Many people have seen cars with equalizers on the rear window on the streets of their city. This is a beautiful and interesting tuning option that has a lot of positive aspects.
We try to develop and constantly expand the collection of equalizers with new items. Full range of currently existing models,
However, often we all want to do something of our own - “exclusive”. Add a little imagination and truly surprise others. All auto tuning (light tuning in particular) is aimed precisely at this.
That's why we decided to try to develop a technology for making a car equalizer with our own hands.
The first option was to try to make it LED. But this approach had to be abandoned immediately. There are several reasons. First of all, the LEDs will have to be soldered onto the board, moreover, it will be rigid and massive, and on the one hand this is expensive, on the other hand it is very inconvenient to install. The second reason is the huge amount of work. Not only do you need to solder the controller yourself, you also need to solder a bunch of diodes onto the board (even if you make only 20 rows and 40 columns, that will be 800 diodes, which will also have a large total power consumption).
In general, this option is not acceptable.
That is why we offer you a very unexpected and surprisingly simple option for making such a device. Moreover, this approach gives you an unlimited range of design possibilities. You can not only make an equalizer with your own hands, but also make it in any size, in different colors + make drawings and inscriptions!
It can also be used not only in a car or at home, but also on clothing or other accessories (we will give a good example on this topic at the end of the article).
So - it's time to act!
When all 5 pieces of neon are connected to the wires, you need to check them. We take the controller and connect it to the 12V power supply. We take one neon cord and insert the red wire coming from it into the hole of the plug to which the red wire fits. We insert the black wire into the adjacent hole.
We tap the controller with our finger - the neon should light up (the sound sensor will work).
We check all the pieces in the same way. If everything works, let's proceed with the installation. We pierce a hole in the surface, insert neon into it and carefully glue it along the contour of the picture.
We used superglue. It was possible to glue it, but it was very inconvenient and unreliable. Superglue, as it turns out, doesn't stick well to paper.
We install all the pieces of neon in their places.
Then let's get started with the connection. First of all, you need to pay attention to the controller plug. The first terminal (to which the red wire goes) is “plus”. You will need to connect all the red wires from the neon pieces to it. Because All of them will not fit there; you need to twist them together and solder one to them, which then needs to be inserted into the terminal.
Then there are the holes for the minuses. The hole closest to the red corresponds to the lower sound level. Those. the neon, the minus of which will be connected to this terminal, will light up first.
The holes following it go in increasing volume. We do not use the last hole. We don’t need it (this is another “plus” terminal).
This way we connect all the pieces of neon. If everything works, great. If not, it means there is a short somewhere. Check that the connection is correct.
So - here's a video of our "test" equalizer. As you can see, everything works. It is obvious that this technology has excellent prospects!
This technology can be deployed much more widely if desired. Goodness exists. You can make a large and complex pattern, with individual sound-dependent elements. You can also decorate individual elements. For example, the first thought that came to our mind was to make rings around the speaker and on its grid. A large ring to the outer diameter, and rings with smaller diameters in the center. You will get a ring “rainbow”, glowing in time with the music.
We hope that the technology for making a neon equalizer with your own hands is clear to you. Now all you have to do is show your imagination and make your own design, and even if you have never encountered this kind of work, you can handle it in one or two evenings without any problems. it's really a very simple thing.
On one of the Czech sites (the language of the article was determined by the GOOGLE translator) a project of a 10-band equalizer was found, implemented on quad operational amplifiers TL074. Filter cells are assembled on five microcircuits, and one at the input serves as a pre-amplifier of the input signal. The filter cells are all the same, the only difference is in the ratings of the capacitors that determine the frequency adjustment range. The frequency bands are as follows: 32 Hz, 64 Hz, 125 Hz, 250 Hz, 500 Hz, 1 kHz, 2 kHz, 4 kHz, 8 kHz and 16 kHz. The circuit organizes BYPASS, which makes it possible to pass an unfiltered signal to the output. As a switch, you can use a relay, button or toggle switch for 2 groups of switching contacts. If you use a switch for three groups, then on the third you can attach an LED that lights up when the equalizer is turned on. Don't forget to calculate the resistor that will be in series with the LED. The schematic diagram of a 10-band equalizer is shown in the image below:
Based on these pictures, a signet was created in the Sprint Layout 6 program. Below is a view of the LAY6 format and a photo view of the printed circuit board:
Please note that the circuit diagram does not contain the values of the elements, but all of them are shown on the printed circuit board, so we did not redraw the circuit; there should be no problems. Defects were found in the board, they were corrected, the archive and images in the article were updated. Layer K1 (blue) shows the installation locations for jumpers, which can be made with thin wire in insulation.
