Project No.

1
PREAMP
Deflnltton: A preamp increases the level ot a signal.
For exampJe, a preamp with a gain ot 10 can take a IV
input signal and turn it into a 10V output signa/.
Figure 5-8
Here is the preamp, mounted in a Vector-Pak card
module prior to installation in the pedalboard. The
switch on the left is the clean/dirty switch; the one
on the right is the in/out or bypass switch (see
Project No. 23 for details on how to wire this in-
to the preamp). The input jack is on the front, but
ali other connectors mount on the rear. In order to
conserve panel space, the VU meter has been
omitted [rom this module.
Background:
Some signals that emanate from devices ale very low in
level, such as the weak signals com ing out of the guitar
pickups or microphones. On the other hond. some de-
vices (tape recorders, hi-fi power amps, studio consoles,
and others) want to receive line-level, or high-level signals.
A preamp can .take a low-level signal and convert it into
a high-level signal that is more suitable for interfacing
with professional equipment. Advantages include a "ful-
ler" sound and better noise performance compared to
using a nonpreamped signal.
. Choice of three outputs: low-impedance unbal-
anced, inverting or noninverting, for use with gui-
tar arnps, same tape recorders, hi-fi power amps,
etc.; and low-impedance balanced, for use willi
professional studio equipment
. Built-in VU meter amp
. Separate gain control and master volume con-
troI to optimize signal-to-noise ratio
. Low-noise and low-distortion characteristics
. Operates from "!:9 to tl8V OC
. Drives long cables without signalloss or degraded
frequency response
. Replaces hassIe-prane studio direct boxes when
recording direct into studio mixing boards
. Buffered, low-Ievel output available at pad A
Features
. High-input impedance retains the fidelity of instru-
ments with high-output impedances such as guitar
. Choice of "clean" (standard preamp) or "dirty"
modes. The dirty mode simulates the sound of an
overdriven amplifier Level of Difficulty: Beginner to intermediate.
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Constructions Tips
Because this circuit is capable of high gain, certain leads
must be shielded, and alI wiring should be kepi as short
and direct as possible. Input and output leads should be
physically separated from each other by at least 1 cm
(3/8") to prevent stray signal coupling.
Use shielded cable for the following connections:
JI to pad I; pad C to R6; SI to pad E.
LEDs Dl and D2 should not light up. They ale used
onlv to create distortion in the dirty mode.
Using the Preamp
studio patch bar patching points; professionaI tape
recorder inputs; SOfie studio effect inputs; and profes-
sionaI-quaIity mixers.
Use J2 for applications similar to J3, but where phase
is unimportant. Using this output will give slight1y better
noise performance compared to J3.
. Third, decide whether you want a clean or dirty
sound. If clean, set SI to clean. With the master volume
about one-fourth of the war up, feed your loudest input
signaI into the preamp. Tum the Kain control clockwise
until you reach the maximum level that still gives a dis-
tortionless sound. Trim the master volume to the desired
output level (usuaIly O dB when feeding something like a
tape recorder).
If dirty, set SI to dirty. Adjust the gain control for
the desired amount of distortion (clockwise=more dis-
tortion), then trim master volume for the desired output
level.
Another war to obtain a dirty sound, even with SI in
the clean position, is to overload a low-level input (such
as a typicaI guitar amp input) with the high-level preamp
output. For this application, adjust the gain and master
volume controls for whatever you feel gives the best
sound quaIity.
. First, plug your instrument or microphone into Jl.
The preamp input accepts unbalanced output devices,
which usually terminate in 1/4" phone plugs. To connect
balanced line devices, which usually terminate in a three-
wire XLR connector or more rarely in a 1/4" stereo
phone plug, you will need to add an additional matching
transformer. See Figure 5.9.
. Second, determine which output jack to use for
patching the preamp into your setup.
Use J3 for feeding devices with unbalanced, high-lev-
el inputs. These include power amps such as BGW,
Clown and McIntosh; most consumer and semipro tape
recording equipment; budget P A mixers; line level studio
effects; most synthesizer modules; and synthesizer
"extemal input" jacks.
Use J4 for feeding devices willi balanced, high-level
inputs. These include studio mic preamp inputs; most
Figure 5-9
How to adapt a balanced, low-impedance micro-
phone to the preamp input using a matching trans-
former. The cara connecting the microphone to
the adapter is usually a three-conductor type with
XLR connectors at each end; the cord from adap-
ter to preamp is a standard cord with 1/4" phone
plugs at each end. The transformer is called a
"high-impedance unbalanced to low-impedance
balanced" type, and is available at mony musie
stores and pro audio shops for around $15 to $20.
Hooking up the VU meter amp: By monitoring the out-
pot of the preamp with the VU meter, you may adjust
the master volume so that your output signal is consis-
tently around the O-dB point. For max.imum versatility,
the meter amplifier input is brought out separately to
pad M so that you may monitor different points along
the signal chain if desired.
To monitor the output of the preamp, connect pad
Mto pad P.
To monitor several effects, refer to Figure 5-10.
If you don't wish to use the meter, simply ignore ter-
minals M and N. The meter does not need to be used for
the preamp to work correctly.
