Fender Amp Simulator

Schematic of fender type amp simulator,

Frank's schematic of his modified fender type amp simulator,

Schematic of fender type cabinet simulator,

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USB Power Injector For External Hard Drives

A portable USB hard drive is a great way to back up data but what if your USB ports are unable to supply enough "juice" to power the drive? A modified version of the Silicon Chip Usb Power Injector is the answer. For some time now, the author has used a portable USB hard drive to back up data at work. As with most such drives, it is powered directly from the USB port, so it doesn’t require an external plug pack supply.

Project's Picture:

In fact, the device is powered from two USB ports, since one port is incapable of supplying sufficient current. That’s done using a special USB cable that’s supplied with the drive. It has two connectors fitted to one end, forming what is basically a "Y" configuration (see photo). One connector is wired for both power and data while the other connector has just the power supply connections. In use, the two connectors are plugged into adjacent USB ports, so that power for the drive is simultaneously sourced from both ports.

USB Cable:

An external USB hard drive is usually powered by plugging two connectors at one end of a special USB cable into adjacent USB ports on the computer. This allows power to be sourced from both ports. According to the USB specification, USB ports are rated to supply up to 500mA at 5V DC, so two connected in parallel should be quite capable of powering a portable USB hard drive – at least in theory.

Complete Project:

Unfortunately, in my case, it didn’t quite work out that way. Although the USB drive worked fine with several work computers, it was a "no-go" on my home machine. Instead, when it was plugged into the front-panel USB ports, the drive repeatedly emitted a distinctive chirping sound as it unsuccessfully tried to spin up. During this process, Windows XP did recognise that a device had been plugged in but that’s as far as it went – it couldn’t identify the device and certainly didn’t recognize the drive.

Plugging the drive into the rear-panel ports gave exactly the same result. The problem wasn’t just confined to this particular drive either. A newly-acquired Maxtor OneTouch4 Mini drive also failed to power up correctly on my home computer, despite working perfectly on several work computers.

Circuit diagram:

The revised USB Power Injector is essentially a switch and a 5V regulator. The Vbus supply from USB socket CON1 turns on transistor Q1 which then turns on power Mosfet Q2. This then feeds a 6V DC regulated supply from an external plug pack to regulator REG1 which in turn supplies 5V to USB socket CON2.

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Farfisa F/AR Preamp and Reverb Schematic

He is the Farfisa F/AR Schematic. The F/AR was an independent preamp and real spring reverb unit that was used to power the Farfisa Compact Duo dual manual combo organ, and the Farfisa Transicord electronic accordion. Both of those instruments will not work without this piece, so it’s pretty nice to have one!

READ MORE - Farfisa F/AR Preamp and Reverb Schematic

IBanez JEM Story

In 1987 Ibanez Introduced the Jem series that was designed along with Steve Vai.

These guitars were a new direction for Ibanez.

They are not really Vintage but 1987 is 10 years ago so I will include them. They are

just too cool not to. The story of the Jem guitar is as follows. This is

from an inside source so I believe it to be true. The Names have been changed

to protect the innocent.

Steve Vai was playing with David Lee Roth on the Eat-em and Smile tour.

When some one stole all his guitars. He needed some guitars fast so he

purchased some parts from Performance and had them modified. Ibanez sent

him for Christmas in 1986 a modified Maxxas guitar that had 24 frets and

a Green Snake skin finish. Steve than sent one of the guitars that he

had modified to Ibanez to see if they could reproduce it. Ibanez had

many of there own ideas to add to this model. The first Proto types were

made in the USA at the Ibanez company. There were 3 models made all with

the same body style and neck but three different materials. One was

Mahogany one was Alder and the third was Basswood. Steve liked the sound

the best of the American Basswood also it was much lighter than the

other models. At this point they decided to move ahead with the model

development.

Ibanez Added the Lions Claw under the tremolo route and the disappearing

Pyramids. Steve wanted the Jack to be located so that when he put the

cord around the strap the jack would be there so Ibanez put the jack on

the lower side of the body and called it the tilt jack.

