Electric Guitar Amplifier with Digital Effects
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Design and Construction of 200W OCL Audio Power Amplifier 1Thae Hsu Thoung, 2Dr
INTERNATIONAL JOURNAL FOR INNOVATIVE RESEARCH IN MULTIDISCIPLINARY FIELD ISSN: 2455-0620 Volume - 5, Issue - 8, Aug – 2019 Monthly, Peer-Reviewed, Refereed, Indexed Journal with IC Value: 86.87 Impact Factor: 6.497 Received Date: 03/08/2019 Acceptance Date: 14/08/2019 Publication Date: 31/08/2019 Design and Construction of 200W OCL Audio Power Amplifier 1Thae Hsu Thoung, 2Dr. Zin Ma Ma Myo, 1Lecturer, 2Professor 1Electronic Engineering Department 1Technological University, Taunggyi, Myanmar Email - [email protected], [email protected] Abstract: The primary goal of sound system facility for lecture room is to deliver clear, intelligible speech to each canditate. To reach this goal, the DC-coupled amplifier based on output capacitor-less (OCL) system is used. This paper presents the design and construction of 200W OCL audio power amplifier for lecture room. The design analysis is described and procedures for design implementation are presented. Each of the implementation is evaluated and these evaluations lead to the conclusion that the design is able to achieve high efficiency with acceptable sound quality. The overall efficiencies of various input frequencies were achieved above 88%. The Multisim software is used for the simulation of audio power amplifier. Key Words: DC-coupled, OCL system, Multisim software. 1. INTRODUCTION: An audio amplifier has been described as an amplifier with a frequency response from 20 Hz to 20 kHz. Audio amplifiers play important role in audio system. An amplifier is an electronic circuit which increases the magnitude of the input signal. An amplifier can be classified as a voltage, current or power amplifier. An OCL (output capacitor-less) amplifier is any audio amplifier with direct-coupled capacitor-less output. -
Magpick: an Augmented Guitar Pick for Nuanced Control
Magpick: an Augmented Guitar Pick for Nuanced Control Fabio Morreale Andrea Guidi Andrew McPherson Creative Arts and Industries Centre For Digital Music Centre For Digital Music University of Auckland, Queen Mary University of Queen Mary University of New Zealand London, UK London, UK [email protected] [email protected] [email protected] ABSTRACT This paper introduces the Magpick, an augmented pick for electric guitar that uses electromagnetic induction to sense the motion of the pick with respect to the permanent mag- nets in the guitar pickup. The Magpick provides the gui- tarist with nuanced control of the sound that coexists with traditional plucking-hand technique. The paper presents three ways that the signal from the pick can modulate the guitar sound, followed by a case study of its use in which 11 guitarists tested the Magpick for five days and composed a piece with it. Reflecting on their comments and experi- Figure 1: The Magpick is composed of two parts: a ences, we outline the innovative features of this technology hollow body (black) and a cap (brass). from the point of view of performance practice. In partic- ular, compared to other augmentations, the high tempo- ral resolution, low latency, and large dynamic range of the The challenge is to find ways to sense the movement of Magpick support a highly nuanced control over the sound. the pick with respect to the guitar with high resolution, Our discussion highlights the utility of having the locus of high dynamic range, and low latency, then use the resulting augmentation coincide with the locus of interaction. -
Guitar Resonator GR-Junior II