The function of pad A: The output signal appearing at
pad A is a buffered equivalent of the signal appearing at
the input, and may be connected up to a jack in a fash-
ion sirnilar to Jl. Use it for feeding effects that ale de-
signed to wark only with 10w-Ievel inputs. This option
will not be required if you ale using the preamp solely in
conjunction willi other projects presented in this book.
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Modifications Figure 5-10
This diagram shows the preamp, compressor, and
super tone control, with their inputs and OUfputs
brought out to separate jacks. J've omitted other
connections-power supplies,pots, etc.-forclarity.
Pad M connects to arotary switch which selects
the part of the signal chain we wish to monitor.
Position 1 monitors the preamp output, 2 the com-
pressor output, and 3 the super tone control out-
puf.
. The preamp response is t IdB from 40Hz to 10kHz
(1kHz = 1000Hz). You may remove CI and C2 to ex-
tend the response to 20kHz if you've been carefuI willi
your wiring (no Iong, sloppy Iead lengths, or inputs
draped over outputs).
. If the preamp has too much gain for your needs,
change RIO to 220k. If too little gain, change RIO to
1M.
. If you will only be using the preamp with guitar,
and if that guitar does not include built-in electronics,
you may replace C3 with a wiTe jumper for improved
noise performance.
. There may be instances where you don't need all
the versatility of the present design. Let's say you're a
guitarist, and all you want is a preamp to overload your
guitar amp input-and that's all. In this case, simply plug
your guitar into Jl, your amp into 12, and you're ready
to go. You don't need J3, J4, R3-R5, R8, Rll, C4, C7,
or C8; these may be removed from the board, or designed
out altogether. The clean/dirty switch as well as R6 and
R7 will still be completely functional.
In Case of Difficulty
. Distortion, even in clean mode: Tum down Kain
control until distortion goes away, and tum up master
volume to compensate.
. Intemal feedback, squeals, or other oscillations:
Check lead layout. Use shielded wires where indicated.
Make SUTe C l and C2 are in place.
. "Uneven" sounding distortion in dirty mode: Veri-
f y that Dl and D2 haven't been overheated or damaged
during the soldering process.
Specifications
Current consumption: tS mA. @ -!9V DC supply voltage
Frequency response (clean mode, CI & C2 = 5pF):
tl dB, 40Hz - 10kHz
t2dB, 40Hz - 20kHz
Frequency response (clean mode, CI & C2 omitted):
tl dB, 40Hz - 20kHz
Output headroom, clean mode: greater than IOV pk-pk
Maximum input before clipping, clean mode, R6 fully
clockwise: IOOmV pk-pk
Output headroom, dirty mode: 3V pk-pk
Maximum input, berom: cli~Riilg, dirty mode, R6 fully
clockwise: 15'mWp*,"pJ(;
*mA = millamperes;:.1mA'=iJ:OOA.
tmv = millivolts; lmV= O.OOV.
m = one thousandth.
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How it Works
IC2A is a buffer stage that loads the input signal down as little as possible;
capacitor CI promotes stabilityand helps minimize radio frequency inter-
ference. From hele, the signal coup1es through C5 into the gain control.
This varies the amount of signal that goes to IC1A, which is set up as a
high-gain stage. With R6 up fulI and SI in the c/ean position, the signal is
amplified 100 times (p1enty of gain, even for 10w-Ievel signals). Willi SI in
the dirty position, LEDs Dl and D2 shunt across this high-gain stage to
clip the signal and create distortion. Under these conditions, tuming up
R6 doesn't make the signallouder, but instead makes it mOle distorted.
The next step along the signal path is through C6 to R7, the master
vo/ume control. This signal goes directly to J2, the inverting output. The
output of IC1A algo goes into IC1B, which sirnp1y inverts the signal again
to produce a noninverting output, and feeds this signal in to J3. Since a
balanced output requires both inverting and noninverting signals, the in-
verting output of IC1A and the noninverting output of IC1B feed the bal-
anced output connector.
IC2B is the meter amp. It basical1y presents a minimum of loading to
whatever signal connects to pad M, and then couples into the VU meter
throui!;h CB.
~'7
Project No. PARTS LIST
Resistors (ali are 1/4W, 10% tolerance, except as noted)
Rl lk
R2 4.7k
R3 - RS lOk
R6 lOk audio taper pot-controls gain
R7 lOk audio taper pot-controls master volume
R8 lOOk
R9, RIO 470k
Rll 1M
Capacitors (rated at mate than 10V for -i9V, mate than 15Vfor t15V)
CI, C2 5pF ceramic disc
C3 O.lilF (mylar preferred, disc acceptable)
C4 O.22ilF (mylar preferred, disc acceptable)
C5 2ilF, electrolytic or tantlum
C6 - C 10 1 OilF, electrolytic or tantalum
Semicond uctors
ICI, IC2
Dl, D2
D3.D4
RC4739 or XR4739 duallow-noise op arnp
Red LED
lN4001 or equivalent silicon diode
Mechanical Parts
Jl.J3
J4
SI
VU
Misc.
Open circuit 1/4" mono phonejack
Optiona1 XLR connector
SPST switch-selects cleanjdirty mode
VU meter
Case, knobs, iwo 14-pin IC sockets, circuit board
solder, wiTe, etc.
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