If You want to circuits amplifiers for bass guitar, or for using in every situation such as both listen to in the house, outside the house or outdoors. This circuit is answer that you is looking for. It is guitar amplifier circuit diagram with pcb layout. It is wisely designed with power output at 200 watt in super bridge model so help to you have a high quality circuit in cheap.
The characteristics of the circuit as shown in figure 1. When we carefully consider found that amplifier circuit consists of two sets are:
Both of these circuits has pattern is very similar, but slightly different, is the series 2 circuits cut off the protection circuit of section output transistor to go out. And we enter the input signal to input of first circuit only.
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But the differential input of the series 2 circuit is connected to ground. While the output of first circuit is entered to R28 to inverting input of Q8 makes output of second circuit is 180o out-of-phase automatically.
– Two Q4, Q5 are protection working of the power transistors not has too high circuit. Which may occur of the short circuit by output. We have both resistor R12, R13 are output signal detector. If the current exceeds the value set will be a high enough voltage across to make Q4, Q6 work.
– The voltage that enter to base of Q11, Q12 will be short circuit by Q4, Q6 as above, Until the output current is reduced and lower in a satisfactory security.
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– The output signal is entered pass through a coil L1 to loudspeaker, the another to inverting input of the second pass to R20 as above in begin At the same time the other signal will be entered R9 into inverting Q2.
– The voltage that use in the circuit get from this power supply that composite of the transformer T1 is reducer AC volt 220V lower to 20V – 0 – 20V.
– The transformer in use, If you have mono amplifier so you should have the ability to Supply Current not lower than 4 amp and do not lower than 8 amp in stereo amplifier system.
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– Four diode D1-D4 are changer the AC to DCV , Capacitor 4700 microfarad 2 pcs, to parallel circuit filters. Which you may choose capacitor 1, 000uF 35V to replace them.
– Why we do not install the diode bridge on the PCB, It’s so convenience to install diode into the chassis. or heat sink there.
– Soldering equipment follows the circuit in the correct completed. The devoiced terminal such as : capacitor and diode to be careful in a terminal. Otherwise may result in damage to the circuit or not.
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– In addition, care must be taken for each transistor. Particular transistor of the same size. Do not connect the switch to absolute numbers. For this circuit to watch out Another one, is a little like the pin transistor MPSA and BC-emitter and collector to position the legs contradictory.
– Another is to heat the soldering iron to solder to close tightly enough. Transportation equipment with PCB. Feature points to be soldered to a smooth flat or pitched ball is held.
To experimental power supply to the circuit, then measure the voltage at the output of the amplifier with two speakers, it must be zero, so will be connect to speakers. If the voltage is not zero. You need to find them. Then, so speaker connections and input signals, respectively, shall completed ready will used as needed.Bass amps are a special case for amplification. A 4-string bass has a bottom 'E' (E1) frequency of 41Hz, while most 5 and 6-string basses are tuned to bottom 'B' (B0) - 31Hz (close enough in each case). Some bass players are happy to be able to get no lower than the 2nd harmonic, which in common with most plucked string instruments is predominant. The dominant frequencies are therefore 82Hz and 62Hz. Some bass amps have deliberately limited response below ~70Hz.
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Depending on the bass, the player and playing style, harmonics can extend beyond 10kHz, and many bass speaker cabinets include a compression driver and horn to cover the high frequencies. Another approach is to use smaller than normal speakers, and 4×10 (4 x 250mm/ 10 speakers) and similar cabinets are now common, simply because smaller speakers have better high frequency response (or at least that's the theory, which may or may not work in practice). There seems to be a consensus that you need response up to at least 7kHz if the top end is important for your sound.
Looking at the combinations that are popular, the range is very diverse, both for cabinets and amplifiers. I'm not about to even try to produce a bass speaker cabinet design, because there are so many possibilities that a single project design is simply not feasible. I do have some ideas though, and they will be discussed later. Meanwhile, the amplifier is something that can have a project design, but be warned that it has (by necessity) a great many options.
The drawing shows one possible arrangement, incorporating most of the possibilities discussed below. To be truly useful, the amplifier should be suitable for use with electric bass (passive or active), as well as acoustic basses with piezo pickups. To get the best out of any piezo transducer, the preamp/ impedance converter should be as close to the pickup as possible, because lead capacitance will reduce the output level. However, this is independent from the amplifier, which only needs a reasonably high input impedance.
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Most of the facilities needed in any musical instrument amp come from the preamp. It is entirely feasible to build just the preamp, and use a commercial power amp to drive the speakers. A preamp is easily made that will drive any power amp ever built, and this may be a worthwhile option given that high power amps are available at very reasonable prices.
Valve (full or partial): There is a great deal of nostalgia for valves ('tubes'), and many people think that the mere presence of a valve in a preamp gives it some characteristic that isn't possible with transistors or opamps. Mostly, this is untrue, and some amps that boast a 'valve preamp' simply have a token valve that achieves little or nothing other than greater noise and reduced reliability. Others may use the valve to (more or less) its full capabilities, but it remains a source of noise and unreliability. It is probable that few (if any) bass players would be able to pick a valve's presence in a preamp in a double-blind test, which makes it rather pointless. Tone Controls: That tone controls are necessary is a foregone conclusion. The only decision that must be made as to what kind. Bass amps can have fairly rudimentary tone shaping circuits similar to those used with guitar amps, or more commonly they can have extremely sophisticated (and complex) tone controls including parametric or graphic equalisers, variable frequency bass and treble, or digital 'modelling' allowing you to set the amp to behave just like the one that your favourite bass player uses, but without having to buy the same amp (however, see below). Contour: This control is found on a lot of bass amps (sometimes by a different name), and is basically just another tone control. Mostly, it's used to 'scoop out' the midrange and boost the highs and lows. The same effect can usually be achieved with the normal tone controls, but some players seem to like the simplicity of a single knob they can twiddle to get a fairly radical tonal change. Distortion: Also known as anything from 'growl' to 'grunge' and onwards to 'crunch' (or are the last two reversed?) with a great many variations in between, some players love it, others hate it. It can be hard to get right, but if done properly should sound like amplifier overload, but without the harsh edge that most players dislike. Switching it in and out is often a problem, because there will often be a significant level change. Compressor/ Limiter: The addition of a variable compressor/ limiter is worthwhile, because it allows the player to get maximum volume without distortion, and can also be used as a versatile sound effect. While some might like to be able to play around with the attack and decay times, a simple LED/LDR compressor is just about right by itself. This arrangement has the advantage of ease of use, simple and reliable circuitry, and little or nothing a user can do to make it sound horrible. However, compression and limiting should only be used in moderation. Musical instruments have dynamics, and deliberately making everything the same volume is a really bad idea (and it sounds boring!). Stereo: Some players still seem to like the sound you can get from a stereo bass rig, but it seems that few of the current commercial offerings include this option. It's not hard to include it if you build your own system, but it usually does mean that a
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