Guitar Resonator GR-Junior II User Manual Copyright © by Vibesware, all rights reserved. www.vibesware.com Rev. 1.0 Contents 1 Introduction ...............................................................................................1 1.1 How does it work ? ...............................................................................1 1.2 Differences to the EBow and well known Sustainers ............................2 2 Fields of application .................................................................................3 2.1 Feedback playing everywhere / composing / recording ........................3 2.2 On stage ...............................................................................................3 2.3 New ways of playing .............................................................................4 3 Start-Up of the GR-Junior .........................................................................5 4 Playing techniques ...................................................................................5 4.1 Basics ...................................................................................................5 4.2 Harmonics control by positioning the Resonator ...................................6 4.3 Changing harmonics by phase shifting .................................................6 4.4 Some string vibration basics .................................................................6 4.5 Feedback of multiple strings .................................................................9 4.6 Limits of playing, pickup selection, -
Take Your Guitar Further
The VGA-3 V-Guitar Amplifier puts Roland’s most sought-after guitar and amp models in a compact digital amp at a very friendly price. This 50-watt brute uses COSM modeling to deliver a stunning range of electric and acoustic guitar models—plus unique GK effects—from any GK pickup-equipped guitar. There are also 11 programmable COSM amp models, 3-band EQ, and three independent effects processors that can be accessed using any standard electric guitar. TaTaTa k k k e e e Yo Yo Yoururur Guitar Guitar Guitar Further Further Further ● Rated Power Output 50 W ● Patches 10 (Recalled from Panel), 40 (Recalled from MIDI Foot Controller) ● Nominal Input Level (1 kHz) INPUT: -10 dBu, EXT IN: -10 dBu ● Speaker 30 cm (12 inches) x 1 ● Connectors Front: GK In, Input, Recording Out/Phones, Rear: EXT In, EXP Pedal, Foot SW, MIDI In ● Power Supply AC 117/230/240 V ● Power Consumption 55 W ● Dimensions 586 (W) x 260 (D) x 480 (H) mm / 23-1/8 (W) x 10-1/4 (D) x 18-15/16 (H) inches ● Weight 18.5 kg / 40 lbs. 13 oz. ● Accessory Owner's Manual * 0 dBu=0.775 Vrms ■ Roland’s Flagship Modeling Amplifier. The VGA-7 V-Guitar Amplifier is the most powerful and complete modeling amplifier in history. This technological marvel serves up a range of COSM amp sounds, onboard effects, and speaker cabinet simulations—plus models of different electric and acoustic guitars, pickups, and tunings using any steel-string guitar and an optional GK-2A Divided Pickup. -
LM4834 1.75W Audio Power Amplifier with DC Volume Control and Microphone Preamp
LM4834 LM4834 1.75W Audio Power Amplifier with DC Volume Control and Microphone Preamp Literature Number: SNAS004A LM4834 1.75W Audio Power Amplifier with DC Volume Control and Microphone Preamp August 2000 LM4834 1.75W Audio Power Amplifier with DC Volume Control and Microphone Preamp General Description Key Specifications The LM4834 is a monolithic integrated circuit that provides n THD at 1.1W continuous average output power into 8Ω DC volume control, and a bridged audio power amplifier at 1kHz 0.5% (max) capable of producing 1.75W into 4Ω with less than 1.0% n Output Power into 4Ω at 1.0% THD+N 1.75W (typ) (THD). In addition, the headphone/lineout amplifier is ca- n THD at 70mW continuous average output power into pable of driving 70 mW into 32Ω with less than 0.1%(THD). 32Ω at 1kHz 0.1% (typ) The LM4834 incorporates a volume control and an input n Shutdown Current 1.0µA (max) Ω microphone preamp stage capable of drivinga1k load n Supply Current 17.5mA (typ) impedance. Boomer® audio integrated circuits were designed specifically Features to provide high quality audio while requiring a minimum amount of external components in surface mount packaging. n PC98 Compliant The LM4834 incorporates a DC volume control, a bridged n “Click and Pop” suppression circuitry audio power amplifier and a microphone preamp stage, n Stereo line level outputs with mono input capability for making it optimally suited for multimedia monitors and desk- system beeps top computer applications. n Microphone preamp with buffered power supply The LM4834 features an externally controlled, low-power n DC Volume Control Interface consumption shutdown mode, and both a power amplifier n Thermal shutdown protection circuitry and headphone mute for maximum system flexibility and performance. -
