tag:blogger.com,1999:blog-82541447122007698502024-02-19T07:05:25.039-08:00Valve Analogue, Tube Analog, Guitars and StuffDumping area for various material. May or may not be useful or correct.Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.comBlogger23125tag:blogger.com,1999:blog-8254144712200769850.post-45991258489251642192021-09-30T00:49:00.003-07:002021-09-30T00:49:34.264-07:00Satin to Gloss finish Gordon Giltrap Vintage / Armstrong VE2000DLX <div class="separator" style="clear: both; text-align: center;">
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<p class="MsoNormal"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">Deciding to buy an acoustic, via the web, which you
have never tried or physically seen is pretty idiotic, but something I did last
year. Despite tying out a Lareevie which I found ideal, I went for the Vintage
Gordon Giltrap deluxe, possibly as I can't resist a bargain. The spec sheet
reads off the scale, an ebony bound neck, gold Grover tuners, luthier designed,
a cedar top, rosewood back and sides, mahogany neck, fishman Blendsys pickup
and a full hard case, I mean, it's a wish-list of an instrument. </span></p>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Muz6a4Z0asJUJphG-Yw-z93jcVM97koDcyjtbrKoKvYR2tqyMmWVeSNAlca_oyjurjLv8dGf77d_u-gCPKxvJ9HP65lEPoane_qDdjZk6gGqI3FyqFsyi5EQ_LzAyN84B4sr85ysXXc/s1600/full+guitar.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Muz6a4Z0asJUJphG-Yw-z93jcVM97koDcyjtbrKoKvYR2tqyMmWVeSNAlca_oyjurjLv8dGf77d_u-gCPKxvJ9HP65lEPoane_qDdjZk6gGqI3FyqFsyi5EQ_LzAyN84B4sr85ysXXc/s640/full+guitar.JPG" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Finished Item.</td></tr>
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<p class="MsoNormal"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">However good it is, with this guitar there is still
room for improvement which is outlined here. The bits I didn't like; A satin
finish to the top and headstock, I really prefer gloss, The fret ends are not
what I would call "vintage feel" to be polite, and the action could
be better, especially as I have a light touch and the neck is wider than
average. So how to make this go from great to stunning and satin to
gloss?</span></p>
<p class="MsoNormal"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">Pretty much a selection microfibre cloth grits and
Meguiars ultimate compound. If you work a small area at a time and sand whilst
using a lubricant (spray wax polish) as the grit reaches its cutting limit the
sound of the cutting action disappears. Being an acoustic top this noise
becomes pronounced enough to use as a good guide preventing any chance of
sanding through the existing finish. I went from 400 - 600- 800- 1000. 1500 and
2000 grit and then carefully removed all cutting debris. </span></p>
<p class="MsoNormal"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">I then masked off everything but the top and buffed
with Maguires with a new soft sponge on a battery drill. Other stuff was the
headstock to gloss, frets levelled, profiled and polished to mirror, fret ends
filed round and the bridge and pins also sanded until I got a reflective
finish. The ebony fretboard also was sanded to a polish with foam backed
micromesh. The foam back on the micromesh allows cross sanding without
producing tramlines in the ebony. Normal paper always seemed to leave
cross-sanding marks.</span></p>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMrTrpcpRPC3REY3EUk_YORG658XB0ghxcfeG41uXRxZM8Ev5TLkvD2Ue7KqgK6ziODiYJDXZPczhKHaEQ3piBNoOxpcSfi9nXVTmu9eD3PcYwW-frVgI1E_5p4xg1S4TY1DmekEvG5mk/s1600/headstock.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1440" data-original-width="1080" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMrTrpcpRPC3REY3EUk_YORG658XB0ghxcfeG41uXRxZM8Ev5TLkvD2Ue7KqgK6ziODiYJDXZPczhKHaEQ3piBNoOxpcSfi9nXVTmu9eD3PcYwW-frVgI1E_5p4xg1S4TY1DmekEvG5mk/s640/headstock.JPG" width="480" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Polished headstock and Truss Rod cover.</td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td><td class="tr-caption" style="text-align: center;"> </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbnum8BJTwRC3IsnIYFiSyGBLOdhvaUOCBGLcZBokuyTeqEkSapDJFF-QY0ebTg0Q7I2owWEVxnWNNX5QtRsCPPekMYZ1jHM_PA025Vma9Ktwi0Eojk3kwZullhbrbpUBbZjhZl54JsjE/s1600/IMG_0827.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1067" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbnum8BJTwRC3IsnIYFiSyGBLOdhvaUOCBGLcZBokuyTeqEkSapDJFF-QY0ebTg0Q7I2owWEVxnWNNX5QtRsCPPekMYZ1jHM_PA025Vma9Ktwi0Eojk3kwZullhbrbpUBbZjhZl54JsjE/s640/IMG_0827.JPG" width="425" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ebony sanded to a polished finish, and frets profiled and rounded</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<br />
The fretboard is bound with no fret-ends, which is not in any specification that I have seen, Odd marketing as I see a bound neck as a big plus.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOs4X0NBYMLgCPkCOKCx-lJmXea-uKot_naNMXsWFk3Vc5bRNLnJiCTHNXv-bOPPjWBUFJFX0lKXKgv2LlTsbS8lgPqgudFo_j1G9P4iT2GIqqlimaWYgos5p26-nL3uAjYErDZ659HU4/s1600/bare+bridge.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1081" data-original-width="1441" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOs4X0NBYMLgCPkCOKCx-lJmXea-uKot_naNMXsWFk3Vc5bRNLnJiCTHNXv-bOPPjWBUFJFX0lKXKgv2LlTsbS8lgPqgudFo_j1G9P4iT2GIqqlimaWYgos5p26-nL3uAjYErDZ659HU4/s640/bare+bridge.JPG" width="640" /></a></div>
<br />
<p class="MsoNormal"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">The TUSQ saddle was sanded to remove the majority
of height, but I then cheated by individually setting string height by filing
each bridge position. Luckily there is enough string break behind the bridge to
ensure the string is still firm over the saddle and held well by the pin. As
the saddle height drops the leverage on the top reduced, so the bow of the top
also reduces, which in turn further reduces the string height. This became a
long and iterative process, but the guitar will tune down a whole tone (D) without buzz, to me it sounds best a half tone down with 11thou strings fitted.</span></p>
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<![endif]--><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1MsACavoUBT_MKhZ7idedxnoOb2ThVpphIE05ft0Cri4b9I-3iz7-Gi4tLBp4s10uOGtDtWcrhM8xZALURxdVyBzbeIS6ZRxSTITigtJpuCGs8N2Q0NBKWV0DlAAjCYfe4SnNszBRxbg/s1600/IMG_0808.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1MsACavoUBT_MKhZ7idedxnoOb2ThVpphIE05ft0Cri4b9I-3iz7-Gi4tLBp4s10uOGtDtWcrhM8xZALURxdVyBzbeIS6ZRxSTITigtJpuCGs8N2Q0NBKWV0DlAAjCYfe4SnNszBRxbg/s640/IMG_0808.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fret final polish</td></tr>
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<div class="separator" style="clear: both; text-align: center;">
Better view of the sanded fretboard, frets and inlay.</div>
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<br /></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjk0NVqu5nykSTLAQjie0WPq3JpZ8Q4AT2NPBBcPfxfZyVTd7HEeWKEnvhe3QuPIpYO79P8U-WpLiRuPMovxrKNJxQXsuLpuYxuq8lGnvo5qG2ZMU5d9jgfmN8CffaenVeeETIqGwdtY4/s1600/IMG_0833.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1067" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjk0NVqu5nykSTLAQjie0WPq3JpZ8Q4AT2NPBBcPfxfZyVTd7HEeWKEnvhe3QuPIpYO79P8U-WpLiRuPMovxrKNJxQXsuLpuYxuq8lGnvo5qG2ZMU5d9jgfmN8CffaenVeeETIqGwdtY4/s640/IMG_0833.JPG" width="426" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
The back and sides, open pore bound, matched back. Perfect.</div>
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<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
How do you photograph a reflective finish.....</div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHxuvoaLVT0JoWQ4Ay5DJtiCjnWsh0tMMXXnG5GcOfdWDlh5YQT6RPAHhIuUn1QSEoa7G0FVSeMFmFX6vP_Ty9Oj9-U-dxHP9U8-S7nYXacjFH0rN3TVnV8m770xl0riqveqLW3ohhZa0/s1600/IMG_0802.JPG" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHxuvoaLVT0JoWQ4Ay5DJtiCjnWsh0tMMXXnG5GcOfdWDlh5YQT6RPAHhIuUn1QSEoa7G0FVSeMFmFX6vP_Ty9Oj9-U-dxHP9U8-S7nYXacjFH0rN3TVnV8m770xl0riqveqLW3ohhZa0/s640/IMG_0802.JPG" width="640" /></a></div>
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<p class="MsoNormal"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-hansi-font-family: Calibri;">The sound is very full, the bass is wonderfully controlled
and the mid and high are seamless. It plays beyond expectation, as I said
earlier, I keep it tuned a semi-tone down. The blendsys pickup has a very low
output, I presume dictated by a very low 3V battery, which is a limiting design
choice. It works well with an external 1" condenser. When recording I
found the phase match between the external condenser and the internal pickup be
out so the internal pickup needed ~2-3ms of delay depending on how far
the external microphone was. Otherwise the sound will thin. I did find
the sound was best without the pickup fitted, but the pickup is hard wired in
so I suffer it's presence if just playing acoustically. Possibly the last guitar I'll ever buy, and possibly the last one I would ever sell. I can't say better than that.<br /></span></p>
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Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com0tag:blogger.com,1999:blog-8254144712200769850.post-41076699072778401192015-02-24T04:41:00.000-08:002015-10-25T16:40:43.723-07:00A Better HT / B+ Reduction Scheme. Or my problem with Zeners. <span style="color: red;">WARNING</span> Please do NOT attempt unless fully competent in working with lethal voltages in a safe and orderly manner! Always PULL THE MAINS supply out of the socket if you want to turn off.<br />
<br />
In the UK there are various voltages on the mains, the limits are ~253V to 217V RMS, though I have seen both limits exceeded. This variance is a pain for valve / tube amps especially when the HT / B+ is already on the high side. Most remedial solutions revolve around a big Zener diode to the centre tap of the transformer to take a chunk of voltage out. However a variable mains supply with a constant Zener drop extends the HT variation still further. <br />
<br />
A much smarter way would be to put in an opposing A/C into the A/C HT with an additional small mains split bobbin transformer. In addition to dropping the overall HT the line regulation will be better than the Zener option and other windings (6.3V etc.) remain untouched. The transformer I chose is a 250mA 15-0-15 (7.5VA) output from Maplin which whilst cheap and small, is more than enough for the job. The trick is to get the winding the right way round. Using a Mulit-Tap output extends the possibilities. <br />
<br />
From measurements, with a 252V mains I have 520V HT. Using the opposing transformer this drops the HT by 55V DC to 465V, much more manageable. If I used the Zener method I could also achieve the 55V drop. However If I then plug into a 220V mains supply then the Zener will still drop 55V where the opposing transformer would now only drop 48V leading to better overall regulation. Something to watch if you generate the output valve bias from the HT line.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga4oAD2caUBtC72n1wzjHqbgZj1Aj2R51EdEDBPPILzSscbQpSgOdmADf97MmcYuHyyXYs4ugl2w2qR1esgdLvezAuEPqY-OC5u9_Va3sXHq_VJM_zu3u5Ebiybda7nq1ujacZIfu27FM/s1600/HT+Drop+Circuit.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEga4oAD2caUBtC72n1wzjHqbgZj1Aj2R51EdEDBPPILzSscbQpSgOdmADf97MmcYuHyyXYs4ugl2w2qR1esgdLvezAuEPqY-OC5u9_Va3sXHq_VJM_zu3u5Ebiybda7nq1ujacZIfu27FM/s1600/HT+Drop+Circuit.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Addition of a 230V - 30V 250mA transformer.</td></tr>
</tbody></table>
<br />
Overall the cost is similar but I get the satisfaction of better regulation. The transformer should last the life of the amplifier. To locate the correct polarity, wire the opposing transformer to the mains input and connect one end to the low side of the transformer. Then measure the AC between the unconnected output and the HT high side. The voltage will either be higher or lower than the HT depending on the phase being additive or 180 degrees out. When you measure a lower voltage then this is the end to connect to the transformer and the other lead will connect to the rectifier. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEcSA6Tz5Q2DMfvPwkR2M67eAkeIpAh5wsV33jgx_VjfoRMBCa_eR97ndJCnIBjHYMvsEBFvoZGakU4l9vMDVcplKLHjBxOGFnjHGAPlazfO-ohTU4PVJ6pRXTjo8L3z2_BMWMwESn7ZE/s1600/Voltage+Drop.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEcSA6Tz5Q2DMfvPwkR2M67eAkeIpAh5wsV33jgx_VjfoRMBCa_eR97ndJCnIBjHYMvsEBFvoZGakU4l9vMDVcplKLHjBxOGFnjHGAPlazfO-ohTU4PVJ6pRXTjo8L3z2_BMWMwESn7ZE/s1600/Voltage+Drop.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Adding the Red in opposition to the Blue results in the Green output.</td></tr>
</tbody></table>
So where does this leave you if you have a CT (centre tap) full wave arrangement. You cannot just add the winding between the common ground (marked "Point A" below) as the phase means that one cycle will be opposed and the other will be in addition. This configuration requires an opposing transformer with a pair of separate output windings, so a single mains input and say a pair of 0-30 & 0-30 output windings. A 30-0-30 with a single common tap is no good . You then apply the secondary windings as before but in each arm. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLfZH_9Zn0mOtgkN-KOmiPq4Oea2E8Hmo4AVdEwjBjqPWXEuUJAhkP8zVxMUi30YEOaVEU1AeEZ2RYVK9UN54bc2iu_P3UD1arZhVlfSidcFHXcZ8kdbY9n9IS1XQtADFZt47pPSrVyJY/s1600/Transformer+2.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLfZH_9Zn0mOtgkN-KOmiPq4Oea2E8Hmo4AVdEwjBjqPWXEuUJAhkP8zVxMUi30YEOaVEU1AeEZ2RYVK9UN54bc2iu_P3UD1arZhVlfSidcFHXcZ8kdbY9n9IS1XQtADFZt47pPSrVyJY/s1600/Transformer+2.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A transformer with separate output secondariness for CT Power Supply.</td></tr>
</tbody></table>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<br />Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com0tag:blogger.com,1999:blog-8254144712200769850.post-79736528499547459482013-12-10T06:20:00.003-08:002015-03-04T05:35:36.801-08:00HT / B+ Zener Voltage Drop in a Valve / Tube Amp<span style="color: red;">Note, Updated, please see also Feb 2015 post.</span><br />
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<br />
<br />
I am looking to drop the EZ81 out of my amplifier to gain another ECC83 which will result in
the HT or B+ voltage taking a hike as the silicon rectifiers drop a lot less
voltage in operation than the valve rectifier. The mains transformer I will use
has two windings and a centre tap, designed for two diodes to give full wave
rectification. The easy and well-trodden path is to drop ~ 40V of Zener
into the centre tap to ground connection of the transformer. It all looks a
very simple solution, so how hard can it be? <br />
<br />
The choice I have initially taken is to use a string of 6.8V, 5 Watt devices
where 150mA of HT current will equal 1watt of thermal dissipation. The
device I have chosen is the 1N5342B from ON Semiconductor.<br />
<br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Below is a schematic of the centre tapped
transformer and two silicon rectifier diodes to give full wave rectification.</span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1W70-Sx5EAPtOburbF_aY4aTT1UVhgnRw7e8jJQoBRFtq6BZnBqFxDJzB8uezaDASVq-2veJnl9rk5IqaUD1dsgHgR7CNe3yC0oOPRWosn2FuRLIUJmUeJ87kIlWiEMu1fbbzlnVIUzg/s1600/Circuit.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1W70-Sx5EAPtOburbF_aY4aTT1UVhgnRw7e8jJQoBRFtq6BZnBqFxDJzB8uezaDASVq-2veJnl9rk5IqaUD1dsgHgR7CNe3yC0oOPRWosn2FuRLIUJmUeJ87kIlWiEMu1fbbzlnVIUzg/s1600/Circuit.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">B+ / HT Zener voltage drop.</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
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Zener choice. Well this has to be more than just dissipation, but that is a
good place to start. The 1N5342B is rated at 5 Watts but this is at
25C (77 Deg F.). This diode will not be at 25C at the predicted ~1Watt maximum let alone at the rated 5 Watts. The
device de-rating means at a 55C (133 Deg F.) body temperature it should only be
rated 4 Watts. By using a relatively low voltage drop per diode I can keep the individual
device dissipation down. Leaving the leads long is also a mistake.