The power supply for the equalizer circuit is bipolar (±15 Volts). You can assemble the simplest one using two integrated stabilizers 7815 and 7915, for example, according to this scheme:
After assembling the power supply, make sure that there is no voltage imbalance between the arms.
The signet for this power supply looks like this:
LAY6 format of the power supply board is also included in the archive with materials on equalizer. You can download the archive via a direct link from our website. Archive size – 1 Mb.
03/16/1918
At the request of readers, I provide a list of elements of the equalizer circuit (without power supply):
Chips:
TL074 – 6 pcs.
Resistors:
10k / 0.25W – 44 pcs.
1M / 0.25W – 40 pcs.
1k / 0.25W – 2 pcs.
47k / 0.25W – 26 pcs.
2k2 / 0.25W – 20 pcs.
POT B100k double – 10 pcs.
POT B10k double – 1 pc.
Capacitors:
360p – 2 pcs.
36p – 2 pcs.
680p – 2 pcs.
68p – 2 pcs.
1n5 – 2 pcs.
150p – 2 pcs.
2n7 – 2 pcs.
270p – 2 pcs.
5n6 – 2 pcs.
560p – 2 pcs.
12n – 2 pcs.
1n2 – 2 pcs.
22n – 2 pcs.
2n2 – 2 pcs.
47n – 2 pcs.
4n7 – 2 pcs.
100n – 2 pcs.
10n – 2 pcs.
180n – 2 pcs.
18n – 2 pcs.
33p – 5 pcs.
47n – 12 pcs.
4m7 non-polar – 2 pcs.
Rest:
S1 – bypass/equalizer switch for 2 groups of switching contacts – 2 pcs.
Connector 3 Pin 5 mm (input, output, power) – 3 pcs.
Sockets for 14 Pin microcircuits – 6 pcs.
10 band equalizer board assembly:
The next tone control already has six control bands, and a separate operational amplifier is used for each band. The original version of this equalizer was five-band, but by expanding the number of bands and using quad operational amplifiers, you can get by with just 4 DIP14 housings for the stereo version, instead of 16 DIP8, which would be required when using single op-amps. The schematic diagram of this equalizer is shown in Figure 22. This option can already be safely called a graphic equalizer, since when using slider variable resistors installed in one line, the overall frequency response of the equalizer will be visually visible, i.e. graphic display of the adjustments made.
Figure 22 Schematic diagram of a six-band graphic equalizer.
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Figure 23 shows curves showing changes in the frequency response depending on changes in the resistance of the control resistors.
Figure 23 20 Hz adjustment.
Figure 24 100 Hz adjustment.
Figure 25 500 Hz adjustment.
Figure 26 2000 Hz adjustment.
Figure 27 1000 Hz adjustment.
Figure 28 20000 Hz adjustment.
As can be seen from the figures, the curves of changes in the frequency response have a fairly symmetrical shape both in the frequency range and in the limits of increasing and decreasing a particular band, which allows the use of this equalizer in medium and high-class equipment.
The use of bandpass filters can be organized not only as in the previous version, but also somewhat differently. An example is the equalizer shown in Figure 29. Each bandpass filter is essentially an electronic analogue of a capacitor and inductor connected in series.
Figure 29 Schematic diagram of a six-band graphic equalizer. INCREASE
Figures 30-35 show the frequency response at the extreme positions of the variable resistors. By the way, the range of adjustments can be slightly expanded by adjusting the resistor values at the “edges” of the variables, but not less than 1.5 kOhm. The quality factor of the filters certainly leaves much to be desired, however, the circuitry of this equalizer is quite popular.
Figure 30 30 Hz adjustment
Figure 31 90 Hz adjustment
Figure 32 200 Hz adjustment
Figure 33 700 Hz adjustment
Figure 34 2000 Hz adjustment
Figure 35 HF Adjustment
The frequency range is slightly shifted to the low-frequency side, so it is better to recalculate if you plan to use this design not in domestic conditions.
Another version of an eight-band equalizer is shown in Figure 36. In terms of circuitry, this tone control consists of six band-pass filters, the signals after which are simply summed and amplified by a buffer amplifier. This option has its own gain factor that is quite large, so the input amplifier X1 serves as a divider of the input signal, i.e. initially weakens it.
Figure 36. Schematic diagram of a graphic equalizer on an op-amp
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When constructing the frequency response of the equalizer, a rather interesting thing became clear - this regulator only enhances the selected band, and the attenuation is so small that it can be neglected (Figure 37).
Figure 37 Change in frequency response depending on the position of the variable resistor X2 motor.
Of course, this behavior raised suspicions about the correctness of transferring the circuit diagram to the simulator. A thorough check did not reveal any errors, so it was decided to check what actually happens in the filters themselves depending on the change in the positions of the variable resistors. To begin with, ALL variable resistor sliders were moved to a position that increases the rise of each band and the frequency response was measured at the outputs of the op amp X10-X17. What turned out pleased the eye - the change in shape is quite symmetrical and the quality factor is not bad (Figure 38).
