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Please do not offer the downloaded file for sell only use it for personal usage. Looking for other manual? For this no need registration. May be help you to repair. You could suffer a fatal electrical shock. Instead, contact your nearest service center. Note! To open downloaded files you need acrobat reader or similar pdf reader program. In addition, Also some files are djvu so you need djvu viewer to open them. These free programs can be found on this page: needed progs If you use opera you have to disable opera turbo function to download file. If you cannot download this file, try it with CHROME or FIREFOX browser. Translate this page: Relevant AUDIO forum topics: PU Xing markaju, PX-02UR radio nema, semmit nem csinal Sziasztok! Nem szeretnem, ha kinevetnetek. Van USB bemenete, kartyaolvasoja, aux-a, es radio is egyben. Megy halozatrol, elemrol, akkurol (beepitett). Nema, es szeretnem megjavitani, ha lehet, (---mar ez maga orultseg, tudom---). Rajzrol nem is almodom, de van benne egy A618349 (1T) SMD IC, errol, ha tudna valaki infot, azt megkoszonnem. A radio tipusa:PX-02UR. Utolagos korrekcio: nincs kijelzoje, semmit nem csinal, nem kapcsolhato. Egyedul a hang vegfok el. Koszonettel. Attila. Egy lehetseges jo elnevezesIlletve erdektelen, nem relevans informaciot se tartalmazzon a cim! A helytelenul elnevezett topik felfuggesztesre, majd 48 ora utan torlesre kerul. Felfuggesztett allapotban nem tudnak masok addig hozzaszolni, amig ki nem javitod a cimet. Videoton RT7300S keszulek boldog tulajdonosa lettem. Meghokkenve tapasztaltam, hogy van benne egy elem. A kapcsolasi rajzot letoltottem tanyarol, de pont ott torik a rajz, az elem nem latszik. Valaki el tudna kuldeni a rajzot olyan formaban, hogy az oldalak illeszteseben ne tunjenek el alkatreszek? Kerdesem, hogy az elem mire valo benne? Hany voltos? Kisfeszultsegu jo nagy kapacitasu kondenzatorral helyettesitheto? Valami tipushibaja van a keszuleknek.
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Roadstar clr 2618 asztali radio kijelzo problema Tisztelt Szakik. A fent emlitett radio javitasaban kernem segitsegeteket. A problema, hogy a kijelzo nagyon halovany.Van benne ket led hattervilagitasnak azok is mukodnek. Orulnek ha valaki egy rajzal ki tudna segiteni illetve a tanacsokat megkoszonnem. Amire iddig jutottam a tap atnezve, kondik cserelve, tranziszotrok is. Egyen fesz tiszta. Csatolok egy kepet. Csak azert hogy konnyeb legyen beazonositani. ( A csatolt kep nem a beteg peldany.). Segitsegeteket elore is koszonom. Udv. GyBeepitett kabellel rendelkezik es valamelyik elozo tulajdonos jotekonyan levagta a rola a csatlakozot. A kabel szurke, nincs rajta jeloles. Megprobaltam szetszedni a hangfalat, de a melysugarzo bele van ragasztva. A kozepet ki tudtam venni, de epphogy csak a hangvalto szelet lattam, nem lehet normalisan hozzaferni.Udv. DM Similar manuals: You can write in English language into the forum (not only in Hungarian). Trademarks and Copyrights are property of their respective owners. Login Registration is disabled. We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it. Ok. With its three-band EQ and semi-parametric mid control, the Metal Zone offers a wide range of distortion textures, providing long sustain and plenty of gain. It is also quite common that customers throw outTry Google Search! Manual - Coles Microphones 4038 Stereo Mount for Studio Ribbon 4038 SM Posted by: Ruth 2020-08-10 18:00:04 Coles 4038 stereo mount. Peavey Peavey Delta Blues 115-Tweed 30 watt Guitar Amp - Peavey Delta Blues 115 Tweed Tube Guitar Amplifier 03327810 Posted by: 2020-08-08 23:50:04 please pdf the manual on this amp. Search results for: (found: ) ask for a document File Date Descr Size Popular Mfg Model: Found in chassis2model: Found in repair tips. We have 64 Boss Diagrams, Schematics or Service Manuals to choose from, all free to download.
