The Sting Ray Bass-EQ (SRB-EQ)
A reliable wrapper around a (2-control pre-EB) MM Stingray Bass type pre-amp

last update: June 10, 2024

Copyright 2024 by H. Gragger. All Rights Reserved. All information provided herein is destined for educational and D.I.Y. purposes only. Commercial re-sale, distribution or usage of artwork without explicit written permission of the author is strictly prohibited. The original units  with their associated  trade-names are subject to the copyright of the individual copyright or trademark owner. The Author is by no means affiliated with any of those companies. References to trade names are made for educational purposes only. By reading the information provided here you agree to the Terms of Use.

How It All Came About
Identifying The Key Ingredients To Stingray Tone
Why A Simple Outboard Amplifier Does Not Suffice
Fixing The Mis-Match By Simulating The Presence Of A Pickup
Explaining The Circuit
Playing With The EQ Stage Component Values
Gain Considerations, OPA Choice And Optional Post-Gain
The Effect Of Pickup Location And Promising Pickup Combinations
Sound Samples
Random Musings
Update History

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How It All Came About

                          stompbox front view
                          stompbox rear view

(click on the image for an expanded view).

The Author’s friend owns a 5 string Music Man Stingray Bass (SRB hereafter). The Author liked the way the SRB felt and sounded, and since then coveted its tone.

There is nothing wrong with the other basses the Author has played, but since the Author belongs to the kind who try to compensate the lack of musical talent with gear, he pursued and found ways to approach this tone by other means than buying a specimen – which would have been the consequent action, but besides being rather costly, it  were blunt and uninspiring.

Inevitably people had the idea to transfer a work-a-like of the SRB’s on-board electronics into a stomp-box enclosure to have it available for other basses at will, but the Author believes (and shows in the explanation following) that this is problematic and may not function as expected.

Although swearing that it was enough of stomp-box making, the Author felt compelled to tackle this problem. If an affordable working solution had been available, this step would have been redundant.

Consequently, a device has been devised (pun intended) that fills this gap, which is explained and depicted in the following. The Author likes to call it the Stingray Bass EQ  or short: SRB-EQ in fond remembrance of the SRB tone. The result is thoroughly satisfying and quite revealing technically. And it can make addicted.

Note: all subsequent mentioning of the SRB pre-amp refers to the two-control (early resp. pre-EB) pre-amp, which is commonly deemed by purists to have the “real” sound, not the later 3-control version that is technically not considered worth a lengthy discussion.
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Identifying The Key Ingredients To Stingray Tone

It has been found that the SRB´s tone is connected to several criteria:

  • the kind of on-board pre-amp which has carefully chosen controls that affect the lowest band and the high/mid band in a peculiar way that is very effective in avoiding mid-range contention. It is commonly agreed that the pre-amp electronics constitute a major part of the magic tone.
The guy here plays a modded SRB that can be switched to passive. It still has that typical SRB tone. So much for that.
  • the pickup location. Its pickup (-set) is mounted in a position that is in-between the rather conventional neck- and bridge pickup spot. (That said, the Ibanez ATK, touted as the “Stingray killer”, does not automatically exhibit exactly the same qualities solely because the pickup resides in the “correct” spot).
  • Something the Author amazingly has not seen explored satisfactory concerns the gnarly tone, "growl", or maybe string rattle or whatever it may be. This cannot really be wrapped in words. A J-Bass pickup has some of that quality, but not quite. Let´s for the lack of a better description call this point “string noises”.
  • After further research, the term string noises has to be amended. String chatter is part of typical sounds heared, for which a heavy playing style helps, but a significant other factor is:
  • Growl. There are perfectly well adjusted instruments to be heared that do growl. Growl is the exact sound an angry dog emits. Some J-Bass basses clearly exhibit that sound, but not all. This might indeed be down to the magnet type.

"Snarling = buzz against frets
growling = midish rooaring basssound"

Warwick have nailed that part with their Corvette double buck, although they almost have gone over the top in the Author’s opinion.
  • In the Author's experience not only the pickup location and magnet type, but also the pickup height is a potential candidate for growl, albeit only for the bridge pickup. Setting this as high as possible without interfering otherwise brings forward some growl.
A small boost in the 420 Hz region encourages this sound too. Astonishingly it seems rather nasal  at first, which seems to contradict the SRB's otherwise gearing towards bass and treble. Of course it is just a generalization that the SRB is mid-deficient because of the clear favorization of treble and bass by the EQ's boost frequencies and not a proven rule. This hump here must stem from the way the pickup coils are spaced and magnetized.
  • Roundwound strings seem to emphasize the characteristic SRB tone.
  • A distinction has to be made towards the term "burp" that has been used frequenctly. "Burp" is another art word for the "Jaco" tone - which is a dry, barking tone coming from picking close to the bridge. The same J-Bass pickup may thus burp or not.
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Why A Simple Outboard Amplifier Does Not Suffice

So the most obvious approach would be to reproduce the SRB´s electronic part and stuff it into a stomp box enclosure, which others have done...

