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Started by Elantric, January 24, 2008, 01:09:54 PM

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Elantric


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QuoteGEP-2 guitar pedals:

Rugged, diecast aluminum alloy (tough – yet easy to machine), electronic instrument enclosure.
Lap joint construction provides protection against access of dust and splashing water. Also provides for improved EMI/RFI shielding.
Unpainted version is vibra finished for a smooth surface with no sharp edges.
Satin black painted version is painted with tough polyester powder paint for a lasting finish, even after machining. Black screws are included to enhance appearance.
Includes screws threaded into factory-tapped holes. Screw type and quantity vary. See details below or in drawings.
Standard versions are designed to meet IP54.
Low side wall draft angle (2 degrees or less) for easy P.C. board mounting.

Pls check the datasheet below:

https://www.chinadaier.com/guitar-pedals/
https://www.chinadaier.com/products/

https://daierlee.manufacturer.globalsources.com/si/6008827050959/Homepage.htm

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#104



April Wilkerson
Published on May 20, 2018
Big thank you to Rockler (http://bit.ly/2oWrisB) and Purebond (http://bit.ly/2KFEgoV) for sponsoring this video.
Link to Plans: http://bit.ly/2LdT3Z0
Storage Bins Diagram: http://bit.ly/2ISiMb8

Patreon: https://www.patreon.com/user?u=257047
Instagram: https://www.instagram.com/wilker_dos/
Website: https://www.wilkerdos.com/

Want to support me? Support the companies that support me. Triton Tools: http://bit.ly/2jaC0dD, ISOtunes: http://bit.ly/2rVobCD, and Titebond: http://bit.ly/2zicV9i

Things I Used in This Project:
Triton Track saw: http://amzn.to/2qmTytb
Purebond Plywood: https://thd.co/2LfF6cY
ISOtunes Bluetooth Hearing Protection: http://amzn.to/2pEjNtv
Jobsite Saw: https://amzn.to/2rcHuYP
Triton SuperJaws: http://amzn.to/2zYTWSv
Titebond Original Wood Glue: http://amzn.to/2hMkdZw
Glue Brush: http://bit.ly/2pJGNrU
Triton Drills: http://bit.ly/2qqO4sK
18 Gauge Brad Nailer: https://amzn.to/2IvOziJ
Rockler Shop Block: https://amzn.to/2GzFcZt
Rockler Bandy Clamps: http://amzn.to/2iMIhvF
Rockler Bench Cookies: http://amzn.to/2xnZC7d
Miter Saw Stand: http://bit.ly/2pwceVy
Miter Saw: http://amzn.to/2tF5Azc
Titebond Thick and Quick: https://amzn.to/2KflUe0
Rockler Quick Release Casters: http://bit.ly/2IBbaGC
Category



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#105






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#108
https://www.electrosmash.com/boss-ce-2-analysis

Boss CE-2 Analysis
The Chorus Ensemble CE-2 is a chorus pedal by Roland/Boss released in 1979. It adds a dreamy modulated sound that creates a dramatic ambient guitar tone.

After the great success of the bulky Chorus Ensemble CE-1 issued in 1976, which was based on the Roland Jazz Chorus JC-120 Amplifier integrated chorus effect, Boss decided to revise and release a similar sounding effect but in a compact size modifying the circuitry. The CE-2 builds on the legacy of the CE-1 with reduced features: mono output instead of stereo, no vibrato mode, no integrated power supply, no level and no intensity controls.

boss-ce-2-pedal

The CE-1 was designed more to be a multi-instrument effect, with a 50K low input impedance suitable for keyboards. The CE-2 has higher input impedance and boosted mid frequencies, both arrangements very suitable for electric guitars.
Roland stopped marketing the CE-2 in 1982, however still produced until 1990. There are basically 3 versions of the pedal:

Made in Japan - black label (1979-1984)
Made in Japan - green label (1984-1988)
Made in Taiwan - green label (1988-1991)
Table of Contents.
1. The Chorus Effect.
     1.1 Chorus Effect Architecture.
2. Roland/Boss CE-2 Circuit.
     2.1 Boss CE-2 Layout.
     2.2 Roland/Boss CE-2 Components Part List.
3. JFET Bypass Switch.
4. Power Supply.
     4.1 Boss ACA vs. PSA Power Supply Adapters.
5. Input Buffer.
     5.1 Boss CE-2 Input Impedance.
6. Pre-De Emphasis Filters.
     6.1 Shelving Filters with Operational Amplifiers.
          6.1.1 Inverting OpAmp shelving Filters.
          6.1.2 Non-Inverting OpAmp shelving Filters.
     6.2 Pre-Emphasis Filter.
     6.3 De-Emphasis Filter.
7. Anti-Aliasing & Reconstruction Filters.
     7.1 The Sallen-Key Filter Topology:
     7.2 Anti-Aliasing Filter.
     7.3 Reconstruction Filter.
8. Bucket Brigade Device Stage.
     8.1 Low-Frequency Oscillator.
9. Resources.
     9.1 Datasheets.



1. The Chorus Effect

The Chorus or Celeste effect was integrated into Hammond organs since the 1940s. Some early stand-alone stompboxes like Vibra-Chorus and Uni-Vibe by Shin-Ei were released in 1960s, creating some degree of phase shifting or chorus modulation.

As a matter of fact, the Roland/Boss CE-1 Chorus Ensemble taken from the JC-120 amp circuit is renowned as the Mother of Chorus, being the standard for the modern chorus sound. The CE-2 follows the same tonal response.

1.1 Chorus Effect Architecture.
The chorus is a delay based effect: the resulting sound is a mix of the original input signal and the incoming audio run through a BBD delay time device:
Boss CE-2 Architecture

Before and after the BBD delay action, there are some stages needed to avoid signal degradation: Pre/De-Emphasis and Anti-Aliasing/Reconstruction filters.

The amount of delay to be applied is modulated by an LFO (Low-Frequency Oscillator). The usual delay times are around 5 to 50ms and LFO oscillating frequencies are up to 20Hz.

The most used LFO waveforms are sine and triangle:

The sine waveform produces a very smooth sound as the pitch is constantly changing.
The triangle LFO only produces two pitches and the change between the pitches is sudden. CE-2 uses triangle LFO waveforms.chorus-oscillation
The common controls in chorus pedals are:

Modulation Rate/Speed/Period: Adjusts the LFO frequency in the hertz region (range of the natural human vibrato).
Delay: Adjusts the amount of delay to be applied to the modulated signal.
Depth/Modulation Range: Adjusts the amount of modulation to be applied to the delay time.
Mix: Adjusts the blend between the original dry and modulated wet signals.
Stereo Option: Some designs include stereo output that creates richer chorus and a wider stereo image. There are several possibilities:
Some pedals (Boss CE-1) have two outputs: A dry output with no effect, and the wet output where the signal is modulated. Hearing both signals together the chorus effect is created.
Some pedals (Boss CE-3) have two outputs: on one side it adds the wet effected signal to the dry signal, and on the other side it subtracts the effected signal from the dry signal.
Another approach is to generate a double wet output signal, using two independent delays which share the same LFO (Low-Frequency Oscillator) but modulated 180 degrees out of phase.
Vibrato Option: In this mode, only the dry signal is eliminated, keeping only at the output the wet modulated signal.
2. Roland/Boss CE-2 Circuit.
The CE-2 schematic can be broken down into some simpler blocks: JFET Bypass Switch, Power Supply, Input Buffer, Pre-De Emphasis Filters, Anti-Aliasing & Reconstruction Filters and Bucket Brigade Device Stage.




more
https://www.electrosmash.com/boss-ce-2-analysis


https://www.electrosmash.com/

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#110













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#121

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http://www.xviveaudio.com/product.asp?id=148


The MN3005 is world's first 4096-stage long delay BBD, 8 times longer than 512-stage BBD manufactured by using P-channel low noise silicon gate process.