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This Website contains a compilation of information already available elsewhere on the internet and therefore considered to be in the public domain. We make every effort to ensure the information contained here is as accurate as possible, but we will not be responsible for any errors or omissions, or anything resulting thereof. However, we do not accept any liability for any loss, damage or inconvenience, of any kind, as a result of downloading any information from this site. Always scan any information downloaded from the internet with an up to date virus scanner before opening the downloaded information. This may happen as a result of the following: Javascript is disabled or blocked by an extension (ad blockers for example) Your browser does not support cookies Please make sure that Javascript and cookies are enabled on your browser and that you are not blocking them from loading. Discover everything Scribd has to offer, including books and audiobooks from major publishers. Start Free Trial Cancel anytime. Report this Document Download Now save Save Boss MT-2 Service Notes For Later 190 views 0 0 upvotes 0 0 downvotes Boss MT-2 Service Notes Uploaded by Fernando Gomez Description: Full description save Save Boss MT-2 Service Notes For Later 0 0 upvotes, Mark this document as useful 0 0 downvotes, Mark this document as not useful Embed Share Print Download Now Jump to Page You are on page 1 of 4 Search inside document Browse Books Site Directory Site Language: English Change Language English Change Language. It’s also quite a divisive beast, with some loving it, and others hating it. This article is a technical analysis of the different stages in the pedal, finding out what each part does to the tone. This process should suggest various ways you can tweak it to get your own high-gain version of heaven. We’ll break it down into functional blocks, and to keep things reasonably simple, we’ll ignore the power circuitry and the typical Boss noiseless FET-bypass.
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That’s another thing for another day. All this is finished off with an output buffer. See, I told you it was complicated. Let’s have a look at those parts one by one. It’s a FET buffer. The input impedance is largely down to R058, so we’ve got 1MOhm.These two components form a highpass filter with a cutoff at 106Hz, just enough to reduce any mains hum a little without heavily affecting the input signal. Op-amp 3b is a non-inverting amplifier, but instead of a simple potential divider to set the amount of feedback to the negative input (and hence the gain) there’s a lot of extra stuff and a transistor.As usual, Rod Elliot has the best page about gyrator filters. Here it acts as a bandpass filter, centred around 1KHz. Either side of this, the gain starts to drop off. This rolls off the highs even more, and helps smooth things out a little bit. If you try putting a wah pedal in front of a distortion pedal, you’ll find you can alter the tone of the distortion by moving the wah.The gain is provided by another non-inverting op-amp, 3a. R051 and VR1 give a minimum and maximum gain of x2 and x252. Its role here is to limit gain for noise outside the audio band. Note that with a typical guitar input of around 1Vpp, there’s no way an op-amp running on 9V can provide an output of 252V when the gain is turned up to full. Instead the signal will get heavily clipped by the op-amp as it hits the power rails, usually at around 8Vpp for typical op-amps. Since different op-amps handle this differently, the choice of op-amp here might have some bearing on the tone, although given everything else that happens to our poor abused input signal, I doubt it’s a major factor. Following the gain stage is another AC-coupling cap and then a pair of clipping diodes.Even at minimum gain (x2) there’ll be just enough signal to make the diodes conduct, so we can expect a light crunch.
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As the gain gets up to x8 or more, the op-amp will start to clip too, and its boosted output will be clipped hard by the diodes. And that gain control doesn’t just go to 11, it goes way up to 252. By that point, all that is left is a very heavily clipped signal. From here on, it’s a question of trying to sculpt that sound into our final tone. The maximum effect of this filter is only -10dB, so it’s not a huge effect. It’s a more sophisticated version of the pre-distortion tone shaping circuit. This one has two gyrators, and therefore two peaks in the frequency response. We can plug the component values into the everso-helpful Bandpass EQ calculator over on Muzique.com and we get the following: In practice, the transistor’s gain isn’t sufficient to achieve such a boosted response. It may have been designed to allow for some slack from the transistor. Plotting the frequency response of the stage in LTSpice is instructive, and gives a reasonable result. To be honest, I’m not sure what this is doing here. Perhaps Boss were concerned that the pedal should be non-inverting overall (is it. I haven’t checked) or perhaps they had one op-amp left over. Suffice to say, it doesn’t add anything, just flips the signal the other way up. The first part of the tone control circuit is the High and Low controls. As the controls are moved away from the centre position, either the positive or the negative signal will dominate, and there’s a resulting cut or boost.The Low control is another gyrator, this time with an op-amp as the active element rather than a transistor. It’s more of a broad brush, and not such a “peaky” sound. It isn’t a fully parametric EQ because although you can change the amount of cut or boost and sweep the frequency, you can’t change the “Q factor”, which determines the bandwidth, or how wide the effect of the stage is. We can call it a “semi-parametric EQ” if you like, but “Sweepable Mid control” is just as good.
