distortion

100
100k Log 9v & pin 7
9v Adpt. +
100uf 1N4001 100k 0.001uf
16v 4.5v
+
100pf 1uf
+

100k
9v 4.5v 50v

Input 4 1k 100k Log 1.5k

0.022uf 1k 1M +
6
+
3
-

2 8 1 4.7uf
35v 0.0033uf
0.001uf 30pf

560 47
+9v +4.5v
+ +
4.7uf 4.7uf
35v 35v
Output
2N5458 1M

100k Log 0.022uf

+

1uf 10k
50v
Type B Rev 7-81
IC = LM308
Current Drain @ 9v Diodes = 1N4148
~ .6ma, no Input (idle)
~ 1.6ma, full output
 THE

BOMB
PVC Tube X long by Y diameter

amp2 OUT
IN amp1

Crystal Mic

Telephone Speaker
My dimensions for my prototype are X= 36cm, Y= 5.5cm. This imparted a pretty high pitch tone but I like it.
The X and Y dimensions should be played with to create the exact tone your looking for, also I chose a telephone
speaker and a crystal mic so I got the funkiest tone I could think of. A dynamic mic would limit the trebel somewhat
probably make it sound less harsh. I’d be interested in any mods made to this design (ie. stories, ideas, etc.) so feel
free to email me. The amps can be any old simple op-amp configuration that can drive a speaker or take a mic input.
I just used some surplus stuff I had lying around to make mine. The end product had all the circuitry inside the tube and
the battery on the outside, with one control for the gain of the speaker (mic was at fixed gain). Note, if you place
this infront of your amp and turn every thing up, without adding any dampening to the tube it will feedback like you
wont believe! You will probably wish to avoid this as it tends to hurt your ears. I put a bit of foam rubber in one end of
the tube and an old sock in the other to dampen feedback. I like to leave my options open though, so I also didn’t make
this a permanent addition. My prototype is basically a fuzz, as my guitar will overload the speaker quite easily and the
tube just adds a bit of strange overtone and what I swear is the tiniest hint of reverb. Sounds great though! Clean tones
through a similar set up would sound good too, but I haven’t built one of those yet. Perhaps a larger speaker (4-5") and
an old carpet tube would add better characteristics for clean tones. Try changing the tube matierial also for a different
tone, I almost used a bit of gutter piping when I first built this, now I wonder what it would’ve sounded like.

Jamie Heilman 11/93

[email protected]
 to 9V battery + to +9V

220k
6.8K
5uF to output from
to
pickup +

+
jack output
from switch 1uF -

+
jack
pickup 2N5457 15uF
220k
selector

10uF
10M 2.2K 51K 100k
signal to 9V battery -
ground

+
Gain set 100k
22uF

For people who don’t like op amps, here is a discrete JFET preamp design. It has A preamp from a TL071 op amp. The gain set resistor lets you
low distortion, low noise, low feedback, overloads gracefully, is small, etc, etc. customize the gain. As shown, it is 2. Lowering the Gain Set
Overall gain is 3db (2X) or so. It uses about 1/2 ma, so a 9V battery will resistor lets you raise the gain. You get distortion at high gains.
last a long time. You can add a high boost switch if you like by having it shunt the
2.2k resistor with a 0.05uF cap (or other value; smaller cap = boosts only higher
frequencies, and the reverse). You can just put in a 10uF cap across the 2.2k
resistor to up the gain.
Circuit by Don Tillman. [email protected]

1M 1M
to 9V-
to +9V
terminal
from
pickup
switch 250k 50 1uF to
0.1uF
+ output
- jack

The opamp is a LT1012 micro power opamp, could be other low noise low power
op amp. Use a stereo jack on the guitar to turn power on when a cable is plugged
in. The circuit produces no noticeable noise or distortion and a 9 volt battery lasts
a couple of years. This is intended to buffer the guitar pickups and controls from
the cable capacitance. It is possible to add gain to this circuit by modifying the
 Stage Center Reverb Unit
from Guitar Player 1976 by Craig Anderton
33k
6 0.22uf
0.02uf -
4
5 + 10k
11 8 0.22uf
Input - 10
22k 50k 9 + Output
1M 7 +

9v 0.02uf 4.7k
0.01uf + 1N4001 9v
C2
+

C1 +
2.2M
4.7k
1N4001 470k*
14
47k - 12
15 +
220pf 1 Cancel
-
0.22uf
To Reverb 2
3 +

50k
From Reverb

This simple spring reverb can be built cheaply and requires a minimal amount of space for the circuit it self.
The op-amp is a quad type, the pinout for a 4136 is shown, 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% tolerence, and all caps are rated at 10 or more
volts.
 Simple Mixer