Lead Series Guitar Amps
G10, G20, G35FX, G100FX, G120 DSP, G120H DSP, G412A USER’S MANUAL G120H DSP G412A G100FX G120 DSP G10 G20 G35FX LEAD SERIES GUITAR AMPS www.acousticamplification.com IMPORTANT SAFETY INSTRUCTIONS Exposure to high noise levels may cause permanent hearing loss. Individuals vary considerably to noise-induced hearing loss but nearly everyone will lose some hearing if exposed to sufficiently intense noise over time. The U.S. Government’s Occupational Safety and Health Administration (OSHA) has specified the following permissible noise level exposures: DURATION PER DAY (HOURS) 8 6 4 3 2 1 According to OSHA, any exposure in the above permissible limits could result in some hearing loss. Hearing protection SOUND LEVEL (dB) 90 93 95 97 100 103 must be worn when operating this amplification system in order to prevent permanent hearing loss. This symbol is intended to alert the user to the presence of non-insulated “dangerous voltage” within the products enclosure. This symbol is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the unit. Apparatus shall not be exposed to dripping or splashing. Objects filled with liquids, such as vases, shall not be placed on the apparatus. • The apparatus shall not be exposed to dripping or splashing. Objects filled with liquids, such as vases, shall not be placed on the apparatus. L’appareil ne doit pas etreˆ exposé aux écoulements ou aux éclaboussures et aucun objet ne contenant de liquide, tel qu’un vase, ne doit etreˆ placé sur l’objet. • The main plug is used as disconnect device. -
Applications to Guitar Feedback Control
Proceedings of the 2010 Conference on New Interfaces for Musical Expression (NIME 2010), Sydney, Australia Mechanisms for Controlling Complex Sound Sources: Applications to Guitar Feedback Control Aengus Martin Sam Ferguson and Kirsty Beilharz Computing and Audio Research Laboratory Faculty of Arts and Social Sciences School of Electrical and Information Engineering Faculty of Design, Architecture and Building The University of Sydney The University of Technology, Sydney [email protected] [email protected] ABSTRACT Guitar/Amplifier Feedback Loop Many musical instruments have interfaces which emphasise the pitch of the sound produced over other perceptual char- acteristics, such as its timbre. This is at odds with the mu- Metal sical developments of the last century. In this paper, we Slide introduce a method for replacing the interface of musical String Dampers instruments (both conventional and unconventional) with a more flexible interface which can present the intrument's available sounds according to variety of different perceptual characteristics, such as their brightness or roughness. We Audio Feature Mechanical Controller apply this method to an instrument of our own design which Auditing Controller Extraction (Pitch Mechanism comprises an electro-mechanically controlled electric guitar Level etc.) and amplifier configured to produce feedback tones. Keywords Audio Features & Control Concatenative Synthesis, Feedback, Guitar User Interface Associated Control Parameter & Parameters Audio Feature 1. INTRODUCTION Database Concatenative sound synthesis (CSS) is a technique for synthesizing sound by assembling a sequence of short seg- ments of digital audio and concatenating them together Figure 1: A block diagram of the system. (see, e.g. [1] and [2]). There are two parts to a CSS sys- tem. -
15W Stereo Class-D Audio Power Amplifier