It is better to get this to a turret tag than leave long wires. Leaving long
leads just adds thermal impedance.<br />
<br />
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There will be a mV/DegC figure and a breakdown voltage vs current
attached to the data sheet for whatever device you have, you will need to note
these to ensure you stay within your limits. If you have a bias generator from
the HT AC rail then this will proportionally track changes in the HT supply and
change the bias to the output stage which will subsequently change the
Zener voltage drop as the output stage standing current changes.<br />
<br />
Dynamic impedance or what happens when the current through the Zener changes
and is also a factor that needs to be looked at. Zener diodes below about 6
volts use a field emission breakdown and at higher voltages avalanche
breakdown. Field emission has a negative temperature coefficient and avalanche
a positive. The impedance of avalanche is generally the lower but at around the 7V
point the diode has a combination of both which gives a dip in the dynamic
impedance at this point. So the 6.8V choice is looking good at this point.<br />
<br />
Temperature stability is what it is on the data sheet but you can look at compensation
if you know what your stability specification is. For example the 1N5342B has a
mean temperature coefficient of +3.6mV/DegC . A silicon rectifier diode
(say an 1N4001) has a -2mV/DegC so two 1N4001 diodes forward biased will drop
about 1.45V but should leave a residual 0.4mV/DegC temperature drift. Using silicon forward biased in series with the Zener diodes can reduce the effects of thermal drift. I have already decided that a huge mixed string of diodes is not the solution I will take, but if you go for a single 20 Watt stud mounting device then this is an avenue you may wish to look further at. There are
second order effects regarding impedance etc. but by now you can see the
principal. Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com1tag:blogger.com,1999:blog-8254144712200769850.post-37322201754553826052013-04-11T08:30:00.000-07:002013-12-10T07:25:02.409-08:00ECC83 Valve with a low voltage 5V A/C heater (12AX7 Tube)So why run an ECC83 / 12AX7 with a low heater voltage and what happens when you do?<br />
<br />
I have a transformer from an old Linear Diatonic cage amplifier. How old? Well the 32uF+32uF can capacitor has May '58 as the date, but they didn't have just-in-time delivery in those days so I would put it at very early 60's best case. It was originally a two ECC83 + EL84 output with an EZ80 rectifier. It also had an auxiliary 6.3V and HT (B+) socket on the back, so I knew it had some capacity left over. It got put into a guitar amp and became three ECC83 + EL84 output +EZ81 rectifier. (I know, EZ81 is a 6.3V version of EZ80, but I had a new one and it worked OK.)<br />
<br />
Now I want FOUR (new preamp + FX loop) ECC83 + EL84, but this may be pushing it a bit, and the last thing I want to do is slowly cook the transformer. If I lose the rectifier valve and go for a semiconductor bridge with a zener to drop the voltage back then I could possibly run the additional valve from the now unloaded 5V heater winding and reduce the total load on the transformer. The light heater loading of ~0.3A should allow the voltage to rise above 5V or safeguard from a low mains supply, but after looking on the net I could find very little in HARD figures. Most advice I saw was that this possibly won't work, with one reliable source saying yes it will be OK. (Valve Wizard)<br />
<br />
The only way to decide was to go measure the configuration I was going to use. The measurement below used a DC lab supply for the heater. The voltage supply I have is limited to 210V so I couldn't test with a higher value. The valve was a JJ-Tesla ECC83S with about 50 hours on the clock. I would be looking at the 1-2-3 connected part of the triode. The other half was not connected and the heater was between pins 4 and 9 only. In test this would mean that the valve would be colder than if both heaters were working, but I think of it as margin.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOVV5LWrXkmqNNf60GpyCDLejVuRa8cVligELmqyny7vaCss-ZOuaccNOvUjvwt5jt_JPTIc6_E847_OyGu4NdJ6ZS5Zr_jsOK02p4y8iSgGCj_Ej6Rq_7TKcwc2lybvbNS5I27A5o1Hw/s1600/Test+Circuit.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOVV5LWrXkmqNNf60GpyCDLejVuRa8cVligELmqyny7vaCss-ZOuaccNOvUjvwt5jt_JPTIc6_E847_OyGu4NdJ6ZS5Zr_jsOK02p4y8iSgGCj_Ej6Rq_7TKcwc2lybvbNS5I27A5o1Hw/s320/Test+Circuit.png" width="320" /> </a></td><td style="text-align: center;"></td><td style="text-align: center;"></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Test Circuit. R3 is selectable as 120k or 240k </td></tr>
</tbody></table>
Firstly I did some DC testing to bottom out the heater. The heater cold resistance excluding wiring but including the socket was 6.156 Ohm. With a 6.3V supply and ignoring wiring this would draw 1.02A at switch on. In reality this would possibly be lower, but a good (6 Watt) kick to the guts none the less when turned on. When working at 6.3V the single heater draws 155mA equating to a hot resistance of 40.6 Ohm and a dissipation of 0.98 Watt. Working at 5V it drew 136mA giving an effective hot resistance of 36.76 Ohm with a dissipation of 0.68 Watt which is 70% of the dissipation at 6.3V<br />
<br />
With a 1V pk-pk test signal applied to the test circuit I got an output swing of 54.1V pk-pk with an anode resistance (R3) of 120k. With R3 = 240k the swing was 60.2V which is pretty much on the money. Spice simulation came out as 55.16V for 120K and 65.5V for 240K, so close enough.<br />
<br />
Putting a 4V pk-pk input swing on the input it would drive the output into saturation. This should highlight any obvious weakness in using 5V. Firstly I looked at the negative side as this represents the largest current through the valve.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOMHTPBdkcVuA1oQFyUXewU7RFZPz3zo89RZdGjyWGAPONb35ZtG4f2CFKNu_6AL2BncFC8glg-EUPYNjIZacrRX25r-0ClV1wPqWJto6urDj887xY548a9BWISvDuDkDvzaHsr-Ombnk/s1600/waveform+bottom..png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOMHTPBdkcVuA1oQFyUXewU7RFZPz3zo89RZdGjyWGAPONb35ZtG4f2CFKNu_6AL2BncFC8glg-EUPYNjIZacrRX25r-0ClV1wPqWJto6urDj887xY548a9BWISvDuDkDvzaHsr-Ombnk/s1600/waveform+bottom..png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">6.3V vs 5V. Input = 4V pk-pk input 210V supply voltage.</td></tr>
</tbody></table>
<br />
There is no huge difference to be seen between either heater voltage, the 5V heater gain (blue) looks just shy. The top of the waveform should be well saturated so we will check that next.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC7koTCZBgbuKeUvPSEzhyO4RpDNtmYTBibf4CeRhV4S_tIZfYWQl9YfsEogGFOK63Zt53ZbfL5b4H9M6LAA6caWhLIWgvJtT0RdbN74fH1MUnsGG48Ir9qBoY9MkeID_SLbZLcxSThyQ/s1600/waveform+top..png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC7koTCZBgbuKeUvPSEzhyO4RpDNtmYTBibf4CeRhV4S_tIZfYWQl9YfsEogGFOK63Zt53ZbfL5b4H9M6LAA6caWhLIWgvJtT0RdbN74fH1MUnsGG48Ir9qBoY9MkeID_SLbZLcxSThyQ/s1600/waveform+top..png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">As above....</td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
The 5V heater is again a little shy of the 6.3V setting, but the behaviour entering and exiting saturation is pretty much the same. When lowering the input swing and operating in the available linear area the 5V gain is slightly lower but otherwise perfectly useable. Even at a 4V heater voltage the valve is still working in a healthy manner. With a 3V heater voltage the gain has dropped, but this is just experimental data.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBhLmJj5M7rqA63S6-hr_EhErqyoTpfAoUKOnFRH173BhXNgqG19ZUyaDo705C-QVtXejVjayxids6NS-Olp0e_7oAjsMJYZWL211G06CHPBb3NfqxYMh6u9P6JpmmJFjUuYCYQiXAYn8/s1600/Heater+Voltage+Overlay.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBhLmJj5M7rqA63S6-hr_EhErqyoTpfAoUKOnFRH173BhXNgqG19ZUyaDo705C-QVtXejVjayxids6NS-Olp0e_7oAjsMJYZWL211G06CHPBb3NfqxYMh6u9P6JpmmJFjUuYCYQiXAYn8/s1600/Heater+Voltage+Overlay.png" /></a></div>
<br />
So what conclusions does this present. For me and the new guitar amplifier, I'll happily put the first valve with both heaters on the 5V supply. Both stages are below maximum gain anyway. Some voices on the net did say I'll ruin the valve this way, but I found a table in an old design book which showed extended life extending to thousands of hours so I am happy with that. I will also consider putting a series resistor in all the 6.3V supplied preamp valves from pin 9 to the centre pin of the base and then to the heater wiring. A 2.2 Ohm resistor should reduce the switch on current in the heater from 1 Amp to ~600mA whilst dropping the working voltage to ~5.68V (0.615V drop or ~82% of full heater dissipation) This should have virtually no effect. If it does, then 1 Ohm should be fine.<br />
<br />
On the other side of the coin. I should possibly see if I can get a more representative voltage for the supply, 210V is sort of low.<br />
<div style="color: red;">
<br /></div>
<div style="color: red;">
EDIT / UPDATE 1</div>
<br />
Below is with a 270V power supply with 6.3V and 5V heaters compared. This last test had both heaters wired in circuit. No change from previously observed measurements including at full saturation. <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJdJwZJDYqYO9XYrHvOUDQZbTvGVODa5HB4JnloPnaghN_H8ws615U4bfVdiDcgfNTVjmm-pxVxXKKSoKZRpCVSEb7vD_xMnO0G4pYZGf1eboXxvdazgx-z5OlHniRQ5VfUbMirR9lmpA/s1600/270V+test.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJdJwZJDYqYO9XYrHvOUDQZbTvGVODa5HB4JnloPnaghN_H8ws615U4bfVdiDcgfNTVjmm-pxVxXKKSoKZRpCVSEb7vD_xMnO0G4pYZGf1eboXxvdazgx-z5OlHniRQ5VfUbMirR9lmpA/s1600/270V+test.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">240K and 1.2V input. 73V pk-pk swing.</td></tr>
</tbody></table>
<br />
<div style="color: red;">
EDIT / UPDATE FINAL</div>
<br />
I have an _OLD_ Mullard Ecc83/12AX7, silvering gone spotty really is shot. God knows how many hours. It still has some output but very non-linear. It normally sits on my desk as an ornament. In the 270V HT / B+ test it performed equaly badly with 6.3V and 5V heater voltages. The 6.3V specification seems to have a lot of margin built in. Just remember to include mains supply tollerance etc. when looking at your own transformer!<br />
<br />
<br />Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com6tag:blogger.com,1999:blog-8254144712200769850.post-56515468049019893032013-04-05T02:43:00.001-07:002013-04-05T02:52:20.870-07:00DIY Front Panel in Acrylic / Plexi New amp needs a new face. Looking around in the UK I can get a custom front panel made, but it seems a lot more costly than you can get say in the U.S. Some want .DXF as the file and not having Autocad or a package with this format blocks that route. What I could source very cheaply was some cut to size 1.5mm thick clear acrylic and a couple of sheets of water slide decal paper for a laser copier.<br />
<br />
The acrylic was delivered promptly as four sheets cut to size and a set of panel graphics produced using Paint Shop Pro 9. The images were then all mirrored as the plan is to place them on the back of the acrylic and view them form the other side, ie the front. I can then paint over the transfer effectivly sealing them in. The paint observed from the front would have a perfect finish no matter how lumpy it was put on, or that's the idea anyway. A few old CD cases proved that using finger daubed water acrylic paint.<br />
<br />
The laser copier paper arrived with a warning about possibly melting onto the fuser roller of the copier which was not in the advert selling the paper (ebay). However the bigger the copier the more ECO friendly it is and the large business types therefore have a lower than normal working temperature. There was no issue with the printing and it gave razor sharp results. Unlike inkjet water decal paper it needs no lacquer overcoat which is why I chose it this time.<br />
<br />
To make the panel it was first taped in place to the front of the chassis. Using an indelible marker the position of the controls was marked onto the back of the acrylic using the holes in the chassis as a guide. On an earlier attempt I used a scribe which leaves a finer line, but the unevenness made ripples in the transfer on application.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8jnUnbCugeW3lWth9_8BYamUCoi_rstxx9762iHje8n5VI3KSM1jqvRhAoPTTBov8lCoroCpsY5PHQnmUxZ5AO2-eRP1bDz2YqIUwlDKpqmXP1HmQHwmO-cB6nBEigDGoKg-ts-hVwVk/s1600/Finished+panel.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="96" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8jnUnbCugeW3lWth9_8BYamUCoi_rstxx9762iHje8n5VI3KSM1jqvRhAoPTTBov8lCoroCpsY5PHQnmUxZ5AO2-eRP1bDz2YqIUwlDKpqmXP1HmQHwmO-cB6nBEigDGoKg-ts-hVwVk/s640/Finished+panel.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Finished Item...Chuffed to bits!</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCl-vPIhyphenhyphenCfhYaiZWucx71xfVGfxS38qtt1vnt4NxO3Ts5uwAJKH9YHB0KYu0CXBhmxdbDcTvHbnvY0GOGnA2-9l_HN0xCjugP1olY712zciazs2PfHrniTm0aIkzSAqN7ScYtVHMz1EI/s1600/front+panel+taped+to+chassis.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCl-vPIhyphenhyphenCfhYaiZWucx71xfVGfxS38qtt1vnt4NxO3Ts5uwAJKH9YHB0KYu0CXBhmxdbDcTvHbnvY0GOGnA2-9l_HN0xCjugP1olY712zciazs2PfHrniTm0aIkzSAqN7ScYtVHMz1EI/s400/front+panel+taped+to+chassis.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Test acrylic taped in place and marked.</td></tr>