0.1uF 100K

100K 100K
10K Gain changing resistor

0.1uF 100K 9V 100K

9V

+
- -
10K + +

0.1uF 100K 1M

9V
10K
100K 100K
0.1uF 100K

+
10K
9V + +
22uF 2.2uF

A simple mixer suitable for mixing microphones or effects outputs. The overall gain from
input to output is one if the pot corresponding to the input is full up. You can make this
a net gain of ten (or any other reasonable gain) by reducing the input resistor to the
second op amp. 10K in this position gives a gain of ten, or 20db. If you are mixing effects
outputs which have an output level control built into them, you can dispense with the
input level controls, or make some have level controls, some not. Audio taper pots are
probably better, but linear will work.

For the opamps, choose a jfet input dual or singles, like from the National Semi LF3xx
series, or something like the TL072 or TL082.
 EH Small Stone Phaser
Issue J

V+ V+
15k
Vbias
10k
Vbias
33uF
+ 10k 470k LFO LFO
2N5087
V+ V+
0.0068 0.0068 0.0068
7 5 1 8 7 5 1 8

+
2N5088 2 2

30k
+ 27k
+
100k 10uF
1k
- 1k
-
IN 4.7k 3 3
4.7k
Vbias 4 6 Vbias 4 6

27k 27k
30k 10k 10k

LFO LFO
9V V+ V+
0.0068 0.0068
8 1 5 7 8 1 5 7
+

270k
27k 3.3k 2 2
ON
V+
+ 27k
+
0.1
4.7k
- 1k
- 1k
27k
3 3
BYPASS
0.1 6 4 Vbias 6 4 Vbias

EFFECT 27k 27k

470k 27k
10k 10k

COLOR V+
OUT
SWITCH
4.7k
V+
2N5087
1
3

15k
22k 2

4 5 6
1k 27k
ON
1.8k 1M
+ 100
33uf
0.1
V+
27k 7.5k

The Small Stone is somewhat unique in using Operational Transconductance Amplifiers (OTA’s) for phase shift stages
instead of opamps with variable resistors. All of the IC’s are house marked EH1048, but can be replaced with CA3094
which is a combination of an OTA equal to the CA3080 and a darlington emitter follower. Later Small Stones used slightly
different circuits, but all used the OTA.
Name: Soul Preacher Manufacturer / Designer: Electro-Harmonix Revision: 10/13/95 Model #

330pf

10uf 25V
tantalum 1k 10k
+9V

+
100k
270k +9V Linear
0.15uf S1
0.1uf 2 8
1uf 25V -
1

+
Q1 220k 0.1uf 0.1uf IC1a

+
+
In 3 4 10k 10k
680k 10uf S2 Out
270k 4k7 100k Log
270k 25V
tantalum
J1

+4.5V
9V 47k 1N3666 10k
1M
+

20k IC1b 6 10k

10uf 16V -
7
Q2 +
+

5
15k 0.1uf + 10k
+
1uf 4M7 10uf
AC +9V 35V 16V
Q3 1N3666
Adaptor 220 + tantalum
3k9
100uf Q4
25V +4.5V
+
1uf 4k7
4k7
25V

-All resistors are carbon film, 1/4W, 5%, unless otherwise noted
-All non-polarized capacitors are mylar, 50V, 10%, unless otherwise noted
-Transistors Q1-4 and FET J1 are unknown
-IC1 is a 4558
 EM Stereo Spreader
100k
10k
100k
2 10k
- 1 2 1k 10uf
Left In IC1a +
- 1
3 IC2a