TPA3121D2 www.ti.com SLOS537B –MAY 2008–REVISED JANUARY 2014 15-W STEREO CLASS-D AUDIO POWER AMPLIFIER Check for Samples: TPA3121D2 1FEATURES APPLICATIONS 23• 10-W/Ch Stereo Into an 8-Ω Load From a 24-V • Flat Panel Display TVs Supply • DLP® TVs • 15-W/Ch Stereo Into a 4-Ω Load from a 22-V • CRT TVs Supply • Powered Speakers • 30-W/Ch Mono Into an 8-Ω Load from a 22-V Supply DESCRIPTION • Operates From 10 V to 26 V The TPA3121D2 is a 15-W (per channel), efficient, • Can Run From +24 V LCD Backlight Supply class-D audio power amplifier for driving stereo speakers in a single-ended configuration or a mono • Efficient Class-D Operation Eliminates Need speaker in a bridge-tied-load configuration. The for Heat Sinks TPA3121D2 can drive stereo speakers as low as 4 Ω. • Four Selectable, Fixed-Gain Settings The efficiency of the TPA3121D2 eliminates the need • Internal Oscillator to Set Class D Frequency for an external heat sink when playing music. (No External Components Required) The gain of the amplifier is controlled by two gain • Single-Ended Analog Inputs select pins. The gain selections are 20, 26, 32, and • Thermal and Short-Circuit Protection With 36 dB. Auto Recovery The patented start-up and shutdown sequences • Space-Saving Surface Mount 24-Pin TSSOP minimize pop noise in the speakers without additional Package circuitry. • Advanced Power-Off Pop Reduction SIMPLIFIED APPLICATIONCIRCUIT TPA3121D2 1m F 0.22m F LeftChannel LIN BSR 33m H 470m F RightChannel RIN ROUT 1m F 0.22m F PGNDR PGNDL 1m F 0.22m F LOUT BYPASS 33m H 470m F AGND BSL 0.22m F PVCCL 10Vto26V 10Vto26V AVCC PVCCR VCLAMP ShutdownControl SD 1m F MuteControl MUTE GAIN0 4-StepGainControl GAIN1 S0267-01 1 Please be aware that an important notice concerning availability, standard warranty, and use in critical applications of Texas Instruments semiconductor products and disclaimers thereto appears at the end of this data sheet. -
RADIAL JDI.Pdf
Mk3 JDI and DUPLEX User Guide Radial Engineering 1638 Kebet Way, Port Coquitlam BC V3C 5W9 tel: 604-942-1001 • fax: 604-942-1010 email: [email protected] • web: www.radialeng.com Radial Engineering is a division of C•TEC (JP CableTek Electronics Ltd.) www.radialeng.com RADIAL JDI & DUPLEX USER GUIDE TABLE OF CONTENTS PAGE 1. Introduction .................................................................................1 2. JDI feature set ............................................................................2 3. JDI quick start ...........................................................................3 4. Direct box basics .........................................................................4 5. Features and functions ...............................................................7 6. Other cool uses for your JDI .................................................... 11 7. Frequently asked questions ......................................................12 8. Block diagram and specifications ..............................................15 Warranty ......................................................................Back cover Radial Engineering 1638 Kebet Way, Port Coquitlam BC V3C 5W9 tel: 604-942-1001 • fax: 604-942-1010 email: [email protected] • web: www.radialeng.com Radial Engineering Ltd. is a division of C•TEC (JP CableTek Electronics Ltd.) Features and specifications are subject to change without notice. True to the Music Part 1 - Introduction Congratulations on your purchase of the world’s finest direct box! The Radial -
Power Demystified Garth Powell
Power Demystified Garth Powell 2621 White Road Irvine CA 92614 USA Tel 949 585 0111 Fax 949 585 0333 www.audioquest.com Contents Introduction AC Surge Suppression AC Power Conditioners/LCR Filters AC Regeneration AC Isolation Transformers DC Battery Isolation Devices with AC Inverters or AC Regeneration Amplifiers AC UPS Battery Backup Devices AC Voltage Regulators DC Blocking Devices for AC Power Harmonic Oscillators for AC Power AC Resonance/Vibration Dampening Power Correction for AC Power Ground Noise Dissipation for AC Power Appendix: Some Practical Matters to Bear in Mind I. Source Component and Power Amplifier Current Draw II. AC Polarity III. Over-voltage and Under-voltage Conditions Index Introduction The source that supplies nearly all of our electronic components is alternating current (AC) power. For most, it is enough that they can rely on a service tap from their power utility to supply the voltage and current our audio-video (A/V) components require. In fact, in many parts of the world, the supplied voltage is quite stable, and if the area is free of catastrophic lightning strikes, there are seemingly no AC power problems at all. Obviously, there are areas where AC voltage can both sag and surge to levels well out of the optimum range, and others where electrical storms can potentially damage sensitive electrical equipment. There are many protection devices and AC power technologies that can ad- dress those dire circumstances, but too many fail to realize that there is no place on Earth that is supplied adequate AC power for today’s sensitive, high-resolution electronic components. -