</tbody></table>
<br />
The transfers we cut out close and then placed in position. The best method I found was to use a white paper sheet under the acrylic with straight lines printed / drawn on. This way you have a datum for the bottom edge of the acrylic and the lines assist in ensuring that the top of the transfer where the wording is is straight. It took a while to get the result right but here is what I found best.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMre_VE0f7mF5tGNsVpy9It3uZZMZDG33jxw5Ug-MlD0GU4_coMYuziQURaYoTZC5oeYap0bL8SdmpPYF_QTpcWGvfPl3NSbFLn4qZPlzRympd3Q_JHPlZC-875MncvFKW_qUAvtv88R8/s1600/lined+paper.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMre_VE0f7mF5tGNsVpy9It3uZZMZDG33jxw5Ug-MlD0GU4_coMYuziQURaYoTZC5oeYap0bL8SdmpPYF_QTpcWGvfPl3NSbFLn4qZPlzRympd3Q_JHPlZC-875MncvFKW_qUAvtv88R8/s400/lined+paper.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lined paper assists getting it straight.</td></tr>
</tbody></table>
<br />
Soak the transfer for thirty seconds and then place to one side for another. Line the acrylic up on the guide paper and place a bit of water where you want the transfer to go. Without this dab of water the positioning time is about twenty seconds. what can then happen is that part of the transfer can grab and when you attempt to move it the transfer will stretch or distort. The bit of water underneath gives you minutes of working time, however at this point it is prone to handling errors if you try to place another transfer as it is effectivly floating.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZD8yfv5aG6xFNt1R_cdXMTycf-P1Gr4vya0TSOKQ-lD5pM5VR4k3BhEnxMAbRBT-YStD1vFRcX7IPN3TvG-vOk5-F66-ZkjvlGZrCRRJtcFdEYRtBMBCEgXrbCijbcYobLi-ASDWGxGU/s1600/Place+with+ruler.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZD8yfv5aG6xFNt1R_cdXMTycf-P1Gr4vya0TSOKQ-lD5pM5VR4k3BhEnxMAbRBT-YStD1vFRcX7IPN3TvG-vOk5-F66-ZkjvlGZrCRRJtcFdEYRtBMBCEgXrbCijbcYobLi-ASDWGxGU/s400/Place+with+ruler.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Using a ruler place as close as possible, note printed mirrored!</td></tr>
</tbody></table>
<br />
After positioning the transfer I would then flip the panel over. The transfer is now against the guide paper. It has enough friction with the guide paper that you can still finely position it if needed by moving the panel. When it is all correctly positioned simply apply pressure, the excess water will be pressed out and the transfer will adhere to the front enough to resist handling. The transfer can still be lifted with a knife edge if required. Having lined paper to do this part also helps but missing in the shot below.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYWTkgJJpA709_9FPMZMSXLBV_ou2Rv1li2vkj1Zp6jvxGCgSDruJhm1vfg4aFLwb7GqUNq4_fYlEoo9IPzWfdCfEgCgkh2SdvUaPxDpuD4dWS7R7-9nEKctIiHDP_45yuOgCwoZZ9i34/s1600/place+and+press.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYWTkgJJpA709_9FPMZMSXLBV_ou2Rv1li2vkj1Zp6jvxGCgSDruJhm1vfg4aFLwb7GqUNq4_fYlEoo9IPzWfdCfEgCgkh2SdvUaPxDpuD4dWS7R7-9nEKctIiHDP_45yuOgCwoZZ9i34/s400/place+and+press.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fliping over to check position and then press to affix.</td></tr>
</tbody></table>
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With the transfers in place I painted the rear of the panel with several coats of artists acrylic paint. I could easily use a spray paint, but the acrylic allows me to test and wipe off. After several coats I did a final coat painted some paper and placed this as a protective backing.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDJvrzfVI10pasRavDSfgnbIFDLYQyF7nf_tuyMWVzJZ99VzqlBNPheIJPkbmnpsgH1G_ZOUL5qmT9Bfdx43SiJo-zj7euztkAK94aeTzS11eBnSbKafLiOWv2Pwz_9-uDdFSdS5HwxY8/s1600/painting+the+back.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDJvrzfVI10pasRavDSfgnbIFDLYQyF7nf_tuyMWVzJZ99VzqlBNPheIJPkbmnpsgH1G_ZOUL5qmT9Bfdx43SiJo-zj7euztkAK94aeTzS11eBnSbKafLiOWv2Pwz_9-uDdFSdS5HwxY8/s400/painting+the+back.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Final coat and backing paper will form a protective seal.</td></tr>
</tbody></table>
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The final result, well really please with this. The edges of the acrylic had some small chipping under the green protective film, but a quick sanding will remove these and they will sit behind the cabinet woodwork anyway.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz04puFzD5Agux7C7CfcSgMzTol5U6gvQXBkY4SjrnMApq4oQq47vWfDecnvv4nn_akbNNGBWf5N4piKHSY-qX8-XQmnMWd5dk8YPEx9vLU4mFh8ju7xv_0_StQ31j3Suh81BZKnQ5k8E/s1600/final+close+up.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz04puFzD5Agux7C7CfcSgMzTol5U6gvQXBkY4SjrnMApq4oQq47vWfDecnvv4nn_akbNNGBWf5N4piKHSY-qX8-XQmnMWd5dk8YPEx9vLU4mFh8ju7xv_0_StQ31j3Suh81BZKnQ5k8E/s400/final+close+up.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">With painting the transfer blends perfectly to the panel.</td></tr>
</tbody></table>
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It worked out cheaper than having a custom panel, and I still have acrylic and transfers for the rear and a spare front. One other point about the acrylic paint. It is not fully opaque to light. If I cut a small hole in the backing paper but not through the paint I could shine light from behind which you would see as a bright yellow glow from the front.. I may not go for a panel mounted power light, but insted use a 3mm white LED mounted behing the panel to illuminate a small circle of blank panel adjacent to the power switch to indicate that the amp is on. <br />
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As a final note, If you are thinking if edge illuminating the panel then the transfer edge will become visible.Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com0tag:blogger.com,1999:blog-8254144712200769850.post-62092234425127658752013-04-03T08:07:00.001-07:002013-04-04T00:50:53.145-07:00Resistors, Carbon Comp vs Metal Film in Valve / Tube Amp Design.As in previous post, I don't suffer snake oil etc in circuit design. _However_ whilst shopping for some parts I noticed I could also buy brown carbon composite resistors with nostalgic 3+1 coloured rings for 30 pence. Now they have lots of know issues but I remembered reading years ago about voltage coefficient in my copy of Horowitz and Hill Sec.Ed. The question I am looking at is could the voltage coefficient alter the sound of the amplifier? According to H/Hill above 250V the resistor changes value and at 1kV it is out by 29% (Chapter 6, pages 372/3). We are dealing with lower voltages, but across the anode resistor at clipping it could see ~250V potential, so I would like to check that area.<br />
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I happened to find an old carbon comp resistor, 680k value hidden away. With carbon composition this is more of a pre-soldered guide than an absolute value. It was more like 688k. I decided to do some DC tests to see how much, if any, it would change over a 210V range against a metal film of the same value. <br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqH6gXqUm5c7ohttpvnaiNR_DLecueSVxN3I5Hapmk72ZDwTJM3xAZRybyGOqaI48YFvAaQwlBc0BB170Uvs1fo7GL0UXPUMQ6YOXEOTzEy-NjC7e517rynh-q0nSG09nvkIhylwkJq80/s1600/DC+Percentage+change.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqH6gXqUm5c7ohttpvnaiNR_DLecueSVxN3I5Hapmk72ZDwTJM3xAZRybyGOqaI48YFvAaQwlBc0BB170Uvs1fo7GL0UXPUMQ6YOXEOTzEy-NjC7e517rynh-q0nSG09nvkIhylwkJq80/s400/DC+Percentage+change.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Percentage change with applied voltage.</td></tr>
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In the above plot there is a clear change in apparent resistance of the carbon resistor against an applied DC voltage. The measurement contradicts a H/Hill statement that it is really only above 250V where the voltage coefficient becomes apparent. Maybe they meant significant. To put this in prospective, of the original 688k value it represents a drop in resistance of over 20k. The metal film (red plot) is stable at 100.0%.<br />
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Having repeated the test and confirmed the behaviour I needed to know if this was something that takes seconds to change or is this change instantaneous and works in real time.<br />
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To check this I constructed a potential divider out of two resistors. The bottom resistor was a 62K metal film and the measurement was made across this device. The top resistor was the device under test being either the 688k carbon composition or a 680K metal film resistor. Using a linear ramp source to 210V I could measure the lower reference resistor and determine the behaviour of the top resistor. The tail off at high voltage is the probe capacitance, so linear to +170V.<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggkBk3Jn88bL1lEEZcUmuHJ0cfQYhQEIY7jzp0fJoQrQm0QZLK3AoeHTHXkyDrJLO1zuWSyqMq-9ClFXAwZKmB92hhrqTL-qhy71tDWHmr9yEzKXykVDOD3zi6EBvfXjW4KO5bDU5eePM/s1600/Dynamic+Behaviour.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggkBk3Jn88bL1lEEZcUmuHJ0cfQYhQEIY7jzp0fJoQrQm0QZLK3AoeHTHXkyDrJLO1zuWSyqMq-9ClFXAwZKmB92hhrqTL-qhy71tDWHmr9yEzKXykVDOD3zi6EBvfXjW4KO5bDU5eePM/s1600/Dynamic+Behaviour.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Real Time Voltage vs Resistance change.</td></tr>
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In the above plot the carbon (red) is plotted against the metal film (blue) with the left hand scale. You can see that the red line drops slightly more voltage at the 0.0001s (0.1ms) point as it has a slightly higher resistance value. However as the voltage rises it crosses the blue plot and ends up with a lower voltage drop. This is real time compression well within the audio range. To clarify the difference in voltage drop is plotted in green on the right hand scale, -7V to +3V. This shows that at the 0.1ms point the carbon resistor is dropping about 1.3V more than the metal film as to be expected being a higher value resistor. However with ~180V applied at 0.48ms the carbon film resistor is now dropping 4.8V LESS. It has shrunk in real time.</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-left: 0px; margin-right: auto; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSqXF7catrjhXG932OgckBwo5bkTVhk9W23VBgzZVGqZ1dBCiSxKYwLPBGLxnzWKPMmdLlrYu_i9smR_9vufMKl0MGG2IhdKMa4LUrfH0UiVzgyA6TxS-T284CiBoEcVM4qNsahr7SSCw/s1600/Dynamic+Behaviour+Curve+Fit.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSqXF7catrjhXG932OgckBwo5bkTVhk9W23VBgzZVGqZ1dBCiSxKYwLPBGLxnzWKPMmdLlrYu_i9smR_9vufMKl0MGG2IhdKMa4LUrfH0UiVzgyA6TxS-T284CiBoEcVM4qNsahr7SSCw/s1600/Dynamic+Behaviour+Curve+Fit.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Piecewise Linear and Poly Curve Fit.</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<div style="text-align: center;">
In a final look at the data you can either view the drop in resistance as a three section piecewise linear (blue, orange & purple lines) with three gradients or curve fit to the equation shown in the title.</div>
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The real world effect for valve / tube amplifier designers is that the carbon composition resistor can add some non linearity and compression not normally present in metal film. In my opinion it would be a mistake to consider the use of carbon in the early stages of a cascaded design. When taking the first measurement at DC the digital display would flick around on the carbon resistor but was rock steady with the same value metal film. The noise is really something else. However as an anode resistor in the overdriven /clipping stage, well it may be worth the 30p to someone. I however will probably stick to metal film based on reliability. Is the above effect audible? I will have to say-<br />
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possibly. </div>
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Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com2tag:blogger.com,1999:blog-8254144712200769850.post-33200806984275866642012-12-18T09:15:00.002-08:002012-12-18T09:15:49.407-08:00Technofret Under String Fret Level.<div class="separator" style="clear: both; text-align: left;">
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I bought a "Technofret Advance Fret Levelling System" (or TAFLS) from their UK ebay site. It costs £37 including postage (as of today $60 USD). As you can imagine the title "TAFLS" is more than the sum of parts, or sum (cash) of materials. What I got for my money is a single length of 1.6mm aluminium U section channel 480mm long. A straight edge, 5mm thick and about 450mm long. Also included were 3 blocks of Aluminium bar and two grades of abrasive on double sided tape. So far it doesn't sound like I got a good deal for the cash. No instructions or guide were included, but the idea of under string fret dressing seemed whole enough to splash the cash. The real cost is possibly the flatness of the edge and each side of the channel, which are flat against each other and against an optical grade flat at work. It's flat.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOC1D1T6Eirec8xgvdf7e-Sq33rl4mk7N40H4_Gstflr1CAutRSBRHXc-ikQxEQh7MSQUuzBzftKrLnzkabNp32DPxKHgCO6EQIvoBHnBAxUQsqhqIwCWUffFZPwkcTgIvcdufTS0sr_w/s1600/technofret.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOC1D1T6Eirec8xgvdf7e-Sq33rl4mk7N40H4_Gstflr1CAutRSBRHXc-ikQxEQh7MSQUuzBzftKrLnzkabNp32DPxKHgCO6EQIvoBHnBAxUQsqhqIwCWUffFZPwkcTgIvcdufTS0sr_w/s400/technofret.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Technofret Advanced Fret Levelling System & My String Lifter.</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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The idea is simple and an appealing one. The fretboard under tension (allegedly as I don't have information proving this) doesn't bow in a pure curve. With the stings on and the neck under truss rod tension the neck _can_ form a slight S type bend. Using the TAFLS you can level the frets with the board flat under tension which will also (possibly) include any unwanted bows. The truss rod is then released slightly to set the correct relief and you should end up with a better relief curve. Or so it says on the tin, or didn't in this case.<br />
