Spring Reverb A flexible, easy-to-build voltage controlled DIY

mono spring reverb module.

Documentation
PCB rev 2.1
It’s a simple build, but there are quite a few
options. The more of this document you read
before you start, the less likely you are to
Summer 2013 make a mistake.
by Tom Whitwell

Block Diagram

Tilt EQ Spring Tank Crossfade in

Audio in
Crossfader

CV in
Attenuverter
Blend out

Blend Level

• Works with a variety of spring reverb tanks, or • 6hp wide (NB: If using the brick, mounted
with the Accutronics BTDR-2 reverb ‘brick’ horizontally, the brick extends 5mm over the
designed by Brian Neunaber PCB to the left of the module, around 25mm
back from the front panel, so mount the
• Vactrol crossfade between dry and wet reverb next to a shallow module)
• Tilt EQ on the reverb send to tune the voice of • Around 60mm deep including a phono plug
the reverb, from warm and deep to bright and
for the reverb tank coming from the back
light
• X-Fade input so the module can also be used • Just 35mm deep if you mount the reverb
connections on the front panel
as a standalone vactrol crossfader
• Attenuverter on the crossfade CV input; • Modular PCB design; the back PCB is a self
contained system to drive a spring tank or
centre = off; anticlockwise = inverted signal;
brick, making it easy to design simpler or
clockwise = normal signal
more complex reverb systems
• Options for reverb tank connection and • Power consumption: Around 25 ma (spring) or
placement; front or rear panel phono sockets
75ma (brick)
and PCB connections
• Optional (unbuffered) PCB connections for
100% wet and post-EQ dry outputs
 the tank. Try shifting it through 90 degrees - on
Using the module, and whichever axis is practical - and often the hum
will drop. If you want to mount your tank inside a
how to get the best case, experiment with the exact position to find
the quietest spot before fixing anything.
possible sound •Noise (hiss, white noise, not hum) is
caused by the high-gain op amp in the
I’m very happy with how this circuit sounds, recovery section. I’ve tried to reduce it as far
particularly in this demo: http://snd.sc/16o6GvG as possible by using low-impedance resistors. I
But it’s not always easy to coax such smooth also tried two lower-gain op amps in series, which
tones from a spring reverb. seriously increased the noise. It may be that
using other dual op-amps could reduce this noise
Don’t assume there is a fault with your module even further. Or just think of it as tape hiss,
if you don’t immediately get this kind of sound - adding mojo.
I made that mistake a few times on breadboard.
Here’s what I’ve learned about getting a good,
•Spring reverb is chaotic and hard to
predict. Spring reverb is a strange, gnarly,
rich, warm, clean sound: physical effect. When I tried to calibrate and
•What you get out depends on what you measure this circuit, I’d find that a sine wave at,
put in. By far the biggest factor in the tone of the for example, 400hz, might barely excite the
reverb is - obviously - the tone being fed into it. springs at all, while a sine at 405hz would bust
Software reverbs can put the same smooth them into fuzzy overdrive. Change a component,
mushy sound over whatever your run into them. and that response changes completely.
This isn’t like that at all. Remember that it’s a
physical system moving about, driven by
magnets and electricity and springs.
How to use the controls
I’ve found that smooth, clean, FM-ed sinewaves Tilt
work very well with the springs. On a ‘scope, the Is a hifi-style EQ control based on the Ambler
output looks similar to the input, but more circuit from 1970. It controls the signal sent to
complicated. On the other hand, square waves the reverb, but has no effect on the dry signal.
try to bash the springs about. There’s no way that
a magnet can move a spring in anything like a At 12 o’clock, it is flat. Turned clockwise, it
square wave, so the sound coming out will sound boosts frequencies above 1,000hz, and cuts
little like a square wave. On a ‘scope, it’s more frequencies below, by up to 8dB. Turned anti-
like a filter or waveshaper. clockwise it cuts treble and boosts bass.
Small changes in the input sound can be Blend
amplified and enhanced by the reverb.
Controls the mix between clean and reverb
•Choice of spring tank is not absolutely outputs, between dry and wet.
critical. Big long six spring tanks will sound
bigger than small tanks, but I’ve found that - at Control