The Tremolo rout was designed so the tremolo could be pulled up a full

fifth. At this time there was a guy in New York Joe Dispagney that was

painting, modifying and assembling the guitars for Steve. He always

would put the monkey grips in the guitars so Steve had Ibanez do the

same.

Sound wise Steve played the Dimarzio PAF pickups and needed more sounds

than just a Lespaul or a Strat so the Split 5 wiring was designed. This

uses a standard 5 way switch with 2 Humbuckers and one single in the

middle. The guitar is wired so that that as follows.

1 Position is the Bridge Humbucker.

2 Position is the Inside Bridge coil and Middle single.

3 Position is just the Single.

4 Position is the Inside Neck coil and the Middle single.

5 Position is the Neck Humbucker.

Wiring Diagram

They also added a 331PF capacitor across the volume pot. This is so that

the highs don't roll off when the volume is turned down.

Ibanez designed a new color plating called Cosmo Black to use on the

Jem series. If you look at the original Jem brochure you will notice

another thing the bridge cover this was used so that you could palm the

bridge and the tremolo would not go sharp. This was only on the original

JEM777LG models but not on any guitars after that.

The neck was designed with the upper four frets scalloped and had a neck

extension that went over the body. Ibanez scooped the heel of the guitar

so that the upper frets were easy to play. The original Jem guitars used

Dunlop 6100 fretwire.

Here is a picture of the original Jem777 spec, It is Dated 10/6/1987.

The Fretboard marking states Rosewood so I guess this is a mistake.

Info

Jem777LG

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard: Maple with Disappearing Pyramids

Neck Shape Jem Thickness 19mm X 21mm / Width 43mm X 57MM

Fretwire: Dunlop 6100

Pickups: Pink PAF Pro in Bridge and Neck, Jem Single in the Middle.

Bridge: Ibanez Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Color: Lochness Green.

Available in 1987 only

Jem777SK

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard: Maple with Disappearing Pyramids

Neck Shape Jem Thickness 19mm X 21mm / Width 43mm X 57MM

Fretwire: Dunlop 6100

Pickups: Pink PAF Pro in Bridge and Neck, Jem Single in the Middle.

Bridge: Ibanez Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Color: Skocking Pink.

Production Years 1987,1988,1989,1990

Jem777DY

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard: Maple with Disappearing Pyramids

Neck Shape Jem Thickness 19mm X 21mm / Width 43mm X 57MM

Fretwire: Dunlop 6100

Pickups: Pink PAF Pro in Bridge and Neck, Jem Single in the Middle.

Bridge: Ibanez Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Color: Desert Sun Yellow.

Production Years 1987,1988,1989,1990.1991,1992,1993,1994,1995,1996

Jem7RB

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard: Rosewood with Dots

Neck Shape Jem Thickness 19mm X 21mm / Width 43mm X 57MM

Fretwire: Dunlop 6100

Pickups: Pink PAF Pro in Bridge and Neck, Jem Single in the Middle.

Bridge: Ibanez Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Color: Rootbeer Burned.

Note: The Basswood is burned with a torch to give it the color and then

the guitar is stained and cleared over.

Production Years 1988,1989

Jem77FP

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard: Rosewood with Green Tree of Life

Neck Shape Jem Thickness 19mm X 21mm / Width 43mm X 57MM

Fretwire: Dunlop 6100

Pickups: Pink PAF Pro in Bridge and Neck, Jem Single in the Middle.

Bridge: Ibanez Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Finish. Florial Pattern.

Note: The Floral Pattern is actually a Fabric that was copied from Steve

Vai's Curtains in his house. There are 3 front patterns, 3 Back patterns

and 3 headstock patterns. All of these combinations could be on any

model so they all do not look exactly alike.

Production Years 1988,1989,1990,1991.1992,1993,1994,1995,1996

Jem777VDY

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard:Rosewood with DY Tree of Life.