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First part of the process is to get the marker pen out and blacken the
tops of all the frets. Usually I do this after I have taped up the
fretboard but ideally the blocks used n the levelling process need to rest on the wood so you have to
do this with the board unprotected. I managed to get two indelible
marks on the fretboard. Doh!<br />
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With the strings set to normal tuning flatten the fretboard by tensioning the truss-rod. To check straightness you use the three supplied blocks, one at the first fret, one at about the 17th fret and then somewhere in the middle should do. I used a small LED torch to gauge the gap. By slowly adding tension on the truss rod you can get to the point that you have no light between the straight edge and the middle block. By moving the straight edge left to right you can also check at what point it can begin to drag on the middle block. One issue is that the straight edge is about 38mm tall and is balanced on its 5mm width on the two outermost blocks. Moving the truss rod will at some point cause the edge to fall and clatter off onto the fretboard if you are not careful. It complicates the set-up but not much.I did check the tuning after moving the truss rod but in my case it hardly changed.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUcM56zFZt6QpJ4ggnK4ZcvEmTy2mCFof2clcLVNU0BZ3NAsnPHwg57oltDUOfLl8F92QcF2tqRUFazhUCq2eaSrNRVHvZ7x8wk4yVWxBWE_jDZ2VLE_WdTrjmt_erZVUDE09kTsSwL3w/s1600/straight+fretboard.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUcM56zFZt6QpJ4ggnK4ZcvEmTy2mCFof2clcLVNU0BZ3NAsnPHwg57oltDUOfLl8F92QcF2tqRUFazhUCq2eaSrNRVHvZ7x8wk4yVWxBWE_jDZ2VLE_WdTrjmt_erZVUDE09kTsSwL3w/s400/straight+fretboard.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Checking relief at middle block.</td></tr>
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Next get the U channel out. It came with two grits of 400 and 600. As I am not in a rush I used only the 600 grit and then used my own tape to place a 1000 grit strip on the other side of the channel. The channel being 1.6mm thick didn't readily fit under the strings at the first fret frets, so I had to lift the strings. The advice from TAFLS is to use a spacer to lift the strings up, checking correct tune. However I had a small L-shaped bit of alloy handy which I cut to run under two strings at a time. With some protective tape underneath I could easily lift two strings a fraction.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrZxxcfFvUB_ZP_2io9-Qim8jEIq9oq3q1klGDQyG1IfesXE9ScZlP-a88zo7vvP0sbMaB6dq945fcnwdx_MSqKcEjgB0KUnhvHMdswPp5AVzuHOGI_GHTNA5ENRPKHA0Z8Xv8tSGDJ0Y/s1600/fret+lifter.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrZxxcfFvUB_ZP_2io9-Qim8jEIq9oq3q1klGDQyG1IfesXE9ScZlP-a88zo7vvP0sbMaB6dq945fcnwdx_MSqKcEjgB0KUnhvHMdswPp5AVzuHOGI_GHTNA5ENRPKHA0Z8Xv8tSGDJ0Y/s400/fret+lifter.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">DIY String Lifter</td></tr>
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With the frets marked up I did a gentle pass with the 1000 grit. I had already done a traditional fret dress with a 350mm plane as a flat with the strings off, so I was interested to see if the TAFLS idea held up. As you can see below frets 1-4 are being abraded whilst fret 5 (visible) 6, 7 and 8 have a dip and the black marker is still there. Strat necks are more likely to show this behaviour apparently though I have no real solid information myself. This didn't surprise me as the guitar did fret out on the first few frets if the action was set too low.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqMZ9rjBxDhR69yAKkq82NngNzSjvTkTYF1vywC5_MJdC9I2rFXwkHS2OCMJnXbuHEVKo5Qxii74RZHOZzlC_NyiuiZp2tqJ9Vp9Y6tvm_EOHgVwTIqPKypNvD1KuiwaywcsuKiBoWaKw/s1600/technofret+in+use.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqMZ9rjBxDhR69yAKkq82NngNzSjvTkTYF1vywC5_MJdC9I2rFXwkHS2OCMJnXbuHEVKo5Qxii74RZHOZzlC_NyiuiZp2tqJ9Vp9Y6tvm_EOHgVwTIqPKypNvD1KuiwaywcsuKiBoWaKw/s400/technofret+in+use.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fret five, still black </td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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I would step across the neck one string at a time from low E to high E doing a small circular motion each time and then turn the U channel round and repeat the process from high E to low E. I would always lift the strings in pairs to make room for the U channel flange. After getting down to all frets showing abrasion I turned the channel over and used the 1000 grit to complete the initial dress.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq-rXYDMN5tHVtjkuBsoEhDZarRRnZL9jmIV10nRE2UqMuKN8uGsHCf0UeMliIHB-w95Z2L6yZF2BScP9B9mhATpRvkPJ_LuwmVb5AUH4xt4cPilvAvcwBGce2ivSAtyewZgs8VqF8seA/s1600/guitar+prep.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq-rXYDMN5tHVtjkuBsoEhDZarRRnZL9jmIV10nRE2UqMuKN8uGsHCf0UeMliIHB-w95Z2L6yZF2BScP9B9mhATpRvkPJ_LuwmVb5AUH4xt4cPilvAvcwBGce2ivSAtyewZgs8VqF8seA/s400/guitar+prep.jpg" width="400" /></a></div>
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After completing the dress the fret ends were re filed and the crowns re profiled. The frets were polished to 2500 grit and then a Dremel and some metal polish to finish off. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPj1WL6-V0VcS-5aRGGjfc1krlZdvlORQcDduAXN8BfB1ohXlYlKU3c3fi-LQTcHVFRjaJrZRUx2Zb5PFcrvqZj9FOl3wivwd8YXEBcs6i1wbAHDTmMucRCLcNi_K0MmE8tHheTyX5Nmw/s1600/finished+neck.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPj1WL6-V0VcS-5aRGGjfc1krlZdvlORQcDduAXN8BfB1ohXlYlKU3c3fi-LQTcHVFRjaJrZRUx2Zb5PFcrvqZj9FOl3wivwd8YXEBcs6i1wbAHDTmMucRCLcNi_K0MmE8tHheTyX5Nmw/s1600/finished+neck.jpg" /></a></div>
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At the end of the process I can say that the TAFLS worked a treat on this neck. This said, a 7.5inch neck will never be as low as my other guitars with a more forgiving radius I can say that this time it was better than before and the action is now as low as I can hope for allowing bends not to fret out. Possible I didn't flatten the fretboard in my previous attempt but despite feeling it was expensive for what I got, the result made it money well spent.I do worry that the channel doesn't feel robust so I have a separate place to store it. Just for the record, I don't have any association with the source of the TAFLS other than I purchased one for full price. There are other questions I would like answered. How much does adding tension to the truss rod change the neck, should it be a combination of added tension and slightly de-tuning the strings? Where is it best to place the middle block and in the case of large block inlays, is it OK to use fret 8 where there is no inlay? It isn't the only under-fret, under tension method available, but it was local and not too expensive. Maybe it's a fashion that will soon disappear, but I can see the logic of dressing frets with the neck under tension.<br />
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<br />Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com0tag:blogger.com,1999:blog-8254144712200769850.post-70560523870988733502012-09-21T05:57:00.001-07:002012-10-01T01:41:59.337-07:00A New Valve / Tube Tilt Tone Control. This is very much an experiment at the moment. Years ago QUAD brought to a wide audience a very handy tone control for their HiFi preamps It was termed a Tilt control but is also known as a contour control which I find less descriptive. It differs in being a shelved filter so you control a broad range of frequency by a bit rather then a small area by a lot. It is better at changing the emphasis of the tone and not the tonal character. The idea is appealing but it is normally wrapped around an op-amp. I could passively add it but I came up with a topology which was far more tempting.<br />
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The topology places the control within the phase splitter and the output stage in my EL84 amplifier. The output is fed back into one side of the phase splitter. I liked the idea as the circuit has a nice symmetry which appeals. The complication is it sits within the feedback loop from the speaker to the phase splitter so it's was always going to be a bit of a battle to ensure stability. If you look at the schematic below you can see that it would be very easy to add to an existing amplifier as it sits on top rather than within a normal EL84 output stage. The other issue I have found is that the switching from Pentode to Triode it changes the feedback gain and hence gain of the tone control.Click on the schematic to see it full size.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnMmO9z-U7DiuHaRSwC90QLzEf9trm7H-VrohnaYIpEbUkQjSIqKsTU7WU983DY8z_hVoyWY801Th8P7IKkT5oeRSVPFiAHwFffG7E1rZGi1B7uIPJ9IqRU_LVqOInIqq50iLewXeehMk/s1600/schematic+tilt.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnMmO9z-U7DiuHaRSwC90QLzEf9trm7H-VrohnaYIpEbUkQjSIqKsTU7WU983DY8z_hVoyWY801Th8P7IKkT5oeRSVPFiAHwFffG7E1rZGi1B7uIPJ9IqRU_LVqOInIqq50iLewXeehMk/s400/schematic+tilt.png" width="400" /></a></div>
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The frequency plot below is a multi-run simulation where the TILT control is moved from 0k to 470k in linear steps. It shows clearly how at one end of travel it has bass boost and treble cut and at the other bass cut and treble boost. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJxfc7g5YE0Dn5If5LhJAjn9ssHCogfjCiUQKam-D5_KFyOG2_cOV0_XxHGAzszTNL_mFkaLv55ru9-kECnwFC-1G36NktWSt03IY58yEyievpjdqnFnDxXUpLQD8CtOROttcFS7YUrtQ/s1600/tilt+response.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJxfc7g5YE0Dn5If5LhJAjn9ssHCogfjCiUQKam-D5_KFyOG2_cOV0_XxHGAzszTNL_mFkaLv55ru9-kECnwFC-1G36NktWSt03IY58yEyievpjdqnFnDxXUpLQD8CtOROttcFS7YUrtQ/s400/tilt+response.png" width="400" /></a></div>
In the circuit R47 (33K) sets the amplitude of the boost and cut in conjunction with R48 the feedback resistor. Current work is refining the balance between the two values which results in a good degree of tone control without sacrificing stability. It has proven to work well as a tone control but it would be better if the existing bass-mid-treble was not directly prior to this stage in my test amp. Better would be a topology closer to a trainwreck circuit where the tone control is early in the preamp cascade. That way you could alter the tonal emphasis going through the distortion stage and correct in the power stage.<br />
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If you are content with a boost / cut of a few db then phase shift can be kept very low, something that HiFi designers may find useful, which brings this full circle. It is trivial to obtain flat response at the bass end to low Hz.<br />
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<span style="color: red;">EDIT. Looking at the above simulation the overall gain is ~29dB with flat gain, it should be nearer 18dB. I guess I took my eye off the gain whilst optomising tilt. The omission was to leave the grid capacitor C14 not tied into the feedback point. I'll address this excess gain and see if the instability issues previously noted disappear.</span> <br />
<br />Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com0tag:blogger.com,1999:blog-8254144712200769850.post-9236588443677005202012-07-27T02:52:00.001-07:002012-07-27T02:52:23.710-07:00Update on Routing Out a Guitar Body.I thought that I'll drop in a quick update on the earlier post (May 2012) on routing out a guitar body. This is just a quick picture of the finished guitar. Works fine but cheap pots and pickups are going to be dumped and replaced with something better. At least I got the bridge in the right place and the neck angle correct. There is an odd wavy reflection above the neck pickup, but this is just the reflection. It does show the arm-rest angle and the curve of the horns etc. The truss rod cover is bookmatched in case you are looking for one. Overall, very happy with how it turned out. The bridge pickup is tapped with a 47nF shunt capacitor accross the slug coil. Pickup bobbins and thin copper wire have arrived so I'll be winding new pickups after the summer break.<br />