A Wien bridge network always needs a dual-gang pot to alter its frequency. If you want to know more about Wien bridge circuits, you could read the ESP page about Wien Bridge EQ. Most of the stuff about them deals with the Wien bridge oscillator, which is a standard sine wave oscillator circuit. This is probably why they chose the Wien-bridge circuit rather than use another gyrator. It’s hard to keep Q within reasonable limits when you make the gyrator’s frequency variable. Note that there is a slight asymmetry between boost and cut. The “Mid Freq” control goes from 240Hz in both cases, but when boosted the top end is 4.7KHz, whereas when cut it is 6.3KHz. The plotted values above are 0, 5K, 10K, 30K and 50K for the Mid Freq dual-gang pot. If you’re building one, a reverse-log taper would perhaps give the best response.The four controls (High, Low, Mid, Mid Freq) give you a huge tonal variety to explore, but also make it difficult to find your perfect setting unless you know from the outset what you want. This is a pedal which maybe doesn’t reward random knob twiddling. It’s a bit too complicated for that. Another simple one to finish off. This is a simple emitter follower buffer.But it’s not the only thing defining the sound of the pedal. The pre- and post-distortion tone shaping circuits have a massive influence, and beyond what you can tweak on the EQ, they are the sound of the pedal. Swapping the gain op-amp or changing the clipping diodes might have a subtle effect, but changing the frequency-determining components in those two tone shaping stages will give much more radical results. Whereas on many other distortion or overdrive pedals, the op-amp used or the clipping diodes have a major influence on the final output, in the MT-2 it’s really all about frequency response. It’s heavily shaped every step of the way, and those frequency responses determine the sound of the pedal, much more than diode choice ever would.
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Add to that the high degree of tweakability that comes from the powerful EQ and you’ve got a successful pedal. Thanks for reading and I hope it inspires you to have a tweak at this remarkable pedal, or maybe design your own with a little inspiration from those clever Boss engineers of the 1980’s. Thanks to Paul R in particular for his help in understanding the post-distortion tone shaping. I’ve always thought that this pedal has way more potential than people give it credit for; nice to see a similar argument and the analysis to justify it. Much appreciated! The fizzy fuzzy treble sound is bit lower than the stock MT2. Very eloquent. I’m an MT2 fan and it completely blows the MT3 away. But it’s a great 303 mangler, listen to some chemical brothers! Thank you for saving me from that horror! The ESP audio pages have moved, so I’ll have to correct all the ESP links, on this page and elsewhere. This was very helpful to show my students in my Audio Electronics class, and it’s motivated me to cut into my own old MT-2. Those stages are basically a non-inverting op-amps, if you ignore the gyrator. So clipping C34 out disconnects the gyrator and leaves you with a unity gain op-amp buffer, more or less. I’d certainly give it a try. The post-clipping gyrators can be disabled the same way, but certainly have a listen (and record a sound file for posterity!) without the first gyrator stage before you attack the other two as well. Another approach would be to experiment with a few values in the Musique.com gyrator calculator and make the gyrators very low Q (wide and shallow, instead of very peaky). That would effectively boost most of the spectrum, but without becoming completely flat. That’s a very wide range. The other Mid control then sets the cut or boost at the frequency selected.Truth be told. Myself MT-2 has always been a favorite.