+
+
8 3 Left Out
8
10k
100k dual linear
potentiometer

10k

100k
10k
6 1k 10uf
-
100k 7
IC2b

+
+
6 Right Out
- 7 5
Right In IC1b +
4
5 10k
4

10ohm 1/2W 10ohm 1/2W

to pin 8 IC1 to pin 4 IC1
V+ V-
and IC2 and IC2
+
33uf 33uf
+

IC1 & IC2 are 5532 Dual Op amps for low noise. All resistors are 1% metal film 1/4W unless otherwise noted. Requires bipolar power supply from 9 to 15 volts.
 For that different sound, Music a la Theremin
By Louis E. Garner, Jr.
Published November 1967, Popular Electronics
For about the price of an inexpensive guitar, plus a few hours assembly time, you can own
and enjoy what is perhaps one of the most versatile of all musical instruments: the unique
and amazing theremin. Named after its Russian-born inventor, Leon Theremin, its frequency
range exceeds that of all other instruments, including theater pipe organs, while its dynamic
range is limited only by he power capabilities of the amplifier and speaker system with which
it is used. Above all, it is a true electronic instrument, not just an “electronic version” of a
familiar string, reed, or percussion instrument. Its tone is unlike that of any conventional
instrument.
A musician playing a theremin seems almost like a magician, for he can play a musical
selection without actually touching the instrument itself! As he moves his hands back and
forth near two metal plates, he seems to “conjure up” individual notes at any desired volume;
he can “slide” from one musical note to another with ease, can produce tremolo and vibrato
effects at will, and can even sound notes which fall outside the standard musical scale. He can
play tunes or melodies, produce unusual sound effects, or can accompany a singer or another
instrument-all by means of simple hand movements.*
The theremin is ideal for amateur as well as professional musicians and can be used for “fun”
sound effects as well as for serious music. It makes a wonderful addition to the home
recreation room, and can be used equally well by rock’n’ roll groups or larger bands. Theatrical
groups find it just the thing for producing eerie and spine-tingling background effects to
accompany mystery or horror plays, and for the budding scientist or engineer, it is an
excellent Science Fair project.
The typical theremin has two r.f. oscillators, one having a fixed, the other a variable,
frequency, with their output signals combined in a mixer/amplifier stage. At “tune-up,” the
oscillators are preset to “zero beat” at the same frequency. The frequency of the variable
oscillator is controlled by an external tuning capacity--the “antenna”—which is a “whip” or
simple metallic plate.
As the musician’s hand is moved near this antenna, the variable oscillator shifts frequency
and a beat note is set up between the two oscillators. The pitch is proportional to the
difference in frequency between the two oscillators. This beat note, amplified, is the theremin’s
output signal. The more advanced theremin designs—such as the version presented here—use
a third oscillator to control output volume and two antennas. This theremin also uses a
unique FET volume, and a FET output stage. See Fig. 1.

Construction
Except for the two control antennas, power switch S1, and battery B1, all components are
assembled on a printed circuit board as shown full-size in Fig. 2(B). An insulated jumper is
required between C15 and R20 as shown in Fig. 2(B) and Fig. 3. Mount the PC board in a
suitable cabinet with four spacers (see Fig. 3), making sure that suitable holes are drilled in
the cabinet or though a dialplate to accept the tuning-slug screws of L2 and L4. Coils L1 and
L3 are mounted on small L-brackets; initially, these brackets should be adjusted so that L1 is
at right angles to L2 and L3 at right angles to L4. Switch S1 is also mounted on the cabinet or

* Nearly everyone who has ever watched television or attended a motion picture has heard
music and background effects produced by a theremin, yet relatively few could recognize the
instrument, and fewer still have had the chance to own or play one. With its astounding tonal
and dynamic ranges, it has been used to produce background music and special effects in
scores of science-fiction, fantasy, horror, and mystery shows.

1
dialplate, in the area of the L2 and L4 slug screws, while the battery is secured to the cabinet
wall.
Ordinary copper-clad circuit board can be used to make up the pitch and volume control
antennas. Although the author’s units are equilateral triangles approximately 9” on a side—
almost any other design will do—shape is not critical. If desired, the upper surface of the
antennas may be covered with a colorful material (see cover photo).
The antennas are mechanically mounted on an electrically conducting support. The ones used
by the author, (see Fig. 4) were six-inch lengths of 3/4” aluminum pipe with appropriate
mounting flanges. The antennas were attached to the pipe with conduit plug buttons soldered
to the bottom of each antenna. The flanges of the buttons should make a good friction fit to
the pipe. A solder lug for connection to the PC board is placed under one of the pipe support
mounting screws as shown in Fig. 3.
Connect the negative lead of the battery to terminal B on the PC Board; then connect the
positive battery lead, via S1, to terminal A. The center lead of the audio output coaxial cable is
connected to terminal C on the PC board, while the associated braid is soldered to the ground
foil. Connect the volume control lead and one lead from L3 to the proper hole on the PC board
(see Fig. 3), then connect the pitch control lead and one lead of L1 together and solder to the
hole on the PC board. The other ends of both coils are soldered to the ground foil of the PC
board.