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<br />Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com3tag:blogger.com,1999:blog-8254144712200769850.post-69832237511575280682012-07-16T05:53:00.005-07:002012-07-29T02:46:53.884-07:00Build A Guitar Humbucker Pickup Frequency Response Analyser For PeanutsThe Shuntbucker frequency plots obtained in my earlier post were originally obtained using an Agilent arbitrary frequency generator and buffer amplifier as the source and the output amplitude recorded on an LeCroy 1GHz digitising scope. I am lucky in that I have access to some neat equipment, but most people won't. In this post I'll outline how anyone with around £15 can do the same measurements and add thoughts on how to do full dynamic impedance measurements on pickups. I hope to try rewinding some pickups soon. The rational here is when winding pickups how do you know where you are going if you don't know which way you came from.<br />
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The first part is how to get a signal into the pickup in a way that is reasonably representative of a string above the pole pieces and is frequency agnostic. The issue is more complicated with humbucker pickups as they have two coils which produce an opposite signal to an open field magnetic source. It will need some sort of magnetic injection which, with a bit of luck you can obtain for free. You will need to source an old computer hard disc drive and some star-point type screwdrivers. Open the drive, release the magnet assembly in the corner and extract the pickup head assembly as seen in the bottom left hand corner below. The bearing has a small screw on the side which will either need the correct screwdriver to remove or a pair of pliers and just grab the screw head and turn.<br />
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Once removed ditch the bearing, its magnetic so you will want it out of the equation. The pickup arm assembly can be removed with a junior hacksaw, its just the voice-coil that we are after. There may be a parking magnet as part of the voice coil, if so snap it off. When finished you should have something like this, well after soldering a lead on anyway. There will be some drive circuitry on a flex PCB mounted on the arm, It will provide a good connection point to solder to the coil, just remember to cut any tracks leading to the drive chip from the coil with a craft knife. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH-PKhD_LsDYd1i2Q3hx-LCRROy6YEmFsRwH_MksL00xdwjPx7eBPCOoeZ3oTWwInWVfn0CS_FNk1htqhXqr8nfNuRJBHms6VatjpfCbB3cZ4Kszoy2Fi7SvP8TobB8lBO0r9xNadh81g/s1600/HDD_Coil_V2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH-PKhD_LsDYd1i2Q3hx-LCRROy6YEmFsRwH_MksL00xdwjPx7eBPCOoeZ3oTWwInWVfn0CS_FNk1htqhXqr8nfNuRJBHms6VatjpfCbB3cZ4Kszoy2Fi7SvP8TobB8lBO0r9xNadh81g/s400/HDD_Coil_V2.png" width="400" /></a></div>
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The coil should have a DC resistance of about 10 to 15 ohms, high enough to drive with a domestic amplifier. However my test kit has a 50ohm output impedance so I had to knock up a buffer amplifier. It is based on a OPA548F high power op-amp. Its data sheet shows a relevant schematic. To drive a volt pk-pk maximum into the coil will only require an amplifier with under a 1/2 watt capable drive. I'll come back to drive later as you don't have to make this part.<br />
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The reason this coil is ideal is that I can mount it centrally and orthogonally to produce a good response by working both coils at the same time. It will produce an opposite polarity field into each coil thus producing a combined in-phase signal which is what I want and what a string does. The coil construction means that the self resonance will be decades above the coil under test ensuring good measurement. Below was an earlier attempt with a slightly different coil. I used Blu-Tack to hold it firmly in place. It runs exactly in line with the split between the two coils. In this configuration a symmetrical in-phase output will be produced, as you would expect by plucking a string. If I lift the coil and hold it horizontally above the pickup It will produce a matched out-of-phase signal which will combine and cancel as you would expect from an external field into a humbucker. Moving the coil away from this position say to the side changes the output balance and phase of the coils. This would produce cancellations when attempting to measure the frequency response. <br />
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The output of this was fed to a board with resistors and capacitors representing the volume and tone circuit of the guitar and the 1Meg input impedance of my amp. I used a 10Meg input impedance scope probe so not to load the circuit. The coil idea proved to work very well and produced repeatable results even after disassembly and reassembly. However most people can't afford a scope, signal generator and probes, and my issue is that I can only have limited access to them at work. However I have a potential solution which although I have not yet tried _should_ work for anyone wishing to measure pickup response.<span style="color: red;"> (See EDIT below)</span><br />
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Visual Analyser 2011 XE (VA) from sillanumsoft.org is a free download unlimited real-time software scope, spectrum analyser and lab tool-kit. It uses a PC sound card to provide a real-world interface. The coil should be high enough impedance to be driven from a good headphone output. If your card does not have enough drive try lowering the output or wiring the left and right output together. You can also buffer with a HiFi amplifier on a very low setting. For the input you will need to wire a high impedance buffer between the Humbucker coil and the line input. Any high impedance audio op-amp buffer circuit should suffice. Generally the input impedance of a soundcard is quite low when compared with a guitar amplifier input stage. Most valve amplifiers have a 1 Meg input. The scope function will measure the output amplitude provided by the pickup when driven with the VA software signal generator. With this configuration your total kit outlay will be the cost of a broken hard drive and building a buffer amplifier. If appreciative please consider a Paypal donation to the software engineer who wrote Visual Analyser. I have no ties to the author of VA who I believe is from Italy. The software was used in the analysis of the triode / pentode switch mod harmonic test in an earlier post.<br />
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<span style="color: red;">EDIT: </span>I have now ran a quick test using VA and a normal Dell computer with an on board sound card. I placed a 470K resistor in series with the line in jack to prevent the pickup getting loaded by the low line in impedance. I used the left and right headphone output combined to drive the HDD coil. The sweep was set to 24 points an octave and the spectrum analyser set to peak hold. The waveform generator was set to sweep from 80Hz to 20kHz. I left it to run for a while to build up the plot below. The cursor measurement shows the peak at 5.758kHz. You can also notice that from 2.5kHz the amplitude rate of change increases towards the resonance peak. It will look different from my previous plot as it records in dB and not straight mV. (Click on the plot to see full size)<br />
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On the Sillanumsoft website it also has links to an article (you may wish to google translate if English is your native language) to add an interface of two op-amp buffers before the soundcard input and convert it to an LCR bridge. If you wish to attempt true impedance measurements then this would be well worth a look. Another "also" is the frequency counter with pedometer function. I intend to look at this when I start winding pickups. I have a motor with a micro-reed relay switch and magnet that now gives one clean pulse / revolution. I reckon that I'll be able to use this as a turns counter. The 1+= calculator trick is a little unstable at higher speeds but that's for another day. Have Fun!<br />
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<br />Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com2tag:blogger.com,1999:blog-8254144712200769850.post-27920031812364300912012-06-29T03:40:00.000-07:002012-07-03T06:18:13.152-07:00Pickup Frequency Response Measurement. Humbucker, Single coil and Shuntbucker.<br />
Well the shuntbucker has been in for a while now and I am still trying to get my head around how good it sounds. As it happened I did a pickup swap and quick setup for a PRS Tremonti SC (the cheap one) last week and was paid with the old pickups, which was more than I wanted. Anyway I now have a pair of ex PRS Korean generic humbuckers measuring about 10.1k DC resistance to play with. <br />
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I thought it would be the perfect test vehicle for a frequency response measurement comparing normal humbucker wiring, the normal shorting of the slug coil for single coil type response and the 47nF shuntbucker mod. First though I would need a stable and repeatable frequency measurement kit. It took a few swipes as you have to energise both the pickup coils with opposite magnetic polarity and it needed to work from low Hz to high kHz. Anyway to cut a long story short, I soon had a rig using a frequency generator, an OPA540 as the coil driver and an energiser coil. The output of the pickup was connected to a 100k resistive load and measured on an oscilloscope. This was a slight limitation as I would like to have measured at 500k but it’s the input impedance of the FET scope probe I used. To eliminate ambient noise the measurement was taken as an average of 100 consecutive measurements. The output in mV is plotted below. I have since reduced the drive amplitude as the output was higher than expected.<br />
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The blue plot is the normal humbucker. The red plot is with the slug coil shorted to ground which is normal practise for coil tapped pickups. In this configuration you acn see that the resonant peak has shifted to a higher frequency giving the expected single coil sound. The green curve is the shuntbucker mod with a 47nF capacitor to ground across the slug coil. As this is directly injecting a magnetic field you won't see the inverse behaviour caused by fat strings producing a higher magnetic signature than say the thin top E string, which helps flatten all this out.<br />
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From this you can see that the 47nF worked as expected and has adopted the humbuckers low end frequency response. What is evident is that using a straight 47nF has produced some resonance with the coil which is why it appears to have a higher output compared with the humbucker configuration at 400Hz. You see the effect again at 800Hz as the kink in the otherwise smooth curve. By adding a series resistance the resonance can be modified and a much cleaner transition from humbucker to single coil can be obtained. At the high end the shuntbucker follows pretty much the higher resonant peak of the normal single coil configuration. Hence a shuntbucker is like a single coil but with hairy balls.<br />
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I think I will need to measure the spot frequency impedance of the humbucker and single coil configurations to work out the ideal shuntbucker capacitor series resistor. I could just try it out but I think the data will be useful. It could be I end up with two resistor/capacitor nets and possibly look at pulling the high frequency resonant peak about.Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com0tag:blogger.com,1999:blog-8254144712200769850.post-43362802905305049412012-06-11T03:32:00.000-07:002014-02-10T01:48:06.033-08:00Humbucker coil tap with passive shunt, or Shuntbucker.I have been fitting the pickups to my guitar build and they came with five wires. A shield wire and green ground wire combined. The coil tap connection red and white together and black for hot. It occurred to me whilst wiring it all in that simply shorting out the bottom coil to ground to coil tap whilst giving a good single coil sound, was a bit simplistic and short sighted. There has to be some use for the output of the now shorted coil other then dropping it to ground.<br />
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The easiest mod would be to short it to ground with a capacitor. This way I should get the brightness from the top coil but with some added bottom end and a small amount of hum-bucking from the bottom coil. If you plot the impedance (AC resistance) of say a 47nF (0.047uF) and 100nF capacitor you will get the following impedance values.<br />
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If I presume that the _average_ impedance of each coil would be say 3k then you can see that with the 100nF capacitor (red plot) half of the output of the shunted coil will be lost via the capacitor at 500Hz. Without some complicated measuring I can't be sure exactly what the impedance of the coil will be at a particular frequency. I do know how the capacitor works though and it had to be worth a go. I went with 47nF (blue plot) in the end and am very happy with the effect on the bridge humbucker. Below is the diagram showing the two coils from a humbucker and how the capacitor shunts the bottom coil.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx7X3lKDdXp1Qc9fgxqwaUOZNMkit77cV_KlE8iA5g_9qCVM6kr2IGcu2UidKCnqJyBEJHU516oP_QbrnYPbR7REx7ZnXKCgueSTr4KJ5KskuPt-HKBZPxgCl4-X5dwGAdBb_Kl6unlA4/s1600/shunt+capacitor.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx7X3lKDdXp1Qc9fgxqwaUOZNMkit77cV_KlE8iA5g_9qCVM6kr2IGcu2UidKCnqJyBEJHU516oP_QbrnYPbR7REx7ZnXKCgueSTr4KJ5KskuPt-HKBZPxgCl4-X5dwGAdBb_Kl6unlA4/s1600/shunt+capacitor.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Shuntbucker with frequency dependent shorting of unused coil.</td></tr>