Neck Shape Wizard Thickness 17mm X 20mm / Width 43mm X 57MM

Fretwire: Dunlop 6140

Pickups: Pink PAF Pro in Bridge and Neck, Jem Single in the Middle.

Bridge: Ibanez Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Color: Desert Sun Yellow.

Production Years 1989,1990,1991

Jem777VBK

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard:Rosewood with Green Tree of Life.

Neck Shape Jem Thickness 19mm X 21mm / Width 43mm X 57MM

Fretwire: Dunlop 6100

Pickups: Pink PAF Pro in Bridge and Neck, Jem Single in the Middle.

Bridge: Ibanez Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Color:Black.

Production Years 1988,1989,1990,1991,1992

Jem7PBK

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard:Rosewood with white pyramids.

Neck Shape Jem Thickness 17mm X 20mm / Width 43mm X 57MM

Fretwire: Dunlop 6100

Pickups: White PAF Pro in Bridge and Neck, Jem Single in the Middle.

Bridge: Ibanez Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Color:Black.

Production Years 1989,1990,1991

Jem777BFP

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard:Maple with Blue Tree of Life.

Neck Shape Jem Thickness 19mm X 21mm / Width 43mm X 57MM

Fretwire: Dunlop 6140

Pickups: Blue PAF Pro in Bridge and Neck, Jem Single in the Middle.

Bridge: Ibanez Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Color:Blue Florial Pattern.

Note: The Blue Floral Pattern is a out of focus picture laminated to the

top of the body and then bursted and cleared over.

Production Years 1991,1992,1993,1994

Jem777GMC

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard:Maple with Disapearing Pyramids.

Neck Shape Jem Thickness 19mm X 21mm / Width 43mm X 57MM

Fretwire: Dunlop 6100

Pickups: Green/Black PAF Pro in Bridge and Neck, Middle Jem Single

Bridge: Ibanez Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Color:Green Multi Color

Note: The Green Multi Color was first Painted white and shipped to the

USA to a company called "About Time Design". They would dip the guitars

and send them back to Japan for clearing and assembly.

Production Years 1992,1993

Jem777PMC

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard:Maple with Disapearing Pyramids.

Neck Shape Jem Thickness 19mm X 21mm / Width 43mm X 57MM

Fretwire: Dunlop 6100

Pickups: Purple PAF Pro in Bridge and Neck, Middle Jem Single

Bridge: Ibanez Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Color:Purple Multi Color

Note: The Purple Multi Color was first Painted white and shipped to the

USA to a company called "About Time Design". They would dip the guitars

and send them back to Japan for clearing and assembly.

Production Years 1992,1993

Universe 7 strings

In 1990 Ibanez introduced the Universe 7 string models. These were the

same basic specs as a Jem except it used a 48mm neck with 7 strings a

low pro edge and an added Low B string. The pickups were Dimarzio Blaze

pickups

UV777

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard:Maple with Disapearing Pyramids.

Neck Shape UV Thickness 20mm X 21.5mm / Width 48mm X 65MM

Fretwire: Dunlop 6140

Pickups: GR/YL Blaze in Bridge and Neck, Middle Blaze Single

Bridge: Ibanez 7 string Low pro Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Color:Green

Production Years 1990,1991

UV7

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard:Rosewood with Green dots.

Neck Shape UV Thickness 20mm X 21.5mm / Width 48mm X 65MM

Fretwire: Dunlop 6140

Pickups: Green Blaze in Bridge and Neck, Middle Blaze Single

Bridge: Ibanez 7 string Low pro Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Color:Black

Production Years 1990,1991,1992,1993,1994,1996

UV7P

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard:Rosewood with Disapearing Pyramids.