CP400 & CP700 Commercial Power Amplifiers
CP400 & CP700 Commercial Power Amplifier Owner’s Manual CP400 & CP700 Commercial Power Amplifiers PROTECT PROTECT LIMIT LIMIT SIGNAL SIGNAL CH-1 CH-2 CP700 POWER Commercial Power Amplifier IN IN CH-1 8, 4, and 2 Ohms AUDIO TRANSFORMER CH-1 AMPLIFIER INPUTS CP700 DIR. OUTPUT +- 0 70 100 ISOL. OUTPUT Commercial Power Amplifier CH-2 CH-1 Per Channel +-GND - + Output Power + -+-+ 400 W / 4 Ohms BRIDGE 70V 25V 350 W / 70.7 V MONO - 100V + CH-2 8, 4, and 2 Ohms AUDIO TRANSFORMER CH-2 DIR. OUTPUT +- 0 70 100 ISOL. OUTPUT AC100V-50/60Hz AC120V-50/60Hz THRU 16 16 THRU 18 14 18 14 2 1 2 1 AC230V-50/60Hz 2 2 2 2 6 6 2 1 2 1 AC240V-50/60Hz 0 0 2 2 3 8 3 8 -+-+ 6 6 0 0 4 - 4 4 4 70V 25V 6 6 2 BRIDGE 2 5 5 0 0 0 MONO 0 0 0 - - 100V + - GND LEVEL LEVEL POWER MADE IN CHINA CAUTION STEREO CAUTION RISK OF ELECTRIC SHOCK PA RALLELBRIDGE DO NOT OPEN TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK) AVIS RISQUE DE CHOC ELECTRIQUE 1601 Jack McKay Blvd., Ennis, TX 75119 NO USER SERVICEABLE PA RTS INSIDE NE PAS OUVRIR (800) 876-3333 AtlasSound.com REFER SERVICING TO QUALIFIED SERVICE PERSONNEL 1601 Jack McKay Blvd. • Ennis, Texas 75119 U.S.A. Telephone: 800.876.3333 • Fax: 800.765.3435 AtlasSound.com – 1 – Specifications are subject to change without notice. CP400 & CP700 Commercial Power Amplifier Owner’s Manual TABLE OF CONTENTS Introduction ..........................................................................................................3 Features ...............................................................................................................3 -
Guitar Harmonics - Wikipedia, the Free Encyclopedia Guitar Harmonics from Wikipedia, the Free Encyclopedia
3/14/2016 Guitar harmonics - Wikipedia, the free encyclopedia Guitar harmonics From Wikipedia, the free encyclopedia A guitar harmonic is a musical note played by preventing or amplifying vibration of certain overtones of a guitar string. Music using harmonics can contain very high pitch notes difficult or impossible to reach by fretting. Guitar harmonics also produce a different sound quality than fretted notes, and are one of many techniques used to create musical variety. Contents Basic and harmonic oscillations of a 1 Technique string 2 Overtones 3 Nodes 4 Intervals 5 Advanced techniques 5.1 Pinch harmonics 5.2 Tapped harmonics 5.3 String harmonics driven by a magnetic field 6 See also 7 References Technique Harmonics are primarily generated manually, using a variety of techniques such as the pinch harmonic. Another method utilizes sound wave feedback from a guitar amplifier at high volume, which allows for indefinite vibration of certain string harmonics. Magnetic string drivers, such as the EBow, also use string harmonics to create sounds that are generally not playable via traditional picking or fretting techniques. Harmonics are most often played by lightly placing a finger on a string at a nodal point of one of the overtones at the moment when the string is driven. The finger immediately damps all overtones that do not have a node near the location touched. The lowest-pitch overtone dominates the resulting sound. https://en.wikipedia.org/wiki/Guitar_harmonics 1/6 3/14/2016 Guitar harmonics - Wikipedia, the free encyclopedia Overtones When a guitar string is plucked normally, the ear tends to hear the fundamental frequency most prominently, but the overall sound is also 0:00 MENU colored by the presence of various overtones (integer multiples of the Tuning a guitar using overtones fundamental frequency).