</tbody></table>
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It has a distinct change when tapped as you would expect but the pickup has a lot more balls, more P90 than strat sort of sound. For the bridge pickup this is ideal for me as I never found a use for a single coil bridge position. After trawling the net I did find that this is not a new idea, coil cut was a term I found amongs some others. Considering the simplicity of the modification, and the potential in using more complicated passive networks I am a little lost as to why the vast majority of sites will just short out the one coil and concentrate on additional phase and series parallel switching.<br />
<br />
I think the major pickup manufacturers have also not actively brought to the fore this simple modification or even re-voiced there own pickups with a passive shunt so that when taped you get something better sounding. Combining a capacitor, inductor and resistor network across the lower coil could tailor curves into the pickup and tailor the response beyond wire gauge, turns and ad-hoc parasitics. It seems a vastly unexplored path, maybe it needs a name people can identify with, so maybe coining the term Shuntbucker would help it stick in the conscience.<br />
<br />
<span style="color: red;">EDIT: </span><br />
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<br />
<div class="MsoNormal">
I have found that as per the follow on article “Pickup
Frequency Response Measurement.<span style="mso-spacerun: yes;"> </span>Humbucker,
Single coil and Shuntbucker” this really needs a series resistor with the
capacitor to make this work. The issue is that the capacitor and coil
inductance are too resonant and the transition results in the mid-range being
swamped. <span style="mso-spacerun: yes;"> </span>I have found that a 47nF and
3k3 resistor across the bottom coil works well for me. </div>
<br /><br />
<br />
<br />Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com6tag:blogger.com,1999:blog-8254144712200769850.post-79050664200519449962012-06-11T02:23:00.002-07:002013-04-24T05:45:44.907-07:00HSG Mod front end design thoughts.<br />
<div class="MsoNormal">
The HSG mod has a slightly different approach to the real
valve gain setting and positioning of the voicing RC network attenuator compared to the
original Soldano design. Though not the
final design this is a dialogue covering the thoughts I had in approaching the
modification. I will concentrate here primarily
on the input stage and what I attempted to do to make more sense of the setting. All values are from SPICE simulation using
Microcap 9 evaluation edition from Spectrum software. This is a free download and contains the
12AX7 / ECC83 models as standard from Duncan Munroe. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The standard stage is set up pretty much from the off as a
high gain amplifier. The
valve is operated at a high gain and then droped with a passive resistor network with 1Meg as the gain pot This generates a lot of resistor noise and
susceptibility to interference being a high impedance point then amplified by the rest of the preamp. The gain of the input valve is a combination
of the anode resistor (220K) and the load resistor (1Meg pot + series resistor)
over the cathode resistance.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For the Soldano
design below, with a 100mV input at the point marked VG1 the voltage at the V1A
anode is 6.26V pk-pk or a gain of 62.37. However at point A at the input of the
second stage and after the 1Meg series resistor the overall gain achieved is
now 27.6 with the gain pot set to 100%. The quandary is that whilst 62.7 is
pushing the valve fairly hard the overall gain achieved is modest, and I still
have an issue with all that impedance and resistor noise on the input of the second
stage.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaSjLEdYYBa3g6gHP2S3wAD9YvN60yh4TlX5yPn61WZdcAhhwfR0sUlOMVXZfzC1R8igGcOWZDqzW7a4VxyR0TBk1BJB80Lo-lCKrhsMzv29lWsfd3433yoDdHNmRbYywyBavBhDw8ojk/s1600/input+comparison+A.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaSjLEdYYBa3g6gHP2S3wAD9YvN60yh4TlX5yPn61WZdcAhhwfR0sUlOMVXZfzC1R8igGcOWZDqzW7a4VxyR0TBk1BJB80Lo-lCKrhsMzv29lWsfd3433yoDdHNmRbYywyBavBhDw8ojk/s320/input+comparison+A.png" width="320" /></a></div>
<div class="MsoNormal">
<br /></div>
<span style="font-family: "Calibri","sans-serif"; font-size: 11pt; line-height: 115%;">In
changing the GAIN pot to 100k in lieu of 1Meg it will reduce the resistor noise
into the second stage but lower the gain of V1A. I can re-jig the gain by shorting
out the attenuator R53. With a 100k anode resistor the valve gain is now 35.6
and due to effectively removing R53 it
remains at 35.6 at point A. There is no blocking at the point between V1A and V1B.</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoxt_cZicVHhHh8VrcNBhyphenhyphendrvKGq7wQjg5QiSah1o6qtvE3UowrJGl_8t7BaCaKx4Y6SAg0AaUzRvVwXSfDh205Qxn6OjFTI1vbhJB7KcBenkHqubvFwMeDhJWhpISm1rItQIgHnIK__M/s1600/input+comparison+B.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoxt_cZicVHhHh8VrcNBhyphenhyphendrvKGq7wQjg5QiSah1o6qtvE3UowrJGl_8t7BaCaKx4Y6SAg0AaUzRvVwXSfDh205Qxn6OjFTI1vbhJB7KcBenkHqubvFwMeDhJWhpISm1rItQIgHnIK__M/s320/input+comparison+B.png" width="320" /></a></div>
<div class="MsoNormal">
All this doesn’t come without cost, the AC frequency response
curves for both circuits are quite different. However the low frequency is recoverable by increasing C27 from 1uF to
4.7uF. The final curves are shown below. The red is the standard circuit with 100%
gain at point A, the blue is modified including C27 = 4.7uF. </div>
<div class="MsoNormal">
The Soldano circuit also has a low frequency response that
flattens and extends way below bottom E and into hand-on-string and bump noise
and I didn’t see that helping either.
The modified circuit has a much wider frequency plot, so I can easily
tweak the circuit to lose or re-voice this. The original circuit is pushed so
especially at the high frequency end it is what it is. </div>
<div class="MsoNormal">
I worry that I have
missed something here as I seem to find 1 meg-ohm as the default go-to value
for the gain pot, and to me that doesn’t make sense. </div>
<div class="MsoNormal">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyiwwBNUdDtMbsLBkH1bLGGtDkVRlbnZ5mGIwhqT1ldqVkGlZ3V7hWP8Z4-CwhWwCbH3KvzNXkT4Zzlm86uqGKclHWfcxOnZD89-ZkCg_ll_z0fIdyuEOttRUZNmTrPWLkhIDBAc_Vop8/s1600/input+comparison+freq.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyiwwBNUdDtMbsLBkH1bLGGtDkVRlbnZ5mGIwhqT1ldqVkGlZ3V7hWP8Z4-CwhWwCbH3KvzNXkT4Zzlm86uqGKclHWfcxOnZD89-ZkCg_ll_z0fIdyuEOttRUZNmTrPWLkhIDBAc_Vop8/s320/input+comparison+freq.png" width="320" /></a></div>
<div class="MsoNormal">
I should note that the dynamic range of the modified circuit
is reduced because of the bias being unmoved but it will still take a 2.5V pk-pk
signal before clipping the first stage which should be enough. If your
humbucker is hotter than this then you are probably after clipping anyway. The
important thing is that the modification can be tried without removing parts
from the PCB and just placing parts or wires in parallel with the existing
circuit. By reducing the gain of the valve I also hoped to remove some of the
valve to valve dependency that other uses have reported. In the original design
the high frequency end is dominated by the valve and not by circuit values. </div>
<div class="MsoNormal">
<br /></div>
Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com0tag:blogger.com,1999:blog-8254144712200769850.post-33594508435611441812012-05-18T01:23:00.000-07:002012-05-18T01:23:38.181-07:00Jet City DIY front panel.The Jet City JCA20 comes with a "Marmite" front, you either love it or hate it. I am in the latter camp so decided to do something about it. At the same time I changed the knobs and the guaranteed-to-fail blue lamp. The panel was MDF and the cloth was from a previous project giving an old Peavey combo a face lift.<br />
<br />
The whole surface had contact adhesive rolled on and when firmly stuck down staples were banged in at the rear to stop edges lifting. I wiped the back panel over with some blue fountain pen ink as a colour wash as you can see this from the back. I did try some black chicken head knobs that I already but you just couldn't see where they were pointing.<br />
<br />
The bottom edge of the new front had some router-love in the way of a round-over bit on both the front and the rear of the panel. The one on the back of the panel, though not visible makes a good gap for air-flow. <br />
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<br />Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com7tag:blogger.com,1999:blog-8254144712200769850.post-89222455612464854012012-05-14T01:11:00.001-07:002012-05-14T01:14:08.067-07:00Grain Fill with Acrylic paint and Superglue (CY Glue)The guitar build nearing the point where I need to think about the finish of the guitar, and having used Sepele, Black Walnut and Oak I felt it would be a shame not to use a transparent lacquer. However a test spray quickly showed how open grained all three are. The largest grain or pore voids by far are in the oak. I looked at all sorts of grain filler and followed a lot of posts suggesting cyanoacrylate (CY, crazy glue or superglue) which looked promising.<br />
<br />
However in attempt to speed this up I decided to use a gold metallic acrylic paint to fill the large gaps and then CY glue to then grin fill the rest. I added about 30% volume of water to the acrylic paint and then rubbed it into the surface removing as much excess from the surface as possible. I then rubbed it down with 400 grit and then sealed with superglue and left it to set. After initial sanding the finish is better than I expected. The gold has filled the largest voids and is _just_ visible when at the right angle. The end grain took more paint but here is an image of the top. I am very happy with this grain fill, the gold goes really well with the oak.<br />
<br />
I will add that I masked the black walnut and Sapele off so they just had the superglue grain fill. The superglue took three wipes and sanding to fill all the grain, but it's easy to work so it's just time spent more than anything else.<br />
<br />
Below, poor picture but you can just make out threads of metalic gold acrylic grain fill in the oak. It looks slightly proud of the surface, but isn't. <br />
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<br />Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com4tag:blogger.com,1999:blog-8254144712200769850.post-4224211067005023822012-05-01T12:32:00.001-07:002012-05-01T12:32:20.075-07:00Routing Out A Guitar Body.I have started a new project based around a neck I got from Ebay. It was a 24 fret neck from an Aria M series in red. I have designed and routed out a body and have found the following useful.<br />
<div style="color: red;">
1. Polish the base of the Router!</div>
I used domestic spray furniture polish, and then buffed it dry with a cloth. I can't tell you how much of a difference this makes in controlling small movements of the router. I have since found that professionals use a spray on PTFE dry lubricant and I can see why. Not seen this tip anywhere else so maybe I am the only person who wasn't lubricating the base and everyone else already knows.<br />
<div style="color: red;">
2. Never try for the BIG cut. </div>
I _gradually_ worked my way to the line. I had made a template and used a combination of cutters with the bearing at the top and bottom to get the body shape cut. The template had two layers of tape added to the edge at this stage which for the final pass (full length 50mm cutter with end bearing to do the 41mm body) I removed. The removal of the tape meant that the final pass was quick, without grab and left virtually no burn marks.<br />
<span style="color: red;">3. Keep EVERY off cut.</span><br />
Practise for the large diameter bridge and tailpiece holes, finishing techniques, trial cutting, trial trim tools, you name it, keep all the offcuts you have.<br />
<br />
<b>I'll quickly run through the process that worked for me.</b><br />
<br />
I managed to find some offcuts in a local timber supplier. A block of Sapele, a length of Black Walnut strip and a good chunk of Oak which had bounced on the planer and therefore had a defect area. All good low cost stuff. I cut and glued the wood to make a body-blank-sandwich. I made a Router-Planer from ideas on the Internet and trimmed it to 41mm <br />
<br />
The first part was to draw a body shape. I used Paintshop to scale a PRS guitar body photo to real size using 150 pixels to an inch. I then used the distort tools to move the basic shape around and then used the curve draw tool to make new edges and lines. I could then print a portion of the overall design to A4 paper as full scale. By splitting the design into three sheets I could then print real-scale drawings taping together the sheets. I included some red thin construction lines to aid alignment of the drawings. By the 8th design, iteration F it bore no resemblance to the PRS original and I had a finished print which I glued down to 12mm thick MDF board. The MDF cuts well with a thin smooth cut Jig Saw blade and then I used a rasp (bottom of picture) and sandpaper to smooth the edges. Smooth lines here will pay dividends later and MDF is a lot softer than Oak.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjXlfWcxb1eLsaHb-lpy9yFFFlWpuuhPGeDnYM9-Vg9TgnMapod3hXFhdJOtQHdXOtC0laXLeZz5V7W_G_NNVmYzQLgSgIveLrMr3l1de-TL0S4wiAnoDDYq-Kc2FruLVsI0J9AbNm9AE/s1600/Template.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjXlfWcxb1eLsaHb-lpy9yFFFlWpuuhPGeDnYM9-Vg9TgnMapod3hXFhdJOtQHdXOtC0laXLeZz5V7W_G_NNVmYzQLgSgIveLrMr3l1de-TL0S4wiAnoDDYq-Kc2FruLVsI0J9AbNm9AE/s400/Template.jpg" width="378" /></a></div>