Neck Shape UV Thickness 20mm X 21.5mm / Width 48mm X 65MM

Fretwire: Dunlop 6140

Pickups: GR/YL Blaze in Bridge and Neck, Middle Blaze Single

Bridge: Ibanez 7 string Low pro Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Color:White

Production Years 1990,1991,1992

UV77

Body: American Basswood

Neck: Maple 14 Degree Scarf Joint

Fingerboard:Maple with Disapearing Pyramids.

Neck Shape Jem Thickness 20mm X 21.5mm / Width 48mm X 65MM

Fretwire: Dunlop 6140

Pickups: GR/YL Blaze in Bridge and Neck, Middle Blaze Single

Bridge: Ibanez 7 string Low pro Edge

Controls: 1 Volume, 1 Tone, 5 Way with Split 5 wiring

Machine Heads: Smooth Tuner

Hardware: Cosmo Black

Color:Multi Color

Note: The Multi Color was first Painted white and shipped to the

USA to a company called "About Time Design". They would dip the guitars

and send them back to Japan for clearing and assembly.

the original link here

READ MORE - IBanez JEM Story

SEARCH FOR THE ULTIMATE TONE - PART ONE

For the original post please visit here

I have spent 35 years in search of the perfect guitar tone. This is part one of a series of three articles describing the journey to date and how I reached the conclusions about the gear and techniques I now employ. Grab a beer and let’s examine the humble guitar string to just before the amplifier…

This is part one of three articles that describe the way I achieve my particular guitar sound. It may not be to everyone’s taste but hopefully it will give you some ideas and pointers to develop your own unique tone learning from the tens of thousands of pounds I spent on getting here!

For those of you living the Isle of Man, I am giving a ‘Tone Workshop’ at Peter Norris Music on Sunday April 11, 2010 at 1900. I will be discussing and demonstrating all the stuff I talk about in these articles. If you fancy coming along book on the freeworkshop!

What is a great tone?

Naturally, it’s down to your own ear, playing and the style of music, but regardless there are a number of fundamental issues you need to address that will affect your tone. Knowing what these are should assist you in the future.

My rig is a behemoth and the first thing I must point out is that you do not need this amount of gear to achieve a fantastic tone; in fact it can be quite counter productive.

The best tone I ever have is going straight from a great guitar, with lovely pickups, though a great cable, into a great amp which is powering a well designed cabinet loaded with superb loudspeakers; this what I use when I record, adding overdubs and effect later.

The question you all must be thinking is “why the hell does he have that huge rig”?

Well, currently I am playing in a three piece and I do feel that you need to give the audience varying tones throughout the evening to keep up the interest and reproduce as close a sound as possible to the recordings.

Also, using a pretty clean tone, a three piece can sound a bit empty; delay and reverb are very useful! Finally, the original material we are playing benefits from some effect from time to time. Most of the set however, I go basically straight into the amp. The challenge is of course is to prevent all the paraphernalia sucking your basic tone and thereby lies the problem.

Where do we begin? Well the first thing we need to remember is that everything in the signal chain, from the string to speaker, will effect the tone is some way, so lets start from the top…

Strings

Pickups are electromagnets and the output is directly related to the amount of metal that is waved around in front of the bloody things!

Some players choose to use heavier gauge string and tune down their instrument by 1/2, one or even two full tones. This retains the ‘big’ sound of the string but reduces string tension making it easier to play!

I do occasionally employ this technique but you do have to think of other members of the band, their tunings and requirements.

D’Addario regular light (10,13,17,26,36,46) are my strings of choice and for me is a good balance between the tension of the string and the tone. I use a set of 11’s for my Gibson Flying V which I use for slide. These, with the pickups I use, give me a nice detailed and well balanced tone.

Pickups & wood

This of course is intensely personal but I found that under-wound pickups suit me best as they deliver more mids and highs; they tend to be clearer and more defined.

More windings give greater output, bass and thick mids but less top end. I think they lack in clarity and dynamics.