Tuning
Although the theremin is used with an external audio amplifier and speaker, no special test
equipment is needed for the tuning adjustments. The procedure is as follows.
1. Temporarily short Q6’s gate and source electrodes together, using either a short clip lead,
or a short length of hookup wire, tack-soldered in place.
2. Preset the coil (L1, L2, L3, and L4) cores to their mid-position.
3. Connect the theremin’s output cable to the input jack of an audio amplifier (with speaker)-
-a guitar amplifier is ideal. Turn the amplifier on, volume up to nearly full.
4. Turn the theremin on by closing S1 and adjust L2’s slug (keep hands or other parts of the
body away from the pitch antenna) until a low frequency growl is heard from the speaker.
5. Turn the theremin off and remove the short from Q6.
6. Turn the theremin back on and adjust L4’s slug until a point is found where the growl is
heard from the speaker. Then adjust L3’s stud until the sound is reduced to near zero.
This setting, although somewhat critical, will be stable once obtained.
7. Finally, adjust L2’s slug until the growl becomes lower and lower in pitch, finally
disappearing as “zero beat” is reached.
With the coils properly adjusted, no output signal will be obtained unless the operator’s hands
are moved near the pitch and volume control plates simultaneously. As the operator
approaches the pitch control plate, a low-frequency note should be heard increasing in pitch
as the hand moves nearer and, finally, going higher and higher and beyond audibility as the
hand almost touches the plate. As the operator puts his hand near the volume control, a low
level signal should be heard, increasing in amplitude until maximum volume is attained just
before the plate is touched.
After the initial adjustments, L2 and L4 can be readjusted from time to time (using the front
panel knobs) as needed to correct for minor frequency drift. In any case, a preliminary check of
adjustment is always desirable whenever the theremin is to be used for a performance.
One further adjustment is optional. Coil L1’s positioning with respect to L2 will determine, to
some extent, the shape of the output waveform and, hence, its harmonic content. The
mounting bracket supporting L1 can be adjusted to reduce the mutual coil orientation to less

2
than 90 degrees if a greater harmonic content is desired. However, as the angle is reduced,
low-frequency notes may tend to become pulse-like in character.

Installation
A guitar or instrument amplifier is an ideal companion unit for the theremin; either one allows
bass or treble boost, as desired, and fuzz (distortion) or reverberation (if these features are
incorporated in the amplifier’s circuit). Simply provide a suitable cable plug and connect the
theremin’s output cable to the amplifier’s input jack.
It is not necessary to purchase a special amplifier. The theremin’s output signal level is
sufficient to drive most power amplifiers to full output without additional preamp stages. The
instrument can be used, for example, with a monaural version of the “Brute-70” amplifier
described in the February, 1967 issue (of Popular Electronics).
If the theremin is used in conjunction with a power amplifier which does not have a built-in
gain (or volume) control, a “volume level” control should be added to its basic circuit to
prevent accidental overdrive. This can be accomplished quite easily by replacing source load
resistor R16 (Fig. 1) with a 10,000-ohm potentiometer.

Operation
The results obtained depend more on the ability of the operator than on built-in limitations
within the unit itself. A good “ear” for music is a must, of course, but, in addition, a moderate
amount of skill is required, particularly in finger or hand dexterity and movement. The latter is
learned only through practice. For a start, here are the basic techniques.
To sound an individual note, first move the “pitch” control hand to the proper position near the
pitch antenna (as determined by practice) to sound the desired pitch. Next move the “volume”
control hand quickly to the proper position near the volume antenna to sound the note at the
desired level, then away after the proper interval to sound an eighth, quarter, half or full note.
To sustain a note, hold both hands in position. The note volume may be increased slowly by
moving the “volume control” hand slowly nearer the volume antenna, reduced by moving it
slowly away.
To “slide” from one note to another, hold the “volume hand” fixed in position and move the
“pitch hand” nearer (or away from) the pitch antenna plate.
To produce a vibrato effect, hold the “volume hand” fixed in position and shake—or tremble—
the “pitch hand” at the desired rate.
To create a tremolo effect, hold the “pitch hand” fixed in position and vibrate—or tremble—the
“volume control” hand.
Tremolo and vibrato effects can be produced by simultaneously rapidly moving both hands
back and forth.
If you’ve used triangularly shaped control plates in your instrument (as in the model shown),
you’ll find that a given hand movement has less effect on operation near the narrow (pointed)
end of the triangle than near its broad base.
Practice is important!
================[30]======================