However, there is a snag with that. Others have stated[1], that this preamp and the pickup itself are an inseparable unit whose components hugely interact and thus cannot be viewed individually.

"The typical sound of the Stingray is based on the interaction of pickup and preamp. The seemingly striking overemphasis of the treble is due to the fact that the inductance of the pickup winding is part of a series resonance circuit. This resonant circuit is damped by the treble pot and the winding resistance of the pickup. Therefore (in contrast to other preamps where the pickup is coupled in via a buffer) these pickup parameters affect the function of the treble control."

"When the treble control is fully open, the current is only limited by the internal resistance of the pickup, so a reduced maximum boost is to be expected with high-impedance pickups (...)" Translated with (free version

There's reason for that interaction. Unfortunately those things cannot be measured readily on a real instrument. They can however be simulated on the PC. At least one merit for those things.

The SRB Pickup On Its Own (Unloaded)

An unloaded pickup in general, meaning a pickup on its own, has a resonance determined by its parameters R,L,C. All three form a series resonant circuit that produces a hump in the frequency plot with a specific centre frequency and height (Q) that depends on the interplay of those parameters and a subsequent roll-off with a second-order steepness. Any external components present (as in all generic electric bass instruments) like wire capacity or voicing caps in combination with load resistance (like pots) modulate this towards smaller values. The interaction of those components is deliberately optimized to yield a pleasing tone, where the roll-off usually resides in the frequency range of interest. This is all well known and documented[2].
The SRB's pickup is no exception to this,  but its purported low inductance, low resistance, medium capacitance (unloaded) would result in a even higher resonance frequency, way beyond the frequency range of interest and way too high to play any role in sound shaping. Simulations (with the traded parameter values) have yielded a 12 kHz roll-off paired with an enormous Q (likely caused by the low DC resistance, meaning low damping). Such a pickup is tonally essentially "out of the way", which transfers tone-shaping practically to the electronics.

The SRB Pre-amp On Its Own (no resonance)

But this is academic, since we will never be able to listen to such a pickup on its own. However, the simulation reveals clearly  that a buffer amp inserted between the SRB's pickup and the SRB's preamp defeats both of them. Only both together work as expected. The pre-amp seems to need a certain load to work properly. Otherwise it does something no doubt, but this is certainly not similar to the original.

The Author thus takes the liberty to postulate:

A Stingray type pre-amp will not work correctly unless wired directly
to a pickup or a series resonant circuit that behaves akin to a pickup.

"In gross contrast to most other bass pre-amps, this one exhibits a very grave peculiarity:

Its mode of operation is based upon its interaction with a low-impedance humbucker whose inductance is part of a series resonant circuit that is merely damped by the treble control. This is also the reason for the use of a 1MAC pot (1MΩ rev. log)."

- Andiszeug: MusicMan Stingray Classic pre-amp; (translation from German)

This all shows that it is surely not correct to assume that a stock SRB pre-amp can be stacked onto a generic bass in a stomp-box manner without additional trickery, particularly if the bass contains active electronics (i.e. a buffer inbetween).

It remains to be practically determined how well such a unit yields subjectively useful results in spite of this apparent mis-match. Somebody may still like it as is...

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Fixing The Mis-Match By Simulating The Presence Of A Pickup

Coil simulation
Pickup emulation circuit:

A typical
pickup emulation part as found in many current fuzz-box re-iterations. The voltage follower in front is just a symbol for any kind of buffer circuit.

Hands-on experience with this circuit fragment as an essential precursor to the SRB pre-amp has risen severe doubt that any unit (commercial or hobbyist) omitting this indispensable part would sound even close to the desired effect (see the following chapter).
recommended values: Rres=1.2k, Cres= 330pF; note that the total series resistance is comprised of Rres plus the choke's DC resistance.