But, even with more modest gain settings and careful eq use I think just about anyone should be ale to get a punishing metal tone out of the ol MT-2. The curve of that post distortion EQ remins me of james hetfield’s settings on the graphic EQ of his favorite amp.Would that work even with the signal inverting eq input? I don’t know how easy it would be. It’d involve cutting some tracks and wiring some jumper wires in here and there.I put the sweepable mid-range pre-gain but kept the treble and bass controls post-gain. This combination makes the pedal very useable in a live set-up (using a valve amp pushed to break-up); IMO this only works properly if you disengage all the gyrators and start with a good quality flat base tone. I will put the details of the entire mod I did below as I believe it is too good to keep to myself. It was super interesting and informative. Reducing the value of R51. Also if I jumper the the buffer between R28 and R14 can I jumper also one of those resistors? You do not need to buy any more components for this mod; you just need a soldering iron, solder and some good quality wire. Ideally you need to start with a first or second generation MT-2 (M5218AL ICs) as these sound best in my opinion: It refines the top end of the distortion and provides a good base tone. Please note: this will decrease the gain of the pedal. This sounds great with bridge pick-ups but is a little too flabby-sounding with neck pick-ups for my tastes. The third stage tightens this up and recovers the gain nicely. Removing the diodes boosts the output significantly too, which is great for pushing a valve amp to oblivion. It will make single coils sound like humbuckers and vice versa, as well as outrageous sounds I have only ever got by stacking gain pedals together. Keeping control over the presence helps add clarity when playing with a band. Thanks Tom!
This pedal is now my drive pedal of choice, it easily trumps all the other Boss distortion pedals and a good number of boutique overdrives and fuzz pedals I own. Thanks for sharing it. DS-1 for example. So try unsolder the diodes and connect them to pin 2 and 3 of op amp 3a. Yes, this is a tube screamer configuration. But it allows the tone controls to do their job fully. The sound is clipped after the diodes-to-ground. There’s no unclipped sound in the signal. It might be a customised taper too.I’m pretty sure the op-amp on the right is a voltage follower but really not sure how that fits with the Wein bridge network. Any tips? I definitely recommend that article if you want to know more: At low frequencies, the capacitors can be regarded as open circuit, so the resistance of the top of the potential divider is much larger than the bottom (since it contains an open-circuit cap). So no output signal is produced from the mid-point of the bridge. At high frequencies, the capacitors can be regarded as short-circuits, so the resistance of the bottom of the potential divider is now zero (since it is shorted to ground by the cap). So no output signal is produced from the mid-point of the bridge then either. Does that help make it any clearer? After going through it that makes a lot more sense, but I’m still a little confused about the interaction between R050, VR02b, R049 and C037 and how C038 is used to feed the signal back to the first filter. Thanks again! Yet the graph of the low tone control right above those computations show the low tone control affecting 350Hz at maximum boost or cut, with the center frequency maybe moving down to 150Hz for small amounts of boost or cut. There don’t SEEM to be any other components in the tone circuit that could be affecting the resonant frequency of the gyrator. Explain? I’ve now corrected the graphic. Thanks for bringing it to my attention.
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This inspired me to make a mod to atenuate the pre-distortion mid boost which I find really annoying, with great results. I also made a video tutorial on Youtube here: with before and after sound samples and added the link to this page in the description so more people can find it. Thanks and keep up with this great job!!! If the trimmer value goes below 1K, then the gain goes up, and if the trimmer value is larger than 1K, they both go down. Since the gain at the minimum end is so much smaller, changes to the minimum will be less pronounced, and the equation shows that the gain cannot go lower than 1 whatever we do.C24 is the higher peak, C20 is the lower peak. Remember that taking out a higher peak will probably make the sound darker, and taking out a lower peak will probably brighten it. But these are peaks, not overall tone controls, so it isn’t really as simple as “brighter” or “darker”. I can’t think of a way to do the switch selection you suggest, except with a (somewhat rare) 3 position DPDT, like I used in the FilterFX pedal. No matter what I do with its tonal knobs it seems like this nasal effect just don?t go away. So: 1- What are the options to get rid of that nasal tone or at least attenuate it? 2- What is a simple way to reduce a bit the general gain of the pedal (turning it to a more versatile drive)? The pre-distortion gyrator would be disabled by removing C034. The post-distortion gyrators are C020 and C024. That still leaves the actual tone controls unaffected, so you still have a lot of scope for tonal modification. Experiment with 2K2, 3K3, 4K7, or even 10K and see what you like. Removing C035 gets rid of the nasal tone (yeah!), but puts some hiss in. So far I let only C035 out and changed R041(1k) for a 18k trimpot that I canibalized from a dead pedal, set around 3,5k. This gave me a fairly versatile pedal. Turning the gain knob clockwise from there it goes from a low gain overdrive to a nasty distortion similar to the original metal zone!