3
 How It Works
Transistors Q1 and Q2 are the variable and fixed “pitch” oscillators respectively, while Q4
serves as the “volume” oscillator. Essentially similar circuits are used in all three oscillators,
so only one (Q1) will be described here. Base bias is established by resistor voltage divider R1
and R2, with the former bypassed for r.f. by C3. Resistor R3 serves as the emitter (output)
load. The basic operating frequency is determined by the tuned circuit of L1 and the
combination of C1 and C2.
In the case of Q1 and Q4, their tuned circuits are also connected to external “antennas.” When
these antennas are “loaded” due to body capacitance (the presence of a hand near the
antenna), this “load” is reflected to the tuned circuits as a capacitive change which, in turn,
alters the frequency of oscillation. Because Q2’s circuit uses no “antenna,” its frequency
remains constant at all times.
In operation, Q1’s r.f. output signal is coupled to mixer/amplifier Q3 via coupling capacitor
C5—while Q2’s signal is coupled to Q3 via C10. If these two oscillators (Q1 and Q2 ) are at the
same frequency, then there will be no resultant “beat” present at the collector of Q3. However,
since Q1’s frequency is determined by how close the operator’s hand is to the “pitch” antenna,
the resultant beat frequency will vary as the distance between the hand and antenna varies.
Because the mixing action of Q3 produces both r.f. and audio beats, capacitor C12 is used to
bypass the r.f. components and prevent them from appearing at the collector of Q3. The
resultant audio beat is passed, via the volume control circuit, to the FET output stage, Q7.
Oscillator Q4 (the “volume” oscillator), like “pitch” oscillator Q1, has its frequency of
oscillation determined by the amount of hand capacitance near its “antenna.” The r.f. signal at
the collector is coupled via C20 to another tuned circuit consisting of L4 and C22. The r.f.
signal across this second tuned circuit is rectified by diode D1 and applied to the base of d.c.
amplifier Q5. Thus, the d.c. voltage level present at the collector of Q5 is a function of the
amount of r.f. present on L4-C22. This level is at its maximum when the L4-C22 tuned circuit
is at the same frequency as the Q4 collector tuned circuit.
In practice, however, the frequency of Q4’s tuned circuit is made to be slightly higher than the
L4-C22 frequency. As a result, very little d.c. signal is passed to the base of Q5. This means
that the voltage at the collector of Q5 is at a maximum. If the frequency of Q4’s tuned circuit is
reduced, when a hand is placed near the “volume” antenna, the base current applied to Q5
increases, causing the collector voltage to drop.
The unique volume control consists of FET Q6, connected in shunt with the audio signal flow.
The audio signal at the collector of Q3 passes through d.c. blocking capacitor C13 and is also
isolated (for d.c.) from Q7 by C14. Resistor R13 and FET Q6 are arranged as a voltage divider.
If the gate voltage of Q6 is highly positive, then the FET acts as a low resistance between R13
and ground, greatly reducing the signal level allowed to pass to Q7. As the gate of Q6 gods less
positive, the effective resistance of Q6 increases and the level of audio signal to Q7 increases.
The voltage at the collector of d.c. amplifier Q5 is connected to the gate of Q6. As this voltage
level is determined by the frequency of Q4, the operator can readily adjust the output volume
by changing his hand capacitance to the “volume” antenna. The variable pitch variable-volume
audio signal is coupled to an external audio amplifier via FET Q7. A FET is used for Q7
because its very high input-impedance (a couple of megohms) will not affect operation of FET
Q6. If desired, the source resistor of Q7 can be changed to a similar valued potentiometer.
-[30]-

4
 PITCH ANT
VOLUME ANT.
JUMPER WIRE

C19 C8 L2 C15 C3
D1 R4 C11 R11 R9
R17 R16 R1
L4 C14
L1
Q4 C17 C6 Q2 C1 Q1
L3 Q5 C10 Q6 R13 Q3 C5
Q7 C13
C20 C21
C16
R18 R19 R6 R7 R3 R2
C18
R20 R15 C12 R12 R10 C2
C7 R8 R7
C22
R14
C9 C4