Conversely, disembowelling a generic bass instrument in order to retrofit it with a SRB-type pre-amp may not yield the desired result too, because it is not guaranteed that this pickup will harmonize with the pre-amp the way a genuine SRB pickup does. Besides, this approach is of course disregarding all other factors like pickup position and growl. Read more about this subject in chapter The Effect Of Pickup Location And Promising Pickup Combinations.

To recapitulate, the electronics wants to “see” a series resonance circuit on its input in order to work properly.

So what would be more obvious than to use one of the circuits that have recently become en-vogue to simulate the presence of a pickup in front of a fuzz-box? The Author has seriously criticised this approach since it is curing symptoms but not the cause[3].

By choosing this approach the pickup that works as a (no longer damped) second order resonant filter, is followed by a buffer, which is followed by another (now properly damped) second order filter of the same sort to remedy the flaw of the first one.

For a brief moment, it looked like advocating a simulator was akin to falling for the very same trap again, but simulations clearly revealed, that the pre-amp does not work without a reactive load in front as discussed in the previous chapter.

Several renderings of such a circuit fragment have been suggested and have been incorporated into practical designs (read more in[3]); all of them use a small transformer, a cap and a resistor to mimic a series resonant circuit.

Measurements: the values shown in combination with the "high" setting produce a resonance at 10 kHz, the "low" setting 12.5 kHz; above this the volume is tapering off steeply as expected. Below the resonance volume stays fairly even until it drops off -3dB at 12 Hz (6 Hz with a 220nF drive capacitor). Measured @
1Vp-p. Making Cres bigger shifts the resonance frequency towards lower frequencies (as expected), making R1 bigger decreases Q and thus the peak height. Both have no effect on the treble control's peak frequency since they are effectively out of its realm. For the same reason, changing the inductance setting jumper has no discernible aural impact.

Indeed such a circuit snippet has been used with great success in the subsequent design. This way it probably cannot come any closer to reality.

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Explaining The Circuit

                                Ray Bass EQ schematic (click on the picture to load larger image)
The Sting-Ray Bass-EQ (SRB-EQ):

An pre-amp-in-a-box style stomp-box design incorporating an input buffer, a pickup emulation part to keep the subsequent SRB style pre-amp functioning properly, and  an optional gain stage.

This combination is guaranteed to function with consistent performance on all basses driving it.

The stomp box’s input uses a buffer circuit to drive the transformer. A j-fet was chosen for low current, but any variety would serve technically.

The transformer is not used for voltage transforming purposes, but rather as a coil. It has been found that for this purpose the primary and secondary sides can be stacked to increase its inductance (read more in [3]). Since there are coil taps readily available, two have been wired to a jumper to allow for the evaluation of their individual sonic impact.
Since there is voltage transformation taking place and no noteworthy power transmitted that could saturate the little transformer's iron core, no low end frequency loss is to be expected. Indeed, measured values go down to sub-audible frequencies, mainly dependent on the preceding series capacities.

Stemming from a project a while back, the Author does not recall how the inductance values were determined, although measuring inductances alone is fairly straight forward. As different, the Author has found that measuring the inductance in a series resonant circuit leaves a lot of lee-way for interpretation, which is why published numbers should be taken with a grain of salt in general[4], particularly if the exact measuring procedure is not declared.

Measurements have shown that with the bigger inductance setting ("high") treble control peaks around 10 kHz, whereas the smaller one ("low") peaks around 12.5 kHz. A bigger treble resonance capacitor (>1.8nF) changes the control's frequency range towards low-mids. The SRB layout uses 1.8 nF, whereas the Sabre II Bass' layout uses 2.2 nF. Allegedly some later instruments were seen with smaller values. Given some imponderabilities, this choice probably remains a matter of taste.

Both on the simulation and the auditioned circuit the setting of the inductance jumper makes
no discernible difference. Clearly, a resonance that is far out of the frequency range of interest (akin to an unloaded pickup) cannot possibly have any effect. Nevertheless, omitting it will defeat the treble part of the pre-amp so it has to be there. A very interesting thing Leo has thought up...

The front buffer effectively separates the (generic) bass instrument from the SRB pre-amp, while the latter feels comfortable with the resonant circuit ahead. This way it can function reliably and repeatable as one would expect from a contemporary stomp-box effect unit. It will technically cooperate with any stock bass while maintaining full control functionality. As a matter of fact, it may even work with a passive SRB (custom) bass, as the guy shows it here.

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Playing With The EQ Stage Component Values

Amongst the different schematics that are deemed “original”[5], there appear to be subtle variations in the pre-amp components as far as input resistance and feedback resistance go. Although it can be safely assumed that their effect was subtle overall (EB surely would not want to tarnish the image of his product by a unwise move), the author has experimented with those. 