least with my limited selection - it is less This attenuates or inverts the CV input for the
important than the other factors in this list. I got blend control. At 12 o’clock, the CV is attenuated
pretty good reverb from the tiny plastic-boxed (although if you want it to go completely, it’s
new reverb that Belton are developing. You can much easier to pull out the plug). Clockwise,
use EQ to compensate for the choice of tank to voltages are added to the blend control; high
some extent. input voltage = more reverb.
•Hum is caused (and can often be cured) Anti-clockwise, they’re inverted; high input
by the exact position of the tank. A reverb voltage = less reverb.
tank is not unlike a big, highly amplified single-
coil guitar pickup. It will pick up 50/60hz mains X-Fade Input
hum, particularly from transformers but probably Audio input here will replace the ‘wet’ reverb
also from dimmer switches or fluorescent tubes. signal in the crossfader, so the module can be
That hum can often be stopped completely by used as a standalone vactrol crossfader. Reverb
moving the tank away from the source or - often cannot be heard in this mode.
more practically - by just changing the position of
Building the module, and Summary: Which values
choices you’ll need to should I use in the
make before you start unmarked spaces?
R7 depends on the vactrol.
Before you start: Silonex 32SR3 = 470Ω
This PCB was built to be flexible. Before building, VTL5C3 = 47k
you’ll have to take four decisions:
Tested spring specs are:
1: Tank or Brick? Input: 150Ω to 800Ω
The rear PCB has space for two separate drive & Output: 2,250Ω to 2,575Ω
recovery circuits; one for a reverb tank and one
Insulated input, Grounded output
for the Accutronics BTDR-2 reverb brick. The real
Beyond this range, you may need to do some
tank sounds better, but is physically bigger and
research or experimentation.
liable to hum. The brick is small and self-
contained, with a distinctive reverb based on
PT2399 delay chips. be shaken or strummed, or next to a speaker to
Only build the circuit you will be using; If encourage feedback.
building for a spring, ignore all components in Out of the front of the case There is an
the ‘Brick’ area. If building for a brick, ignore alternative version of the front panel with space
all components in the ‘Spring’ area. for two chassis-mounted phono sockets, so you
can patch the reverb tank into the front. It makes
It is also possible to build both circuits and for a snug front panel, but is the shallowest and
attach a switch in place of the jumper, to make most skiff-friendly solution.
the module switchable between spring and brick
4a: Which Tank?
2: Which vactrol?
I’ve tested the circuit with VTL5C3 and Silonex Short version: If you’re buying a new tank, I’d
32SR3 vactrols. Both work well, and the value of recommend one of these fairly common models:
R7 needs to change:
Silonex 32SR3 470Ω Accutronics 9EB2C1B A big 17” long reverb
VTL5C3 47k tank with six springs.
If you’re using a DIY vactrol or another brand, R7 Accutronics 8EB2C1B A smaller 10” version
should be chosen experimentally. with three springs. This is the tank from a Fender
Blues Junior amp, so is very common.
3. Where will you put the tank?
Inside the case The rear PCB has space for Other makes with the same number (i.e. MOD
phono sockets so that you can easily mount a 8EB2C1B ) will work in the same way. The Ruby
reverb tank either inside your case. There’s a risk 3EB2C1B also looks nice.
that your PSU will create hum that is picked up by
the tank, so experiment with the position and
orientation of the tank.
Out the back of the case If you have, or can
make, a suitable hole in the back of your case,
probably the best way to mount your tank is
outside Hanging a tank on the wall behind your
modular is a good way to cut down unwanted
vibration and avoid transformer hum, or the tank
can be left on top of the modular where then can
Long version: The circuit has to be tailored to the This circuit is designed for C type tanks.
specific tank you use. It’s designed to be flexible, You might need to change the circuit
but I don’t have hundreds of tanks lying around significantly to use other types.
to test it with. That said, I’ve run my Blues Junior with the
reverb connected entirely the wrong way
Here’s how Accutronics/Belton codes work, round. It still worked, but certainly
using the top tank as an example: 9EB2C1B sounded better the right way around.