+9 VOLTS AUDIO OUT

GROUND
 VOLUME
PITCH ANTENNA
ANTENNA
9V DC
POWER
R7

R3
R2 R20 C20

C4 Q5 Q4
Q1 C C21
C2 C1 E C C17
B

C B C3 C5 B
E C19 E
C22 L3
C18
L1 R1 D1 L4 R17

C9 R8 C15 R19
R18
C12

R6 R10
C7 R5 R12
C13
R15
Q3 Q6 Q7
C6 E Q2 C S D
C10 G
B R13 G
B D C14 S
C16
C C8 E
AUDIO
OUT

L2 R4 R9 R11 C11 R14 R16

B1 9-VOLT BATTERY
C1,C6 390pF POLYSTYRENE CAPACITOR
C2,C7,C17,C22 0.001uF POLYSTYRENE CAPACITOR
C3,C8,C19 0.1uF DISC CERAMIC CAPACITOR
C4,C9 10uF, 15V ELECTOLYTIC CAPACITOR
C5,C10 60pF POLYSTYRENE CAPACITOR
C11 200uF, 15V ELECTOLYTIC CAPACITOR
C12,C14,C15 0.001uF DISC CERAMIC CAPACITOR
C13 0.01uF DISC CERAMIC CAPACITOR
C16 5uF, 15V ELECTOLYTIC CAPACITOR
C18 0.01uF POLYSTYRENE CAPACITOR
C20,C21 4.7pF POLYSTYRENE CAPACITOR
D1 1N34A DIODE
L1,L2,L3,L4 50-300uH ADJUSTABLE COIL
Q1,Q2,Q4 MPS3638 TRANSISTOR (MOTOROLA)
Q3,Q5 MPS3708 TRANSISTOR (MOTOROLA)
Q6,Q7 TIS-59 N-CHANNEL FET (TEXAS INST)
R1,R4,R17 47K 1/2W 10% RESISTOR
R2,R5,R18 33K 1/2W 10% RESISTOR
R3,R6,R7,R8,
AND R11,R19 1K 1/2W 10% RESISTOR
R9,R12,R16,R20 10K 1/2W 10% RESISTOR
R10,R13 100K 1/2W 10% RESISTOR
R14,R15 4.7MEG 1/2W 10% RESISTOR
 Tone Booster
from Everyday Electronics Sept. 1978

peaks frequencies at 5000 Hz for a "cleaner and more penetrating" sound

+9v
+
150uf 4k7
Q2
330k
0.1uf
Q1 100p 0.1uf Out
In 22000p
820k

2k2 2k2
0.1uf 4k7
+

+9v

Q1 - ztx384
Q2 - BC415p
 Bass
1M 39k
0.005uf Tone Control Circuits
0.005uf Preamp w/
Bass & Treble
Control
39k 10k +V
20uf
-

+
IN 709 OUT
+

20uf 600
0.0015uf Both of these circuits provide some additional control over tone.
ohms
They were origionally intended for use with synth modules but
could be easily incorporated into most any effects circuit.
250k
Treble

+15v
IN
10k
+ OUT
100k 470k 56k 20uf
22k 250k 22k 47k
4.7uf +
10k 20uf
500k
6800pf 6800pf
+

0.5uf 1k
220

+
HEP 51
100k ohms
6800pf 6800pf 20uf
2k2
10pf
+

1.0uf 2k2 25k 2k2

470k 3k3 1N914 220 ohms
Unlabeled ??? 1N914
= HEP 50

Tone Control circuit with signal isolation and impedance-matching stages.

 Controllable Tremolo Circuit

+18v
Depth 5k6
4k7 0.1uf
1uf 10k 100k
+

47k 47k 1uf

+

HEP 251
+

1M
1uf
2k2
HEP 801
+ 2uf IN

+
1k 0.5uf OUT
1uf
47k
25k
Rate

This tremolo circuit is not a "plug and play" ready guitar effect, however it could be converted to one
with relative ease. It just needs some buffering on the input and ouput and perhaps some bypass
switching.
Name: Tube Distortion Manufacturer / Designer: Ron Black Revision: 10/13/95 Model #
Circuit from Guitar Player : October 1981

Bridge 1N3600
Rectifier

1 2
120VAC - IC2 12V

3
10k
12VAC 470uf 1000uf 6V
+ +
200mA minimum 50V 12V 100uf +

6V 10k

12V
In
180k 180k
0.1uf 0.01uf

1 6 7 9 0.1uf
- 10
2 13 0.01uf 0.01uf IC1b
100k + 2 7 +
4 Out
IC1a 6
- 12 500k
1
3 8
Filament of
470k 1M 1M 12AU7A
22k 4 5
12V
6V

IC1 - 747 dual op-amp, others may be substitued but pinout will differ
IC2 - LM340K-12V Voltage Regulator
Bridge Rectifier - Full wave bridge recitifier, 50 Volts, 500 mA minimum
All resistors 1/2 W, 10% prefered
Name: TubeHead Manufacturer / Designer: PAiA Electronics Revision: 11/4/95 Model # 9305
0.05uf
IC1e IC1f IC1a 33uf 33uf
Vcc
11 12 14 15 3 2
12VAC

+
0.5A D1 100
+12v 10 IC1b
S1 IC1d
5 4 D3 D4 D5 D6 D7
100uf + 1000uf +
220pf
25v 16v IC1c 33uf
9 33uf 33uf
7 6