Do this up and down the fretboard You could do better, but it’d probably involve changing more components. After some rough measurements of the blue curve shown here and some rough curve fitting for filters, I came up with two sets of filters, each is an attempt to match the blue curve with differing levels of success. Somehow that was expected since most literature says “pre Frown, post Smile” equalisation for Metal. The frown is quite “Peaky” while the smile is relaxed. For the buffer, the 1M resistor R058 provides the bias. Have a look at this: New link is Will it make the pedal better or worse? I want to get rid of that high frequency that cannot be eliminate by tone knob and by removing the C35, C25, and C24. thanks. The High tone control provides 20dB of cut to all high frequencies, so if that isn’t altering the tone you’re hearing, what you’re hearing isn’t a high frequency. Taking out C35 alone will turn the pre-distortion EQ into an amplifier with a bass roll-off like a tube screamer, but I haven’t checked the frequency. That means, to my ear, the high tone knob doesn’t have any effect to that “high frequency” i heard. So I assume there is some part somewhere in MT2 that can be change to cut that “high frequency” out. I suspect that “high freqeuncy is above 10khz. That should help tame fizziness. Try our projects! We’d love to hear your feedback about the site, our chips, and your ideas for new stuff! Grab a copy of the schematics and tweak away to your heart’s content. If you don’t have a PIC programmer, you can order a chip from the shop. Check the legal stuff for more details. If you’d like to use Electric Druid chips, code, or circuits in your commercial product, we’d ask that you buy chips from us to help support the development of further projects. We can supply programmed, labelled chips in whatever quantities you need. If this isn’t suitable, please contact us to discuss your requirements. Thanks. Something went wrong.
Learn more - opens in a new window or tab This amount is subject to change until you make payment. For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab This amount is subject to change until you make payment. If you reside in an EU member state besides UK, import VAT on this purchase is not recoverable. For additional information, see the Global Shipping Program terms and conditions - opens in a new window or tab Delivery times may vary, especially during peak periods. Learn more - opens in a new window or tab Learn more - opens in a new window or tab Learn more - opens in a new window or tab Learn more - opens in a new window or tab Learn more - opens in a new window or tab Contact the seller - opens in a new window or tab and request a postage method to your location. Please enter a valid postcode. Please enter a number less than or equal to 3. If you don't follow our item condition policy for returns, you may not receive a full refund. Refunds by law: In Australia, consumers have a legal right to obtain a refund from a business if the goods purchased are faulty, not fit for purpose or don't match the seller's description. More information at returns. All Rights Reserved. User Agreement, Privacy, Cookies and AdChoice Norton Secured - powered by Verisign. As a 15 year old playing an MT-2 into a broken stereo, cranking the gain all the way instantly gave me that feeling of playing into a raging, fire-breathing wall of stacks. Which, undeniably, is awesome. But also, when you do that (not just with the MT-2 but with any high gain amp or pedal) you just lose all sense of definition and clarity in your tone. Don’t even go past 12 o’clock if you ask me. There’s SO much gain on tap that you really don’t need all of it on at once. Try the MT-2 with the Distortion sitting around 10 o’clock.