9 = The type of tank - the size, number of springs 1 = Locking Devices

etc. The circuit doesn’t care, but the sound B = Mounting orientation
will be different. The circuit doesn’t care about either of
these.
E = The input impedance;
4b: Which Brick?
A = 8-10 Ω There are two types of BTDR-2, depending on the
B = 150 - 190 Ω orientation. Either should work, but I’ve only
C = 200 - 240 Ω tested mine with a BTDR-2H, which lies parallel
D = 250 - 310 Ω to the PCB. The BTDR-2H will lie flat against the
E = 600 - 800 Ω back of the module, poking 5mm out of the left
F = 1,475 - 1,925 Ω side. The BTDR-2V will poke out of the back of
the module, extending the depth to around
The lower numbers are for Type 4 tanks, 60mm, and poking out a couple of millimeters
higher for Type 8 & 9 tanks. on the right hand side.

I’ve tested the circuit with various Either solder the brick directly to the PCB, which
impedances between 150 and 800 Ω. is sturdy and low profile, or mount it in a bit of
Very low impedances may pull more female header, which adds a couple of
current than is available from the TL072 centimeters of depth. You probably wouldn’t
driver. Very high impedances might require solder a chip worth £15 to a board without a
swapping the 10k trimmer for a 100k socket, would you?
trimmer.
Other Options
There are lots of options on the board to help you
build the reverb you want. All the sockets are pulled
B = Output Impedance
out to tags on the front board. On the back board
there are outputs for the Post EQ, pre Reverb signal
A = 500 - 600 Ω and the Post reverb, pre Blend (100% wet) signal.
B = 2,250 - 2,575 Ω The rear board is a stand-alone reverb circuit, and the
C = 10,000 - 12,000 Ω front board should act as a modular-level EQ/Blend
I’ve only tested this circuit with B type circuit receiving power from the rear board.
tanks. To adapt to other impedances you’d
need to change the values of R4 and R6.

2 = Decay Time
The circuit doesn’t care

C = Connections

A = Input Grounded / Output Grounded

B = Input Grounded / Output Insulated
C = Input Insulated / Output Grounded
D = Input Insulated / Output Insulated

NB: This board assumes Red=Output, Two Accutronics Blue

White=Input. Check your tank carefully. reverbs mounted in a
The mini tanks that come with a Doepfer Hammond 1590XX
A199 are sometimes coded differently. enclosure
Building the circuit First run calibration
Bill of Materials The calibration procedure is pretty
Most of the components are straightforward off- straightforward. If you don’t get it right first time,
the-shelf parts, but the parallel PCB construction go back and try again.
means some components are very specific.
Once the module is fully built, with all the ICs in
Sockets: The board is designed for 3.5mm their sockets, connect the module to power in
vertical jacks from Erthenvar or Thonk: model your case (or a separate PSU, if you have one).
PJ-301b. Other jacks may work, you’ll probably Connect the spring reverb, being careful to get
need to wire the grounds together. the ins and outs the right way around. Don’t
screw the module into the case, you’ll need
Potentiometers: Many 9mm vertical-mount access to the trimmer on the back.
pots will fit on the board. Ideally, for maximum
module strength and stability, use pots that •Connect an oscillator (ideally, the loudest sine
mount to the panel, like the Alpha or triangle oscillator in your modular) to the
RD901F-40-15R range available from Smallbear input.
(7mm mounting holes) or the Alps RK09L range •Connect the spring module output to your
(9mm mounting holes) output/mixer etc. Turn down your speakers! It
The Blend pot is a voltage divider; any Linear pot might get loud (it might also be very quiet)
above 10k should work fine. •Set the oscillator to a middle/low frequency -
The CV Control attenuverter circuit is setup for a not sub-bass or very high pitched. Use an LFO
50k pot, but I’ve used 100k in this slot without a or a sequencer to constantly vary the pitch.
big impact. It doesn’t matter what it’s doing, but you
The EQ circuit is set up for 10k with values can’t really hear reverb on a static pitch.
deliberately low to reduce noise. The circuit will •Set the CV and Tilt controls to 12 o’clock.
still work with other values, but the maximum •Pan the blend control from 7 o’clock to 5
gain/cut may be more extreme, causing clipping o’clock. You should be able to hear the clean, dry
at some settings. signal at 7, and some kind of reverbed signal at
5. The reverb level might be very low or very loud
Op Amps: I specified a NE5532 for the EQ and distorted
section, but another TL072 will perform fine. •With the blend control at 5 o’clock (fully wet)
Unfortunately, I had little luck with the 5532 in start moving the screw on the trim pot
the critical spring recovery circuit, where the clockwise.
lower noise would be helpful. •Listen to the reverb output, which should get
gradually either louder or quieter. If it doesn’t
Vactrols: change, start moving anticlockwise instead.
The Silonex NSL-32SR3 has a white spot next to •Once you’ve got the hang of it, adjust the
the negative LED lead. The resistor leads are the reverb output until it just starts to distort, then
long thin ones. It’s a pretty tight fit, but the move back a bit so that it’s clean. You want it
Silonex and VTL5C3 will both fit on the board. as loud as possible, before distortion.
•Sweep the oscillator frequency up and down to
ensure it doesn’t distort. If you like, try a few
other oscillators in your system, or an oscillating
filter. Try whatever makes loud noises, to check it
won’t overdrive the spring.
•Sweep the blend control back to 100% dry.
Hopefully the dry and wet signal levels are
reasonably well balanced. If not, maybe push the
spring a little harder.
•After a while using the reverb, you may want to
go back to tweak the gain to taste.
 •C12, the capacitor behind the the sockets on
LEDs the front board must be soldered before the
I’ve tested the board with both superbright and sockets
regular 3mm LEDs, both seem to work fine. Be •The little 5 pin jumper that runs between the
careful about changing R11 to make the LED front and back boards. Fit the male and female
brighter or dimmer as it will also change the halves together, put it in place, screw the boards
Vactrol LED brightness, potentially changing the together, then solder. It doesn’t matter which
sound. side is male or female.
•The back board is particularly double-sided; the
Populating the board Is hopefully phono jacks, power header, trimmer, spring/brick
straightforward - build in the normal way, jumper and Brick are all mounted on the rear of
resistors first, then capacitors, transistors, the back board. All other components, including
sockets, hardware. the rest of the power circuit are on the front of
the back board (between the two boards).
Front board = the board with sockets and pots. •I’ve accidentally soldered the power header to
Back board = the board with the power header. the wrong side of the board before. It’s a real
pain to remove, and you have to sacrifice the
Take care to study the silkscreen and entire header to get it out.
photographs to ensure components are on
the correct side. Both boards are double-sided It’s best to attach the LED right at the end. When
with components on both sides. the front board is finished, put the LED into the
Particularly watch out for: board (the longer lead goes into the + hole) but
don’t solder it. Loosely fit the front panel and
finger tighten a couple of nuts. Place the LED