+
33k 33k
330 100uf + 1000uf +
1k 10k 25v 16v IC1 - 4049 CMOS Hex Inverting Buffer +42v
+12v Vcc - Pin 1 IC1
-12v +12v - Pin 8 IC2, IC3, & IC4 IC2, 3, & 4 - 5532 Dual Low-Noise OpAmp
D2 100 -12v - Pin 4 IC2, IC3, & IC4 D1, 2 - 1N4001
Vref D3, 4, 5, 6, & 7 - 1N4148
- Pin 8 IC1
All 1uf caps 50v all others 25v unless
10k marked otherwise.
+42v All resistors 1/4W, 5%
+
0.01uf 1uf
220 270k 270k 1uf

+
220
22k
82k 100k 1uf
10k Drive

+
82k
12AX7 1 6 470k 10k Output
2.2uf 47k" 10k
20pf 47k 1uf
+

2 Pre/
- 7
1 2
+

In Post 6 5pf 33uf

3 330
47k* +
100k Blend 470k -
7

+
IC2a Trim
150k 3 8 5 +
4 9 6 Out
8k2 IC2b
Vref 12VAC 10k
2k7 2k7
Clip 3 100k Trim Pot controls Symmetry
100 +
1
- 2
IC4a 100k Channel 1

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 TubeHead as a instrument pickup preamp, remove the 47k*
resistor and the 20pf cap from the feedback loop of the driving OpAmp. Then change the 47k" resistor to 680k and the 22k resistor in the feedback loop of the
driving OpAmp to 100k. Now the TubeHead can be used to warm up a cold sounding guitar amp or just provide a great preamp tone.
Original circuit from December 1993 Electronic Musician
Name: Tube Mic Pre Manufacturer / Designer: PAiA Electronics Revision: 11/11/95 Model # 9407
0.05uf
IC1b IC1a IC1d 33uf 33uf
Vcc
5 4 3 2 9 10
12VAC

+
0.5A D1 100
+15v 6
S1 A IC1c D3 D4 D5 D6 D7
470uf + 220uf +
220pf
25v 25v IC1e 33uf 33uf 33uf
7
G

+
11 12
33k 33k
330 470uf + 220uf +
25v 25v IC1 - 4049 CMOS Hex Inverting Buffer +48v
Vcc - Pin 1 IC1
-15v +15v - Pin 8 IC2, & IC3 IC2, & 3 - 5532 Dual Low-Noise OpAmp
IC1f D2 100 -15v - Pin 4 IC2, & IC3 D1, D2 - 1N4001
Power - Pin 8 IC1 D3 to D8 - 1N4148
15 14
D10 to D13 - 6.8v Zener Diode
+48v D9 - 51v Zener Diode
4k7 470k
PP On 10k 220
100
+
Phant. D9 270k 0.01uf 1uf 270k 270k
+ 1uf Output
82k 10k

+
47uf
IC2b 5 Output
D8 270 100k
1uf 82k

470k
+

10k 7 100k 10k

+
-
Blend 5pf
6 2 470 33uf

+
6 1
1uf -
1

+
470k
4.7uf Drive 100k 1uf IC3a +
7 12AX7 2
+

3
# #
1k 33k 100k 10k
6k81

Polarity # # 10k D10 150k Symmetry #

IC2a 8 4 9 5 3 470 33uf 2
2 47k 10k

+
D11 22k 3
2 -
1 # 1
3 3 + 12VAC 6 10k
1 D12 10k Tube 2k7 2k7 -
7
IC3b 5 + Bal Out
6k81

# # 10k # 33k Drive

Mic In D13
+

#
4.7uf 1k 220

All 33uf caps 16v all others 50v unless marked othewise. Resistors marked with # are 1% film type. The "Drive" LED indicates how hard the tube is being
driven. The "Blend" control allows for a mixing of SS and tube coloration. Symmetry controls the relative amounts of even and odd harmonics, CCW the
Tube Mic Pre may sound punchier, while CW it may sound warmer. The 12VAC needed for pin 5 of the 12AX7 can be obtained from point G while pin 4
should be connected to point A.
Original circuit from Recording Magazine January 1995 1/2
Name: Tube Mic Pre (Mods) Manufacturer / Designer: PAiA Electronics Revision: 11/11/95 Model #

USING STERO PHONE JACKS FOR INPUT

2
3 This mod converts the XLR jacks to 1/4" balanced stereo jacks. However, when a mono plug is used with this new jack the
1 inverting input of the differential amp is grounded, this single-ends the balanced input so standard phone plugs on dyanmic
mics can be plugged in directly. Additionally the polarity switch still works, even for unbalanced inputs. If phantom power is not
turned off while using a singled ended input the performance of the TMP will not be up to par but it won’t damage the TMP either.