Starting with 220k for input and 100k for the feedback resistor made the whole effect more pronounced, but rather unnatural. Unfortunately it messed with the control's centre frequencies too. Changing to 100k / 220k was slightly different. The basic character was present in all instances,  but the best version has been found to be 220k / 180k. 180 k for the feedback resistor produces enough gain that any subsequent amplification (see below) is superfluous.

Keeping product variability in mind, the SRB’s pickup's parameters have been described as 1.5k (some say 2k), 0.7H, 120pF (on the simulation, this peaks at 12 kHz)

Note what a Music Man promotional site mentions regarding that subject:

"The resistance is considerably lower than the newer pickup introduced c. second half of 1977 (...).

Note that coil windings varied due to techniques used at that time. This resulted in slightly different resistance readings between individual pickups."

The Author has tried 1.2 k (together with the choke's DC resistance this would be ca. 2k) and 330 pF for the pickup emulator, which results in a 10 kHz resp. 12.5 kHz peak. Close enough. Both have no influence on the pre-amp's control frequencies. Those are directly related to the feedback resistor and input resistor.

Note that using a different transformer might ask for different values here due to its different inductance and DC resistance. For this reason, the Author clearly refrains from claiming that the devised unit sounds exactly like a genuine original bass. Please take note that not even two seemingly equal instruments are said to sound the same.

Although finding the overall result very pleasing at this point, the author has played with the treble filter capacitance of 1.8nF. Another 160pF that were at hand were wired in parallel but did not make any perceivable difference.

The treble pot uses a pretty uncommon anti-log (C-suffix) pot. This stems from the fact that by far the most effect is crammed into the 0-100k range of the pot, which by the antilog resistance track gets spread over a bigger rotational travel for the user to appreciate. A resistance of zero means maximum treble, which is why any tolerance spread of the pot is totally inconsequential.

The awkward resistor R12 in the feedback network that is only seen in the Sabre, does not do anything apparent neither on the simulation nor in rehearsals. It appears to be necessary if the bright function is wanted. However, the bright function does a little on the simulation, but is inaudible in real listening experiments, which coincides with observations from musicians. Nobody could discern if this switch was doing anything.

"Why would they choose such a "weird" settings?
I'm quite certain that they wanted to provide a quite lively and snappy Bass, and didn't want Musicians to mess with it. (...)
As I said, they don't want to "muddy" the sound.

- JMFahey (diyAudio): Understanding the Music Man Stingray 2-band preamp;

For those interested in details concerning the pre-amp's bass and treble controls and messing with their component values, there is some good information under the above link.

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Gain Considerations, OPA Choice And Optional Post-Gain

Other tinkerers have felt that the SRB circuit has an overall gain of less than one, which for an on-board pre-amp is inconsequential, but is highly annoying for a true bypass setup (something that was neither possible nor necessary in the original on-board unit). Gain depends on the choice of the above resistors, and it also rises the question of “concerning what frequency range?”, taking the huge tonal variation into account the circuit potentially introduces and the subjective perception of loudness with respect to frequency content.

As far as the Author's unit is concerned (with a 220 k/ 180k setting), this has plenty of gain reserve to achieve a perceived unity gain setting. The often seen combo 220k / 100k does indeed yield an overall gain less than one and requires an additional gain stage somewhere. 

Should the kind reader want to change one of the aforementioned resistors, a small utility post-amplifier as the one depicted in the following may become necessary to achieve a perceived gain of unity upon bypassing.

afterburner post-amplifier (click on the picture to load larger image)
The After-Burner utility post amplifier:

This post amplifier part appears frequently in Joe Gagan (NVN) fuzz designs[6] serving as a sort of make-up gain stage. A gain of 2 may be enough, keeping the additional noise low, but has been found redundant for the Author’s unit with the choice of resistors mentioned.

Keep in mind that changing the gain might involve re-touching the bias network.