<br />
<br />
The addition of drawn pickups and the neck cavity proved useful as well as the centre line being pre-printed. The final bridge will be a Les Paul type and not a Strat hardtail as in the original drawing.<br />
<br />
The design was then transferred to the body blank and drawn on both sides. The blank had a centre line drawn on both sides. The distance from the base of the guitar from the edge ensured I was within a mm or so on both sides. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-9nAB78peDWeJirxAdRrS4A1ykyvNpiBZKGZrcfs6xBmq2KHDGEkIUxkTzhGQaTjZQIDGj1zV-WSc1wHp-SlXu4TQQJ24vs1FRf-Hz39WerQq1jLGJ-Ua8tXgnbMB69LLLvoIeWQqzGc/s1600/Marked+Out.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="283" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-9nAB78peDWeJirxAdRrS4A1ykyvNpiBZKGZrcfs6xBmq2KHDGEkIUxkTzhGQaTjZQIDGj1zV-WSc1wHp-SlXu4TQQJ24vs1FRf-Hz39WerQq1jLGJ-Ua8tXgnbMB69LLLvoIeWQqzGc/s400/Marked+Out.jpg" width="400" /></a></div>
<br />
<br />
I then hand routed close to the edge with a 6mm dual cut router blade. This was SLOW work. You have to go in 5-6mm depth steps but eventually you will remove wood and also end up at the depth limit of the cutter.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghTF8lHtbhSi9HY2OfvNVJF2Fqk4Gqb_Gb3s42hxV67tZxCs7bzjGppbgbjQWXvbogmIGihLOMzRrnS_7_CmtDyWeHqxH-8fdq1f7FsTTP1pnsXkm2W8a3f_Wk30UXP4UZ4CiDTAtwscU/s1600/cutout_first.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghTF8lHtbhSi9HY2OfvNVJF2Fqk4Gqb_Gb3s42hxV67tZxCs7bzjGppbgbjQWXvbogmIGihLOMzRrnS_7_CmtDyWeHqxH-8fdq1f7FsTTP1pnsXkm2W8a3f_Wk30UXP4UZ4CiDTAtwscU/s400/cutout_first.jpg" width="400" /></a></div>
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This is where accurately marking out on both sides with the template comes in. I then flipped the body over and began cutting again, though a bit further away from the line this time. As you can see below, I got daylight at last.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy03wyKBKfMvGMCy-SngAW-C-GKKP-c7JG1w-kQQc_-1g9PaFZYGASZkNKhcfWNbF3Ivc9f7lfZGY_VnRhjQzsMIlLGYmPu0P_UX73MTS5i25M0hGcm9pALEcwYL29Ml0Kn4yejNKJmPw/s1600/cutout_last.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy03wyKBKfMvGMCy-SngAW-C-GKKP-c7JG1w-kQQc_-1g9PaFZYGASZkNKhcfWNbF3Ivc9f7lfZGY_VnRhjQzsMIlLGYmPu0P_UX73MTS5i25M0hGcm9pALEcwYL29Ml0Kn4yejNKJmPw/s400/cutout_last.jpg" width="326" /></a></div>
<br />
The template was then refitted and SCREWED to the top. This is where having the pickup marked acts as a sanity check when sticking a screw in. I started with a template cutter (bearing at the top) to cut an inch below the template. I then turned the body over and used a trim cutter (bearing at tip) to follow this cut and remove the rest of the material in a gentle manner. As you can see below all the initial iterative cutting has left burn marks. For the final cut I removed the white tape and went with a full length cut trim cutter.<br />
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<br />
I have seen people using double sided tape to secure the template but I was glad I opted to use screws. I ended up moving the neck screw as I couldn't find a countersunk head screw and it got in the way of the router.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4S1pFlXdOb9-yeZdeMfTUWtXM7RoFRJACQHrf3Mg4Te0jAuqZUhr1ICRWzb1UJr6m86oMDJmWlEx6E9mDX8s9no0XrJGmgTSlK4dwgmKbukWtcOVsc6Q9AmQlVOmI02VMjvEeLQ0CVJg/s1600/cutout+complete.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4S1pFlXdOb9-yeZdeMfTUWtXM7RoFRJACQHrf3Mg4Te0jAuqZUhr1ICRWzb1UJr6m86oMDJmWlEx6E9mDX8s9no0XrJGmgTSlK4dwgmKbukWtcOVsc6Q9AmQlVOmI02VMjvEeLQ0CVJg/s400/cutout+complete.jpg" width="400" /></a></div>
<br />
After the final cut very nearly all the burn marks were removed and the body had a good clean line and more importantly cleanly cut with no tear-out. Overall very pleased with progress so far.I'll update with more pictures as this progresses.<br />
<br />
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<br />Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com0tag:blogger.com,1999:blog-8254144712200769850.post-18989220783663250822012-04-15T05:52:00.000-07:002012-04-30T01:40:48.727-07:00Ebay Refret with EVO Gold and filler<br />
<span style="font-size: 11pt;">I got a Profile Silhouette Strat copy off
ebay. I paid £115 for a made in Japan Stat, about 30 years old in good
condition advertised with not much fret wear. However on receipt it was evident
that it had spent a good deal of time playing rhythm on the first five frets as
several areas were utterly shot. I decided to keep the guitar but attempt my
first refret. After some research I stumbled across EVO gold fretwire. It's
_marginally_ more expensive than standard nickel silver, but much more wear
resistant and has a nice gold hue to the metal. </span><br />
<br />
<br />
<span style="font-size: 11pt;">On removing the frets I noticed exactly how
deep the slots are compared to the fret tang and how much more the neck moved
in my hands. The frets are obviously part of the structure and rigidity of the
neck. That and and I am now working old fret slots. It can't be
good. My solution was to use a resin wood filler to pack the slot prior
the instant before fitting the fret. I placed electrical tape either side of
the fret slot, filled the slot quickly and then pulled the tape. This leaves a
clean surface and a well filled slot. The wood filler cures very quickly so it
was one slot at a time. The excess appears out of the side of the slot so it
doubles up as the slot filling job at the same time. The truss rod plays a
lesser part now as the fretboard in more structural than before. Six
months later there are no issues. I am sure someone will have an problem with
filling the slot but in this instance it seems to have worked a treat.</span><br />
<br />
<br />
<span style="font-size: 11pt;"> As for
the Jescar EVO gold fretwire, it works easily, polishes beautifully and string
bending is all too easy. Someone please explain why EVO Gold isn't used on
everything now and why I have to spend a fortune with Gibson before they will
fit it. It costs about £2 more than nickel.... As for the Profile copy, with
some decent pickups now installed you would never put it down for a Fender seven
times the cost. Below, banging in the frets and taping up for the next swipe of
plastic wood filler. I hope it shows the gold in the fret, and when polished
it's like glass.</span><br />
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<br />
<span style="font-size: small;">Added photo </span>below as this is in natural sunlight which correctly shows the subtle gold. The dot markers were also changed on the <span style="font-size: small;">guitar.</span> The standard dots fitted were white plastic so I bought a pack of MOP (mother of pearl) the same size. Removal of the old dot markers was simple. You just stick a soldering iron into the middle and gently rotate it round. The plastic melts first and the glue soon follows allowing for a very clean removal of the old dot marker. <br />
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<br />Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com3tag:blogger.com,1999:blog-8254144712200769850.post-35956288219094986032012-02-22T01:39:00.000-08:002012-02-22T01:39:09.487-08:00Tag board vs PCB construction.<!--[if gte mso 9]><xml>
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<div class="MsoNormal">
Whilst I have a deep loathing for voodoo electronics one
conclusion I have arrived at is that tag-board construction will produce a
different tone from the same design based on a PCB, and I believe that tag-board can prove
best. So how did I arrive at this conclusion? </div>
<div class="MsoNormal">
I built a tag-board (not a turret board) based amp a
while back with a fault. It was missing a wire that connected the preamp signal
to the power output stage. So the amp was dead, right? Well no, it carried a
very trebley signal at a low level to the speaker just because the components
on the tag-board are forced to be so close together. This isn’t voodoo its called
crosstalk and is well understood. I found the fault and the amp sprang to life. So it has a
feed-forward path and a bit of treble gets added from somewhere to somewhere
else, well so what.<span style="mso-spacerun: yes;"> </span> </div>
<div class="MsoNormal">
Well try an experiment,
find a HiFi loudspeaker that has a Bi-wire option and play something familiar.
Now disconnect the tweeter and have a listen, half the sound disappears and
what is left is muddy and pretty torrid.<span style="mso-spacerun: yes;">
</span>Lastly disconnect the woofer and connect just the tweeter.<span style="mso-spacerun: yes;"> </span>It’s all treble as expected but the volume
level compared with the woofer is fractional. Conclusion:- A small amount of treble
carries the weight of the sound. Now back to the tag board where co-located components
will cross-talk and bleed treble forward in the amp. I loaned the amp to a
friend to check it out at volume, he concluded that it had an “air” …. and I
think I know where it comes from.</div>Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com1tag:blogger.com,1999:blog-8254144712200769850.post-22990278074790045682012-01-30T01:59:00.000-08:002013-07-25T01:42:28.368-07:00JCA20H with EL84 Triode / Pentode Switch and schematic circuit diagram.<div class="MsoNormal">
Though the JCA20H is _only_ 20watts, you have to take account of how loud 20 watts is, how you define 20 watts (some define it at 1% THD, some at 5% THD, it makes a big difference) and how efficient your speaker is. I decided as it's a simple mod to put in a triode switch which simply drops the output power to about 10 watts. However I found that the triode mod has develops a much smoother tone which I like. A fly in the ointment is that I also unbalanced the phase splitter at the same time, so two variables at the same time. </div>
<div class="MsoNormal">
However looking at the spectrum for Pentode and Triode shows that the harmonic balance shifts and that the change in tone is not just perception and that switching a EL84 output stage between Pentode and Triode is not only an output power change. (unless the phase splitter modification has also contributed)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The initial test setup was to keep the input stage as clean as possible and then drive the output stage in pentode configuration to 5% THD into a 8ohm resistive load.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The normal Pentode spectrum (500Hz sine input) looked like this. </div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPOwT5DQKyyzmU_ipAhp7V-I7R8IVFx-hUykuVXiWlN4keRqUhsgeHhaEjHOIorz6fVboBa0f9ALVaVUx833sX36yEzIrnB1ubZM7BpPkU4lV3HI13fxNvST2Jir0NOVD_wsduZWAQ0_4/s1600/pent_5pcthd.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPOwT5DQKyyzmU_ipAhp7V-I7R8IVFx-hUykuVXiWlN4keRqUhsgeHhaEjHOIorz6fVboBa0f9ALVaVUx833sX36yEzIrnB1ubZM7BpPkU4lV3HI13fxNvST2Jir0NOVD_wsduZWAQ0_4/s400/pent_5pcthd.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pentode 5%THD into 8 ohm.</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal">
When switched to Triode mode the THD increased by 1.2% and the upper spectrum changed structure.</div>
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</div>
<div class="MsoNormal">
<br /></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWPFHhNg2HOSULQdAGjEqKLth8ow_HVgYEA7jU4F5Xj_-DCjOmL3pa-21WIi0pc4GONl6IfXG3p8DRCZVMELtg_0i7mQ4xYKviAfimGovqF0YcFTLNgOCqlrg-IGBaTi1AxsxpaMiTUeg/s1600/triode_5pcthd.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWPFHhNg2HOSULQdAGjEqKLth8ow_HVgYEA7jU4F5Xj_-DCjOmL3pa-21WIi0pc4GONl6IfXG3p8DRCZVMELtg_0i7mQ4xYKviAfimGovqF0YcFTLNgOCqlrg-IGBaTi1AxsxpaMiTUeg/s400/triode_5pcthd.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Triode mode.</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With the input gain set at maximum and clipping in the pre-amp you can see how the different operating modes modify the tone. In Pentode mode the dominant harmonic structure from the overdrive is clear.</div>
<div class="MsoNormal">
<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkAPcVXK-hHKjcRYf6rq1GpUjRkRo9IGXXqzMm90A41H-Ynjv42zgrzwtorhYzpbvp1fELB3R9oQ-hl4jc2zWIybckZBSN8MdDTpoSlhFYefo8fCyFXwz4wEKgAkpU9wYpYhI7IBsLqBg/s1600/pent_full_dist.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkAPcVXK-hHKjcRYf6rq1GpUjRkRo9IGXXqzMm90A41H-Ynjv42zgrzwtorhYzpbvp1fELB3R9oQ-hl4jc2zWIybckZBSN8MdDTpoSlhFYefo8fCyFXwz4wEKgAkpU9wYpYhI7IBsLqBg/s400/pent_full_dist.png" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In Triode mode again the upper harmonic structure produced from the preamp is modified.</div>
