Archive for June 8th, 2012

08
Jun
12

Bits & Pieces 4

I wasn’t expecting to add this post just yet, but I had a stroke of luck which has enabled me to complete the scheme for my mono mixing section which I started writing about when I described the Red Dragon the other day.

I bought a job lot of small SoundLab mixers off eBay which were said to be faulty returns.  I thought I might be able to salvage some parts from them, use bits of them in some way, or even repair them – but it turned out that several of them appeared to be in working order.

Two of them were straightforward 4 channel mono mixers – an updated version of the one I had used before, I presume – so these were immediately used for the left and right channel inputs to the mono mixer, as I described in the previous post.  Generally speaking, I wanted to have the lower tones to the left and higher tones to the right, so my ‘double bass’ stylophone was the first thing to be plugged into the left mixer; the treble stylophone and the SoftPot Stylophone in the right.

4 Mixerssm

More interestingly, the two other working units were the G105C version with ‘microphone effects’ – a delay circuit which I guessed was probably based on a PT2399.  I opened up one of the dead ones, and found that this was the case.

The circuitry was very different from the original SoundLab mixer I’d acquired – all surface-mount components; everything, pots and sockets included, firmly fixed to a single circuit board – and I’m not sufficiently skilled or equipped to be able to repair something like that.  Not only was it not functioning, it seemed to short out the power when the on switch was pressed.

I sawed out the part of the circuit with the PT2399 on it, which didn’t short the power when used by itself, but didn’t do anything to the input sound either.  This section is permanently in circuit when the mixer is operating, so maybe that was why the original unit didn’t work.  In any event, I decided to put the broken ones away for another day, and concentrate on the ones that worked.  The case would find a use later on.

First of all an echo unit is a really useful thing to have – and 2 echo units with 4 inputs is a bonus!

My initial arrangement with these is to have the outputs connected to the new Left and Right Mixers.  The left echo unit is used for instrument input and the output is divided: one half of the output going directly to the Left Mixer, the other half going to the right echo unit, and from there to the Right Mixer.  As the delay time and feedback (number or length of repeats) are separately adjustable on the two units, some interesting stereo effects are possible.

08
Jun
12

Bits & Pieces 3

This Bits & Pieces post covers a few effects modules I’ve recently made.  These are:

1.  Active 3-way tone control – the ‘Tardis’

2.  Active tone control of unknown origin

3.  Active Low Pass Filter

1.  The active 3-way tone control is standard of its type, I imagine.  I don’t know where I found it – years ago I used to scour back numbers of electronics magazines in the local library and copy out interesting circuits.  No doubt it was one of those.  The circuit diagram looks like this:

3 way tone control

and the finished article looks like this:

TARDIS 2smTARDIS 1sm

which is why it’s called ‘The Tardis’ – not because it’s a time-manipulation circuit, which would have been cleverer.

2.  The tone control of unknown origin is unlike anything I’ve seen before or since – or, rather, since the heart of it is quite a high-value inductor, it most resembles a variable bandpass filter – a wah circuit – but is evidently not intended to be swept up and down like a wah wah pedal.

Another of my finds in a very old electronics magazine, it was originally called a ‘Passive Tone Control’, but the reduction in the volume of the input signal was so drastic that I added an amplification stage before it to boost the level to something like the original, and it became an ‘Active Tone Control’.

active-tone-control

Moving the single control from one extreme to the other varies the tone considerably, and it’s very useful with sounds rich in harmonics, like the various Stylophones in my collection.

This was another project after the Touch-Radio which I housed in one of the transparent jewellery cases I had recently acquired.

Active Tone Control Insidesm

Active Tone Control Outsidesm

3. I’d heard nothing but praise for Ray Wilson’s simple 741-based low-pass filter – and indeed the whole ‘Wacky Electronic Noise-maker Thingy’ which it forms part of – so I decided to make one and try it out.  In fact, I made two, and I’m glad I did, because they’re great!  One of them went inside an Optical Theremin project, which I’m in the middle of, and which I’ll be describing as soon as I’m finished [Edit: the Opto-Theremin is described here]; the second one went into another jewellery box project.

I hope I’ve interpreted correctly what it says on the Music From Outer Space website, where it comes from, and it’s OK to reproduce the circuit diagram here:

MFOS low-pass filter

You can read about Your First Wacky Electronic Noise-maker Thingy here: http://musicfromouterspace.com/ – just look for links to ‘WSG’ and you’ll find it. In fact, I just looked at it again and discovered that the circuit there is a slightly more advanced version of the one I built, incorporating fine adjustment of the filter cut-off frequency and a resonance control: looks like I’ll have to go back and make some modifications! . . . Later on I may have to build the whole thing . . .

Note in the diagram above the correct way to wire the cut-off frequency potentiometer.  I used a logarithmic pot, because that’s what I happened to have, which exaggerated the effect of my error the first time I put it together of wiring the pot the wrong way round – no effect throughout most of the travel, then a huge effect in the last quarter-turn: wire it the right way round and you get the full effect through the whole travel of the pot.  Adding a 100k pot, wired the same way round, in series with the 1M pot, at the end marked ‘1’ – which is what the slightly more advanced version includes – would help to make more precise adjustment of the tone.

I should add that the whole Music From Outer Space site is an absolute mine of information and worth reading in its entirety: you can learn about synth modules, study circuit diagrams/schematics and buy circuit boards and so forth associated with the projects described.

Once I get round to doing the modifications, I’ll add a comment or edit the post and show a picture of the finished article.

Edit: I finally got round to adding the extra parts of the circuit – a fine control for the filter cut-off point and a resonance control.  The revised circuit looks like this:

New MFOS Filter

and the finished unit looks like this:

Revised Filter IMG_1477

 

 

 

 




andymurkin

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