Get closer to the 12 o’clock mark and you should be rewarded with thick, high-gain goodness, while still retaining a good amount of note definition. Don’t worry, there’s still plenty of juice to help those pinch harmonics fly off the strings. Here’s a really great video which uses the MT-2 to transform a clean AC-30 into a riff monster. You’ll notice that neither the rhythm nor lead tone settings use Distortion over 12 o’clock. Makes sense to try and do the same with your new metal pedal. So why isn’t it a good idea to scoop the mids with your MT-2? There are a couple of reasons, and here’s the short version: Guitar is a mid-focused instrument. That’s where it lives, so if you completely dial the mids out of your tone, it’s no surprise that it disappears. On the record, you can get away with more scooped tones because the engineers can EQ it such that all instruments have their own place in the mix (so the guitars don’t get drowned out). You’ll have a tough time doing that live so it’s best not to cut yourself out of the mix before you’ve even started playing. What exactly does this mean. We don’t want to hack out a huge hole out of the mid frequencies (see previous section) or boost the living daylights out of the highs or lows. Try setting all the EQ controls at 12 o’clock for starters. Adjust the High and Low controls to taste to get a baseline for how you want your tone to sound. Since the EQ controls are so powerful, small changes make a big difference. Then, turn the tables and apply a slight CUT to the Mid setting, eliminating the worst of those pesky frequencies. Don’t forget to note down the settings that work well with your rig. It’s more versatile than you think Despite what it says on the tin, the Metal Zone can do more than just metal. And because of the extremely powerful EQ range, you can totally use it on bass to get a downright nasty (in a great way!) chunking, grinding metal bass tone.
Experiment with small changes to the EQ to find your sound, and don’t be afraid of dialling the gain down. HOW TO USE THE BOSS NS-2 NOISE SUPPRESSOR IN YOUR RIG Related Products From the easy to use bug-style WL-20 all the. The Metal Zone produces a distortion that is a bit smoother than the HM-2 and HM-3. In addition to the Level and Dist controls, it has got a 3 band equalizer. The middle is a sweepable parametric eq that gives complete control over the MT-2’s tone. This stompbox provides some of the most over-the-top, insane distortion tones in the world—with huge mids and lows and an ultra-saturated sound. It has a unique dual-gain circuitry, providing long sustain and heavy mids and lows like a stack of overdriven amplifiers. The 3-band equalizer with semi-parametric mid control offers a wide range of extreme distortion textures. Did you miss your activation email ? I've got another thread on here where I used a layout from the internet but it had a few problems and also I plan on making 2 differences: Remove the switching and modify for true bypass Introduce a noise gate as it can been a noisy beast Can anyone please advise on what I should be omitting to remove the switching and any buffer so I can use true bypass. Heres the schematic: Light up a stage and wax a chump like a candle. The output buffer probably can go too. So connect from the level pot wiper as far as that 10uF output cap (C001?). Once I've finished the redrawn schematic, I'll upload it before I get cracking on the layout. Light up a stage and wax a chump like a candle. Looks much simpler with all that stuff out of the way.Light up a stage and wax a chump like a candle. I modded my MT-2 stock using the Deizel mod, and though I have a cheap solid state amp, now I can use the pedal without feeling bad. The mods on there are either swaps or removals. Light up a stage and wax a chump like a candle.
If you don't have problem of space you can fill the pedal of switches, but I don't know how much sense has this. Every mod changes a bit the sound, and all together change more, perhaps not change a lot, but change enough in my opinion. A consideration: testing the mods in a pedal after an interval of some minutes make hard to notice much difference. C35: remove C34: 0.047uF MKT Capacitor C25: remove And after the diodes mod I noticed the difference. You could keep the original clipping diodes, them have still a kind of harshness and compression, and to use a switch to pass to the other clipping (D3: Red LED; D4: 1n4001), those make the sound rounder, fuller and dynamic. For the other mods I suggest you to make some tests and to choose the best components and the best result to your ear. I don't see the reason to choose between two sound, one bad and one better. I prefer the MT-2 after the mod, and I will never want a switch to remove the mod. I wish I helped you. Yes those border things are highly annoying and takes something away from the clarity.I totally understand why they are there and who the schematic is aimed at. Light up a stage and wax a chump like a candle. Now it is much clearer. Light up a stage and wax a chump like a candle. Chugs - Great Spot! I went through it marking everything off but that one got through the net. I know it was a bit of a cheeky ask but its much appreciate having a second set of eyes! Light up a stage and wax a chump like a candle. Might have to choose my pots wisely to squeeze it all in but think it can be done. While I have been making this I've done a bit of reading and Youtubing and its such an interesting pedal. Hated by so many but I had one and really regret selling it. I'd never gigged with it but its brilliant for bedroom metal.