USING THE TMP WITH LINE LEVEL SIGNALS

There are two options for line level signals. First if you know that you’ll be using line level signals all the time with the
TMP then you can change the two 33k 1% resistors to 1k 1% types and your done. Alternatively if you want the option Low / Line Level
of line level or low level signals then you can sacrifice the polarity switch and and rewire it here as shown. Notice that 47k
the 47k resistors are again of the 1% variety. 2 #
3
1 47k
#
Mic In

0.05uf USING DC TO POWER THE HEATER FILAMENTS

Vcc This mod can make the TMP quiter. Insted of using the
12VAC 12VAC to power the heater filaments rectified and
0.5A D1 100 filtered DC can be used. This is accomplished as shown.
+15v
S1 The new resistor added is a 15 ohm 1W type, the new
470uf + 220uf + cap is a 1000uf 25v as shown. It is critical that pin 5 of the
25v 25v 12AX7 connects to the ground point shown.

330 470uf + 220uf +

25v 25v
-15v
D2 100 15
Power Pin 4 12AX7
1W 1000uf
+ 25v
Pin 5 12AX7

2/2
 UniVibe (model 905, by Unicord, circa 1968)

100K
B+
22K = 2SC828 except input transistor

+ 1.2M 47K 4.7K

1u
IN 22K
Chorus
100k
2SC539

+
1u 100k OUT
330p 1u
3.3K + Vibrato
+

1u 220k
100k 47k
1.2M +
47k 6.8k 1.2K
1u

B+

100k 4k7 100k 4k7 100k 4k7 68k

15NF 220NF 470N 4N7uF + 1u
100k

100k

100k

100k
1u 1u 1u
+

+
1u 1u 1u 1u
+ 4k7 + 4k7 + 4k7
4k7 47k 4k7 47k 4k7 47k 4k7 47k 22k

CDS
MXY-7BX4

B+

100k 470 470

3.3k + 220k
2.2M 1u 10u 10u
250k 47k
+

+
1u 4.7k 1k
4.7k
24vac
Cancel
1000Uf

250k 115vac

4.7k 1u + 4.7k 50k 47k 220 + 220 + +

220k

6.3vac

The UniVibe is famous from Jimi’s use of it. The LFO is a phase shift oscillator, with the dual 250K pots
in the pedal assembly to control speed. A modern version would substitute an LED/photocell optocoupler for the
four LDR’s and the incandescent light bulb that makes the shifting work. This IS just a four stage phaser, perhaps
with some distortion from the signal path thrown in.

Since the Univibe (r) is being reissued by Dunlop, Dunlop probably owns the "Univibe" trademark these days.
This schematic bears no resemblance, except accidental, to the reissue that Dunlop or anyone else may be making.
 Univox Super-Fuzz

47k 220k 10k 22k 10k 100k

470

22k

270k
1k8 10k 50k 10k 22k 1k8 100k

100k 470k Drive

470
0.1uf
100k 47k

100uf/10v
+

0.001uf 100k 10k

Notch
Level
10k 22k
47k
Normal 100k
50k
10k 0.1uf 15k 1k

IN OUT

= high gain NPN; 2N2222, 2N3391

= 10 uF electrolytic cap, positive at straight bar

The Univox Super-Fuzz is a 69-to-early 70’s design that includes two unique features. These are the octave generation effect
from the differential-pair-with-collectors -tied-together and the choice of just a clipping amp or a 1kHz notch for different
sounds. The odd-diffamp is actually a full wave rectifier as used here. The clipping is all done with the pair of back-to-back
diodes just before the normal/notch filter section. These were originally germanium, although silicon works. You can use
LED’s here for a different sound, but you need a lot of gain in the input to get enough signal to them to break them over.
 Vox Tone Bender

1k .032uf

-
8.2k
9v 10k

Q2 50k - 100k
+
.022uf
In Q1
1/2 S1
Out
1/2 S1
47k

1k
25uf -Transistor Q1 is a SFT 363
+
-Transistor Q2 is a SFT 337
8.2k
-Circuit is very similar to "Fuzz Face"
-The 2n3906 may be used as a replacement for
Q1 and Q2, however originals were
probably germanium.
 VOX Treble Booster

+9V

100K 2K2 0.1uF

2K2
500pF
2N2924

+ OUT
IN
22K 1K 10uF

Original Circuit

+9V

100K 2K2 0.1uF

0.022uF
to 2K2 500K
0.01uF
2N2924

IN + OUT
22K 1K 10uF

Modified to be used as an overdrive/distortion unit

The input cap is changed from 500pF to 0.01 uF (1000pF) or 0.022 uF
(2200 pF) to allow more bass in. This usually overloads the booster
and causes crunchy distortion.