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In the final version I fitted R7 and R5 (470R) as 1k5, 5 watt. C-8 Helps keep the supply stiff, R-6 brings the phase splitter value from 82k to 50k which skews the output balance and allows the output stage to generate second harmonics (ongoing trial) C-6 reduces the power stage bandwidth to about 10kHz. The depth mod is from the web to boost low frequency. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3-q8zK3YuTBG0exYqgiKzHIv4ZrCr4gumXYh2Mqh_Dfc88VdNMqHUGcA_0r6cEKU7ozpk_IKi0nysR16McrWGMTPuHlibT95BsL5QIwX-Ljk9uON-4Seshh3Cue1ZdGsHruRGGARvPcc/s1600/triode_pentode.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3-q8zK3YuTBG0exYqgiKzHIv4ZrCr4gumXYh2Mqh_Dfc88VdNMqHUGcA_0r6cEKU7ozpk_IKi0nysR16McrWGMTPuHlibT95BsL5QIwX-Ljk9uON-4Seshh3Cue1ZdGsHruRGGARvPcc/s640/triode_pentode.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">JCA20H HSG output stage.</td></tr>
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I did play with the idea of having SW1 as two separate switches so I could run one valve in pentode and one in triode in lieu of messing with the R46 value in the phase splitter but I didn't get around to it. You do loose some output power in changing the R46 value, but it is negligable.</div>
Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com10tag:blogger.com,1999:blog-8254144712200769850.post-55272172174531106562012-01-19T06:10:00.000-08:002012-01-31T07:59:03.034-08:00Jet City 333 JCA20H HSG Mod (high saturated gain) with schematic circuit diagram.There have been a few threads on how to get a full high gain no-holds-barred design from the Jet City JCA20H amplifier.<br />
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I find this topology does a good job of going clean-ish when the volume from the guitar is backed off nearly all the way but has more than enough overdrive to use with my strat. I have a bleed cap fitted on the guitars volume BTW.<br />
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Compared with the original first three gain stages setup of x69 x23.6 x59 the individual gains are now x55.7 x47.6 and x54.6 so no valve is pushed too hard to spec. What has happened is a attenuation between stages has been removed and the treble voicing moved to after the tone stack. If we had infinite supply voltage and valves that didn't arc then the original cascaded gain to the start of the tone stack was around a factor of 12.5 thousand, with the modifications it would be around 118 thousand. <br />
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The mods are presented as achievable without cutting tracks or removing the PCB from the chassis. Simple to try and simple to put back. From the official schematic here are the changes made.<br />
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C27, 1uF. Fit an additional 1uF in parallel to make it 2uF.<br />
R28, 220k. Fit an additional 220K in parallel to make 110K.<br />
C26, 20nF. Fit a 22nF 400V cap in parallel to make 42nF in total.<br />
R25, 2K2 fit a 1uF 25V cap in parallel.<br />
R53 1Meg. Sort circuit this part<br />
Gain Pot 1Meg Log. Fit a 62K or 68K resistor across the outer track connections.<br />
R53 to Wiper of Gain pot. 1.8Meg and 120pF in series (was100k and 1nF)<br />
C23, 470pF Short circuit this part.<br />
R14 470K Wire 220pF and 220K in series to restore some of the treble lost shorting out C23. <br />
R12 47k (NEG Feedback Resistor, Power Amp section) Fit 330pF in parallel to quash harshness.<br />
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And two mods from The Valve Wizard Pages <br />
R20 100k. Fit an additional 100K in parallel to make 50K <br />
I also fitted a neon between pins 2 and 3 as protection.<br />
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The amp also has a depth or resonance modification fitted which warms the amp in the correct place.It also has a triode switch which mellows the tone and an unbalanced phase splitter to allow 2nd Harmonic distortion in the output stage.I'll detail the output stage modifications in another post.<br />
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I found that the treble bleed at the gain pot helped establish a usable clean sound lifting the mid to treble but not the bass which often pushes the stage into grit. For now I have fitted R-3 as 100k and C-3 as 1nF. However this may change as it is still work in progress. (<span style="color: red;">UPDATE</span>: Fitted R-3 = 1.8Meg and C-3 = 120pF as final value)<br />
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Below is the response at the cathode follower with the gain pot set to about 2. The lowest plot is without a bleed modification. The green upper plot is 100k and 1nF which gives a 12dB lift beginning at the lower mid frequency. The intermediate red trace is 100k and 220pf.<br />
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</a></div>Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com36tag:blogger.com,1999:blog-8254144712200769850.post-40511186715493588322012-01-04T11:13:00.000-08:002012-01-04T11:13:52.720-08:00Jet City JC20H output harshness<div class="MsoNormal">The Jet City JC20H is an EL84 based guitar amplifier which has had some criticism for sounding a bit harsh or brittle. Mine was no exception. The stock EL84s proved to be substantially mismatched and were ditched for some matched JJ Tesla. However the brittleness proved unmoveable despite many changes to the pre-amp section. </div><div class="MsoNormal">The solution was with the power amp section. A 330pf capacitor across the 47K negative feedback (NFB) resistor marked R12 in the service schematic. This removes the unnecessarily high bandwidth of the output stage, and will also increase high frequency stability. Whatever the cause, the brittleness is gone and the amp sounds a whole lot better. Roll off is 1/ 2Pi * R *C , so 330pF and 47K will equal about 10kHz which is ample for a guitar amplifier. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The simulation below shows the frequency response with and without the 330pF capacitor. The peaking at 14kHz is reduced by about 9dB. Scale is 3dB per division vertically and 2Hz to 20kHz.</div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikgPssM8QjwXzX24f7FFZip-wi9eT9naDze_vvJN6-t8QrrdeNQs1x7CxFdUMpwFY4lffWwvzMh_ZEbOhzYRITdHUgHSJOX8a0CAndrzxbZ_CKq6kMZwa0MnrPEQ82CEs8S_eXR-v7UOI/s1600/NFB_cap.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikgPssM8QjwXzX24f7FFZip-wi9eT9naDze_vvJN6-t8QrrdeNQs1x7CxFdUMpwFY4lffWwvzMh_ZEbOhzYRITdHUgHSJOX8a0CAndrzxbZ_CKq6kMZwa0MnrPEQ82CEs8S_eXR-v7UOI/s320/NFB_cap.png" width="320" /></a></div><div class="MsoNormal"><br />
</div>Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com5tag:blogger.com,1999:blog-8254144712200769850.post-82210662233819491592012-01-03T01:10:00.000-08:002012-01-03T01:10:53.486-08:00Pots that drive me up the wall.<div class="MsoNormal">I get annoyed at pots in guitar amps (potentiometers), usually the volume pots. They have two attributes I hate. Noisy over time and the inability to get from zero to low volume in an orderly fashion. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Firstly let’s look at issue of a noisy pot, you move the volume and get great crunches out of the speaker. I got to thinking about this the other day and came up with the following plan. I’ll replace the 1Meg volume pot (log scale for volume) with a 2.2Meg stereo log pot. I’ll then wire the two pots together in parallel, so wiper to wiper, top of pot to top, ground to ground. This will give me a 1.1Meg Log pot. This way I have two wipers to go wrong, but I should have less chance of a disconnection occurring as one of the wipers should have a good connection at any one time. Something to give a go. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">This then set off a train of thought. What about wiring just the wipers and ground connection together. This should give a modified Log response with hopefully a slightly more gentle lift from zero and a bit more granularity in this area. So a pot and a parallel sub-pot. </div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyqbRd1gLA3ocT5NAFsnNmFInsqJc5ww6jZZzZpanUmLDbvGfyidpMxtXFnS3xXLK-8DC0ljJS53f9CpCp874JxC4O6og4fYLnfpjt24_NyFrUipKd9KVH_lBSCXSE-H13CsD81T9PUeY/s1600/sub_parallel.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyqbRd1gLA3ocT5NAFsnNmFInsqJc5ww6jZZzZpanUmLDbvGfyidpMxtXFnS3xXLK-8DC0ljJS53f9CpCp874JxC4O6og4fYLnfpjt24_NyFrUipKd9KVH_lBSCXSE-H13CsD81T9PUeY/s1600/sub_parallel.png" /></a></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal">If I plot out the response from a theoretical Log pot and then as a “sub-pot” I get the following change plotted as the green curve. This assumes zero source impedance and an infinite load. I do get a slight easing in the very low volume setting area, followed by a slower curve into the 60% rotation which then quickens up to meet at 100% rotation.</div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9VH71JU9cbHzmVhZWHvvjIpAiwt43W5bRPt1QnqQaayV2V6UHpdUJY0av7287uf0y_0uWtH9E_Kg6j0ZAVNoLWWEbMGrvZeGlU_jCthACErsbrGR2LZNe-RxzFxcRPmRfCGdbFQcjSXk/s1600/sub_pot_log.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9VH71JU9cbHzmVhZWHvvjIpAiwt43W5bRPt1QnqQaayV2V6UHpdUJY0av7287uf0y_0uWtH9E_Kg6j0ZAVNoLWWEbMGrvZeGlU_jCthACErsbrGR2LZNe-RxzFxcRPmRfCGdbFQcjSXk/s320/sub_pot_log.png" width="320" /></a></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal">Now anyone familiar with a Marshall JCM800 amplifier will tell you that 0-4 is zero to full power, after this you are soon overdriving the power section. This method will give slightly more control outside of the power amp overdrive section, which is where I want it. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">You can also play with the same idea with a linear pot, say the Treble tone control in a passive TMB (treble, mid, bass) tone stack. Here the parallel pot is marked as X1.</div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx3XrLuC7c4ZGR946XPl3jeoarwvqWbIBd5F7YH6zfeAvA1DudTafA3_UxOxpmJmYc8xrSJ7FMzezl9Hv845xxRCvftySSlfX_dbrWf0lRcMx4IlfEqNV9Uf5D6Muc-oNkQKSiI6PtsMI/s1600/TMB.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx3XrLuC7c4ZGR946XPl3jeoarwvqWbIBd5F7YH6zfeAvA1DudTafA3_UxOxpmJmYc8xrSJ7FMzezl9Hv845xxRCvftySSlfX_dbrWf0lRcMx4IlfEqNV9Uf5D6Muc-oNkQKSiI6PtsMI/s320/TMB.png" width="320" /></a></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal">We will get a degree of log law faking but we also modify the end to end resistance which will play with the impedance sensitivity of the other controls. To be fair it isn't too far from a fixed resistance at the same point, but different enough.</div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwDIgk7QsNbi8pDHrMyb8Urcf7DQ5h9woQLs9OGxUTOB29PybBc1MdGpeAUiBJSRkahn_iGMAuDZQCyWWOZXx3_SsWzSi4_CNQzSoGuALoJEVA3OAveV9QoX99BfW5MQtAa7N3eWEcHdw/s1600/sub_pot_lin.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwDIgk7QsNbi8pDHrMyb8Urcf7DQ5h9woQLs9OGxUTOB29PybBc1MdGpeAUiBJSRkahn_iGMAuDZQCyWWOZXx3_SsWzSi4_CNQzSoGuALoJEVA3OAveV9QoX99BfW5MQtAa7N3eWEcHdw/s320/sub_pot_lin.png" width="320" /></a></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal">A common treble value for the pot is a 250K linear. If we substitute in a 250K lin stereo pot wired as a sub pot then the following changes take place. Note that the mid scoop is reduced, and at maximum treble boost the scoop centre frequency changes from ~250Hz to ~350Hz. There is also a more linear change with pot rotation. You can also get a scoop reduction by just replacing the parallel pot with a fixed 50K resistor but that can’t be as much fun.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Firstly the notmal TMB circuit moving the treble control from 0 to 100% in 10% steps. 6dB / division.</div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoGsicXmkq6EuiYcgbf5h948NnUHpmqCf1l5qyXH0CTcunKn0sokr_p6gMNRWJoxCkHx1RcLmBYmO4grD1gePt_EjfQp39TWkqWi1qX7gyRi5BpjziPx8G081hwN9xdBazc6bjdgnGSoc/s1600/std+TBM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoGsicXmkq6EuiYcgbf5h948NnUHpmqCf1l5qyXH0CTcunKn0sokr_p6gMNRWJoxCkHx1RcLmBYmO4grD1gePt_EjfQp39TWkqWi1qX7gyRi5BpjziPx8G081hwN9xdBazc6bjdgnGSoc/s320/std+TBM.png" width="320" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">And now with a 250k stereo pot wired as a sub-pot.</div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4QHq4RtWW2J1lOZEsAxSa1MvsqFQW16yqDntXwBmVzEplZtCjSqoBUF7RyEajZoFfmhDtGKl6AP5PNU4ikmPSv9komfdfKcboHV_OvDmMdkPNN1YLn68c3HwpPdV9-eSyfGcl6ku1Ydo/s1600/sub_pot+TBM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="201" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4QHq4RtWW2J1lOZEsAxSa1MvsqFQW16yqDntXwBmVzEplZtCjSqoBUF7RyEajZoFfmhDtGKl6AP5PNU4ikmPSv9komfdfKcboHV_OvDmMdkPNN1YLn68c3HwpPdV9-eSyfGcl6ku1Ydo/s320/sub_pot+TBM.png" width="320" /></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"></div><div class="MsoNormal">Feel free to play and adapt.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Roosville.</div>Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com0tag:blogger.com,1999:blog-8254144712200769850.post-82510628595101875522011-12-09T01:07:00.001-08:002012-01-03T01:09:56.833-08:00Day One.<div class="MsoNormal">For a while I have realised that I draw a lot from the web without really putting back. I decided a blog would possibly serve to address this whilst keeping the stuff I want to keep fresh for myself in one place and not distributed on message boards or bits of paper. If anyone finds anything here useful then it’s served a purpose and I’ll be happy with that. Stuff will appear here that hasn't been fully thought through or proven, so please bear that in mind. I am sure I'll see some "seen & done that before" in which case, well done.<br />
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Roosville</div>Roosvillehttp://www.blogger.com/profile/18346708485236938737noreply@blogger.com1