Type 1 Type 2 Type 3

PCB mounted phono An Accutronics Phono jacks for the
jacks for the spring reverb ‘brick’ on the PCB mounted on the
reverb tank on the back front panel
back
into the hole in the front panel, then solder it into 2) Take the input source (if required) to the other
place before assembling the rest of the module. filter input.
3) Connect the filter output to the spring input.
Troubleshooting & mods 4) Turn the volumes up carefully until the whole
If the reverb level is too low after calibration, circuit starts to feed back.
consider changing R6 from 22k to 47k. R6 sets 5) Bandpass filters are particularly fun here -
the gain for the recovery circuit. The downside is sweeping the filter tunes the feedback.
that this may cause increased hum and risk of
feedback. Gated / reverse reverb

It is possible to build both spring and brick Ingredients: Spring Reverb + Make Noise Maths
circuits, then attach a simple SPDT switch to the + oscillator + VCA
jumper to switch between the two reverb types.
1) Set up the right side of a Maths as an
There are solder points on the back board for envelope controlling the VCA to create a string
Post EQ and 100% outputs which could be of short audio pulses / blips.
pulled out to front panel sockets. These aren’t 2) Connect EOC to the left side TRIG. Ensure left
buffered, so inserting a plug may change the side is not in cycle mode.
reverbed output. It would be easy enough to 3) Connect the EOR output to the Spring CV
hack two buffers from the TL072 in the ‘Brick’ input. Set the blend to 7 o’clock and Control to
section . 5 o’clock. Listen to the spring reverb output.
4) The Spring LED should now flash in time with
Patch ideas the audio pulses. Left hand Rise control sets
the length of the reverb.
Feedback 5) Switch the Spring CV input from EOR to the
Ingredients; Spring Reverb + Filter with two input envelope out to get pseudo-reverse reverb.
channels (or filter + mixer)
1) Mult the Spring output to your speakers, and Send your patch ideas to:
to one input channel on the filter [email protected]

Open Source Hardware

This is an open hardware project. You are free to build this
hardware, sell it or make any changes to it, so long as you
share your changes and release them under the same license.
You should also credit me, Tom Whitwell. All of the original
design files (Eagle CAD, Illustrator etc) are shared. These files
are licensed under a Creative Commons Attribution Share-Alike
license, which allows for both personal and commercial
derivative works, as long as they credit me and release your
own interpretation under the same license.

This work is licensed under the Creative Commons

Attribution-ShareAlike 3.0 Unported License. To view a
copy of this license, visit http://creativecommons.org/
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