I regularly use four electric guitars: three made for me by the very talented Gordon Whittam (he is the Gordon of Gordon Smith Guitars in Manchester) and a 70’s Gibson Flying V. Two of the customs are based around Fender Telecasters and the other based around a Fender Stratocaster. One ‘Tele’ has two humbuckers and a ‘Strat’ tremolo system, the other is almost standard.

All these electric guitars feature Lindy Fralin’s. He has good article on choosing pickups which is worth reading.

The wood, tremolo system, nut, tuning pegs and neck stability all effect the sound in one way or another. This is all down to taste.

In the custom guitars, I tend to use light woods (swamp ash) which provides a very good ‘acoustic’ sound. I personally think this makes the guitar ‘ring’ more.

Guitar electronics

Most people ignore this vital link in the chain. The potentiometers, cable, capacitors, sockets and switches used are essential to a great tone.

I have replaced all my custom guitars recently with parts sourced from RS Guitarworks.The ‘bumble-bee’ capacitors and CTS potentiometers really make a difference.

Guitar cables (high impedance)

Cables are one of main tone suckers and I spent literally years trying to find something that wouldn’t change the sound of the guitar. My mate and ‘tone guru’ Rob Livesey.introduced me to George L’s The difference it truly amazing.

A tone control on a guitar works by slowly introducing a capacitor across the high impedance output of the pickups. The problem with any guitar cables is that they all have inherent capacitance. The higher the cables’ capacitance and the longer the cable the more it will act as a ‘tone control’.

George L’s cables have very low capacitance and therefore this does not have as much as an effect. The only way though is to plug one in and see!

I use these cable exclusively, in my rack wiring and everywhere in the signal chain. The other great thing about them is that they are solder-less and you assemble them with a screwdriver and a sharp modelling knife!

The length of cable and switching introduced into the signal chain (see below) is also a problem.

I have overcome this by introducing a very high quality, low noise buffer amplifier at the first point of contact after my guitar; the Ernie Ball volume pedal. This was installed and custom built by the very brilliant Steen Skrydstrup.

Some people prefer to use a ‘tube’ based buffer amplifier that better replicates the input stage of an amplifier but I have found Steen’s buffer works well for me.

Switches

Another classic tone suckers are switches. Most effects pedals have either electronic switches or employ an inferior design that do not truly bypass the effect. There is two ways to overcome this. Use:

• a pedal with a great bypass switch
• an effect switching loop to bypass the effect when you aren’t using it.

I employ a combination of these methods and below shows a schematic diagram of my stage setup.

Now, go and get a cup of tea and take a good look at the diagram (you can download a high resolution version on my Flickr account).

As you can see the guitar goes into the Ernie Ball volume pedal with the buffer (see ‘Cables’ section above) and then out into a Fulltone Clyde Deluxe Wha. All Fulltone products feature excellent switches which truly bypass the circuit.

The signal then goes all the way from my pedal-board to the input of the Skrydstrup MR16 loop system. Now remember the signal has been converted from high impedance to low impedance via the buffer and therefore you don’t get as much loss though the cables and switches. Even so, the Skrydsrup unit features gold plated relays inside and with all the effects out of circuit the signal goes through a minimum number of contacts. The output of this then goes straight to the amp.

All effects are on all the time and switched by the MR16 and each effect is wired into a send and return from the MR16 so it is only the effect (and associated cables) that are put into the signal path when required. Effects are sequenced so distortions are generally before chorus/tremolo effects. Get me so far?

Power supplies

These, and incorrect earthing, can cause nasty hum and effects to sound very odd indeed.

Mike Fuller, of the mighty Fulltone,advocates the use of non alkaline batteries in his pedals and also in some – such as theOCD – increased voltage supplies which do change the sound of the units substantially.

I am not that anal (blimey) and use standard 9V isolated power from the Voodoo Labsunits which supplies all the ‘foot pedals’ in the rack with the notable exception of the Fulltone ‘Deja Vibe’ which is an old unit and requires 18V AC – very inconvenient!!

READ MORE - SEARCH FOR THE ULTIMATE TONE - PART ONE