Conversely, a different input stage (e.g. using an OPA) with a gain of 1.5 or 2 can be used instead. By the way, the linear trim pot that was used as the prototype's volume pot works very well for setting the volume.
On the circulated schematics, the SRB's complete circuit has been copied and with it the log pot. A log pot makes sense in an instrument, otherwise nothing much would happen for the most of the pot's travel. However, stuffed into a stomp-box, this application is not expected to have more than a matching loudness. In this case the volume control reverts to a set-and-forget control, where an expanded physical travel around a centre position is welcome for precision adjustments. Indeed, with the above resistor values used, the centre position is about equal gain. So no real need for a log pot. The Author prefers this, but using a log pot of course does no harm.
The original operational amplifier is long obsoleted, so an OPA703 was originally targeted, which had excelled on the L-2000 project. Regardless, the amplifier finally used is an LT 1097, which is a low-power precision op-amp akin to an OPA07. This was not chosen for a particular reason except it was one of the few possible candidates they had on stock coming in a DIP-8 package.

Low power may not strictly be a design goal in an external stomp-box, because these are nowadays mostly powered by an external supply. However, this OPA still has a very low current consumption but introduces very low noise compared to its heavily current-optimized siblings and it performs excellent in this position. Indeed the venerable TL07x may be used, too.

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The Effect Of Pickup Location And Promising Pickup Combinations

Although the above circuit applied as an external stomp-box brings us a lot closer to SRB tone (probably as close as it gets from the electronic part), the question of the contribution of the pickup's location remains.

The author feels that a neck pickup’s tone (by itself reminding of a P-Bass tone) is not necessarily complemented by such an EQ change, while the bridge pickup’s tone (resembling a J-Bass with its gnarly tone) is much better suited.

To be fair, the control's settings were not changed on the prototype during those experiments, because the trim pots used for evaluating the prototype PCB were linear. Changing the setting particularly of the treble control, which asks for a special pot, was nearly impossible.

Not surprising, the most promising combination (on all basses with similar configuration tried) is a mix of both positions, whereof an all-series combination provided the heft needed. A truly thunderous, authoritative and clear tone, that cannot easily be replicated with a stationary graphical EQ.

The Author’s power amp is a respectable device equipped with an 8-band graphic EQ. Tweaking this yields a very similar tone, but the SRB post-EQ clearly sounds superior. This may be attributed to the resonant behaviour. Resonant filters always sound different than a bell type filter. Sometimes worse, but beneficial in this case.

Generally speaking, fat (series) tones work better than single coils. This is a bold word out of the Author’s mouth considering his otherwise pronounced preference for single coils.

So what has been expressed by fellow musicians, that P-Basses and J-Basses should be left the way they are, rings true.

The L-2000’s neck + bridge serial tone and also its parallel tone are very convincing together with the SRB post-EQ. The Author’s L-2000, being vastly hot-rodded[3], has the added capability of selecting pickup combinations like inner pair or outer pair. Those tend to come out overly nasal with the SRB post-EQ. String noises are very much amplified to the point of being obnoxious, at least if using the same control setting that worked well for other modes. So, although being eminently useful by themselves, those positions are best used as they are.

Note that those options are non existent on a SRB by definition and likely not on a stock L-2000 anyway. Take note that the original SRB we are talking about here, is a one-trick pony.
Basses that have those positions available for switchable combinations, or even basses like the Ibanez ATK, which has the pickup in the right spot to start with, are perfect candidates. It does not make SRBs out of them overall, but will get you very close to it. In those cases, the stomp-box can add a very strong flavour of SRB to the arsenal.
One word about the ATK´s native “Stingray” position (centre switch position): compared to the stomp-box, their SRB mode falls way short despite the rumour of being a Stingray killer. However, listen to the other switch positions in conjunction with the SRB-EQ!

The author recently read a web article on John Entwistle, who is renowned for playing full volume, full treble. He uses a vigorous finger style with what was later known as typewriter playing.

After reading this article, the Author realizes to be playing a similar way. This approach probably comes from the roots as a guitar player in both cases. This way of playing adds a lot of the typical string noise the SRB is associated with. Maybe (this is a speculation...) the SRB's haptics or the trousers moving bottom end invites the musician to dig in more? Who knows...

The Author uses cobalt flats by the way, and not roundwounds, the latter which are frequently deemed a key component of the recipe. Trying a bass with reputable P/J pickups using roundwounds did not make any difference beyond that, except sounding more metallic right from a start.

Beware of overpowering the post-EQ with overly bright tones, like active basses tend to present them. Pull the highs back somewhat on the instrument for a much more pleasing result.

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The result has been a 100% success technically and also sonically, because the circuit was not falsely expected to transform lead into gold - there is still something unfathomable around that basses tone... However, it is not to be expected that any future unit will be able to fill that gap either.

That all said, the outcome is eminently usable in that it can help clean up the mid-range of your bass and introduce some heft in the best of SRB-style, if one can depart from the notion of perfection. It surely is a worthwhile extension to your arsenal of tones, although it is, much like its idol, a one-trick-pony. Which is OK.