Long signal delay time 205ms can be obtained at clock frequency 10KHz.S/N is 75dB. S/N has been improved by more than 20dB in comparting with 8-connected 512-stage BBD's. The MN3005 is suitably used for reverberation and echo effects in electronic musical instruments such as electronic organ, guitar amplifier and music synthesizer which need long delay time.


http://www.xviveaudio.com/uploadfile/Products/Manual/Xvive_MN3005_BBD_DATASHEET.pdf

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https://blog.segger.com/decoding-the-akai-fire-part-1/

This article documents the journey I took to analyze and decipher MIDI control messages understoood by a MIDI control surface: the the most delightful Akai Fire. I describe the analysis process, the educated guesses I made, the tools I used, and how I came to a usable specification for the Fire's MIDI implementation.

This post is a departure from what I usually write about. But keep the faith, it is related to embedded systems, just a slightly different slant.

The Akai Fire
Recently, SEGGER introduced the emUSB-Host MIDI class driver. This is my first contribution to the USB product, a very small contribution, and one that I intend to use a lot! This enables your embedded device to interact with all the MIDI instruments and control surfaces you can imagine, a huge array of equipment.

Here's what the article will enable you to do with your embedded software, or any other software that is capable of sending MIDI messages:



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https://www.wabbitwanch.net/blog/?p=1121

MIDI Mate – Arduino
Post Views: 1,087
After writing iFCB, iVamp and a number of other MIDI programs, I came to the conclusion that I needed something to assist me in debugging MIDI commands.

Granted a lot of that can be done on a computer, but when you need to do it where the computer isn't, you either need a laptop or you can pretty much forget it.

I started searching for stand alone MIDI tools and found references to tools like this a Studiomaster MA 36.



But it was the more elaborate Elm Video Technologies version that tweaked me to pressing an Arduino into the job.



While I could have purchased a whole kit from MIDI Kits, I already have enough Arduino boards around to use. Plus just knowing that a CC, PC or NOTE was transferred really isn't enough information. I need to know the values. Thus, LED's don't work. A display of some kind is required.

Ultimately I decided that I didn't want a two line LCD display. True they work, but they are kind of limited as to how much information they can display. I'd recently purchased some 1.8″ TFT displays off eBay that used Adafruit's 7735 library. These displays use SPI and work great.

I built the MIDI interface using the schematic I found on MIDI Kits.



The TFT display shows the received portion on the top and the "send" portion that I can edit on the bottom:



The display is in HEX or decimal and I use a lowly Arduino UNO for the whole project. The sketch is roughly 27K so there's a little bit left for expansion. I use a rotary encoder for editing and it's the most finicky portion of the project. I have to use the software polling for the rotary because of the Software Serial library I use for the MIDI interface. It works, but definitely not as smooth as using interrupts to decode it.

I'd ordered some plastic cases, water proof as it turned out so I used one for my MIDI Mate:



I supply power to the board via the external DC power jack or the USB jack if I'm using it by a computer. Works well in either case.



Since I deal with SYSEX a good amount of the time, I always wanted a SYSEX display. MIDI Mate automatically changes the display to SYSEX when a message is received.


If you notice the bottom of the display you can see "Sonarcana LLC". I included all the current MIDI manufacturer ID's so I know who the SYSEX message belongs to. Unless it's a universal message, in which case:



Obviously the TFT display doesn't allow me to display the full name of some of the companies so I had to abbreviate where required. Still, it does provide some useful information (as well as the hex offset of the data for debugging messages).

Presently there are some design limits. First, the SYSEX for the Arduino library is limited to 255 bytes, unless you change the buffer size. The UNO only has 2K of ram so changing it probably isn't a good thing to do. If I was using a MEGA then it would be different as they have 8K of RAM.

Secondly, I only display first 64 bytes of the SYSEX message. I was going to allow a "page" through the SYSEX in 64 byte blocks but noticed that the majority of my messages were fairly small. This I can still change though if required.

Lastly, I'm toying with the idea of adding an EEPROM to the I2C bus so I can save the SYSEX coming in, and then send it out after I look at it. I don't have a specific requirement for that at the moment, but it's an option I might put in.

In closing, I have built tools in the past that have been useful but I discarded shortly after their intended use. I find the more I use my MIDI Mate, the more I want to use it. It's just a very nice, portable, MIDI debugging tool. I can emulate an FCB1010 easily, or whatever I need. Where it's something that MIDI Mate doesn't do, it's just a matter of adding to the Arduino sketch.