A warning... First you think, whoa, what a big tone. After a while you forget it is there - until you switch the equalizer off again and your tone is suddenly feeble and dull. Too much of it and you get sick of it eventually. These are a typical signs of addiction, and it has happened many times with effects that were popular for a while. So use with discretion.

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Sound Samples 
The subsequent recordings have been done using the following setup and no further processing:
  • L-2000 modified, pickups as specified, treble down to 1/3. EB cobalt flat strings.
  • SRB-EQ prototype
  • Warwick Pro-Tube IV, direct out
  • Recording device: Focusrite PC interface into DAW (all recordings untreated)

Note: "inside pair" means _NB_ and "outside" means N_   _B. Those options are not available on a stock L-2000.
"native" means stock NN
All recordings have been done on the  SRB-EQ prototype prior to shielding, hence a faint hum.
First half of recording respectively: L-2000 direct. Second half of recording: SRB-EQ enabled with all controls full up.

Comparison parallel native mode (stock L-2000) vs. SRB-EQ

Comparison parallel inner pair ( L-2000 modified) vs. SRB-EQ

Comparison parallel outer pair ( L-2000 modified) vs. SRB-EQ

On the recording the difference between the three modes is less spectacular than in reality (played over a genuine bass enclosure), but the difference between the unaltered tone and the equalized tone is clearly audible.

Note how the last recording, which uses the coil closest to the bridge, has string noises amplified.

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Random Musings

This sections contains random musings in the sequence of appearance.

Overall, this EQ is nothing extraordinary from a frequency perspective. It is a low peak and a high peak resonant EQ. A functional equivalent plus some more functionality could be relatively easily realized using gyrator based full parametric EQ circuits.

Ready-to-use boards are available for example from TH Custom Effects. A very similar approach has been described by Rod Elliott in Project 28. Note that the latter lacks some glue logic that makes it a fully usable pedal. However it outlines a way to add shelving capability to low- and high EQs at very little extra effort.

There is quite a bit of circuitry that could be eliminated or at best remain a trim-and-forget section, such as the centre frequencies. The Author thinks that a full-blown parametric EQ will overwhelm the majority of users anyway and should thus remain reserved for specialized cases. Due to their complex nature devices like that are seldomly used as an effect for performance switching, like in a live performance.

Both of those approaches consume so much more OPA and PCB estate which is in no relation to their yield, so the original circuit shines in its effectiveness and efficiency. A genius piece of work.

That all said, the Author found that a little low-mid boost can be useful sometimes. As mentioned earlier, something like a 6 dB boost at 400 Hz adds some nice growl. A circuit that readily lends itself to this, is Craig Anderton's Freqency Booster.
This fits seamlessly into the above project, however it was left as an on-off-toggle rather than a variable boost control. An attempt to design such an add-on has been described here.

If preceding the SRB-EQ stage, the latter's input buffer stage could be eliminated entirely. This all could be most elegantly accomodated in a quad OPA like the TL074. At this point, the astute reader will start to realize that we have practically landed at the 3EQ circuit, albeit with a differerent quality. Since this is a streamlined piece of circuitry too, one might well choose that one from a start.

The SRB-EQ's "flat" setting (on the Author's unit) is: bass and treble 11 o´clock, volume 1 o´clock - so all of them not quite at the center, which is just a matter of acknowledging. Set this way, the SRB-EQ may be left on permanently without noticeable coloration of the preceding bass. This way it can serve as an extension to the basses' built-in controls by actively adding a little low-end thunder or high-end sparkle á la Stingray. This is a superior use as compared to stomping on a box that changes tone radically.

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[1] AndysZeugs: MusicMan Stingray Classic pre-amp;
[2] Guitar-Letters: a wealth of information on pickups and voicing (in German language), by Ulf Schaedla
[3] Aquataur Music (H. Gragger): A Good Idea To Restore Frequency Balance And Why It Is Flawed;
[4] Aquataur Music (H. Gragger): Measuring MFD Pickup Specs;
[5] FSB (Bajaman): Baja Music Man guitar and bass onboard pre-amps;

[6] Nine Volt Nirvana (Joe Gagan) suite: e.g. tarpit meltdown;

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Update History
  • June 10, 2024: added section "Random Musings"
  • May 30, 2024: volume log pot vs. linear pot and pretty piccies
  • May 26, 2024: critical overhaul
  • May 22, 2024: first release
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