Figure 38 Frequency response of each filter with increasing filter gain
Next, the variable resistor sliders were moved to decrease each filter and the frequency response at the output of each filter was again taken. The picture also turned out to be quite beautiful - neither the frequency nor the quality factor have changed (Figure 39).
Figure 39 Frequency response of each filter with decreasing filter gain
What happens in this case if both the range of filter adjustments and the quality factor are good, but in the end the rise is only 9 dB, and the rolloff is less?
The answer to this question is quite simple. The equalizer circuitry is to blame for everything, namely the summation of signals after bandpass filters. The fact is that when the amplitude of one section of the frequency range increases, the signal passing through the adder is greatly attenuated and, as a result, the amplitude increases not by the expected 20 dB, but by only 9 dB. When the amplitude of one section of the frequency range is weakened, the attenuation itself occurs, but only in the filter, and at the output of the adder, this attenuation is compensated by even frequency responses in the attenuated section by other filters. Thus, the more bands there are in the equalizer using this circuit design, the smaller the adjustment range will be.
Based on all of the above, we can conclude that the author of this publication ALL I did the calculations by assembling only one or two filters, and all calculations and measurements were carried out not in a full-fledged device, but only using its fragments, since in a finished device it is not possible to obtain a five-band equalizer with an adjustment range of ±12 dB, especially -12 dB.
However, to speak completely FUUUU!!! There is no need to rely on this circuitry, since on its basis you can build a pretty good LF-HF tone control, and the rise and fall will occur exactly where the nonlinearity of the frequency response of the acoustic system is maximum and where most often it is necessary to slightly raise the amplitude. To do this, it is necessary to leave only the upper and lower bandpass filters, and reduce the values of resistors R37, R44 and R46 to 10 kOhm. The result is quite decent adjustment of the frequency response at the edges of the audio range (Figure 40).
Figure 40 The shape of the change in frequency response at the extreme positions of the variable resistor sliders of the “shortened” equalizer.
The same filters can be used in devices that only require an increase in the frequency response at a certain frequency or the isolation of a certain frequency, for example, a spectrum analyzer or a dynamic light installation (color music).
As the next device for adjusting the frequency response, let's consider a schematic diagram of an equalizer with adjustable bandpass filters and not quite conventional circuitry. The schematic diagram of this device is shown in Figure 41.
Figure 41 Schematic diagram of a professional five-band equalizer.
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This equalizer differs from previous versions primarily in the use of two operational amplifiers for one bandpass filter. This increase in detail is primarily paid off by obtaining additional capabilities, namely the ability to adjust the pseudo-resonance frequency of the filter and adjust the quality factor. This, in turn, completely eliminates the selection of frequency-setting elements (in the equalizer it is recommended to use parts with a spread of no more than 1%, otherwise selection is necessary to obtain the required frequencies and similar adjustments in stereo versions). In addition, if the 22 kOhm trimming resistors in bandpass filters are replaced with 10 kOhm ones and connected in series with 22 kOhm variables, you can get a parametric equalizer that has much greater capabilities compared to graphic equalizers. The main advantage of parametric equalizers is the ability to adjust not only the level of a particular frequency, but also select the frequency itself, as well as change the slope of the rollovers or rises of the variable frequency. Therefore, a three-band parametric equalizer is preferable to a five-band graphic one, but there is nothing to say about a five-band parametric equalizer - this is a device for recording studios and requires a trained operator.
But let’s return to the diagram and for now consider the operation of one bandpass filter. Figure 42 shows the change in the frequency response of the entire device at the maximum and minimum quality factor of the mid-frequency bandpass filter (the quality factor changes in the other filters in the same way).
Figure 42 Change in quality factor, regulated by resistors X14-X18.
Figure 43 Frequency change, regulated by resistors X8-X12.
Figure 43 shows the changes in frequency of the bandpass filter. The figures show quite clearly the undulation of the frequency characteristics at the edges of the adjustable frequency. The appearance of this effect is associated with an unreasonable increase in the adjustment range - up to a level of ±16 dB, which in itself is already too large a range. By reducing the adjustment range (increasing the value of resistors R1-R5), you can achieve a fairly significant reduction in this waveform, and with an adjustment range of ±12 dB, the maximum peaks of the “waves” will be at the level of 1-1.5 dB, which is already quite difficult to distinguish by ear.
Figure 44 shows a schematic diagram of a ten-band graphic equalizer using the same circuitry. In fact, this scheme differs from the previous one only in the increased number of stripes, everything else is completely the same.
Figure 44 Schematic diagram of a ten-band graphic equalizer.
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The approximate chat band in this embodiment is adjusted by appropriate resistors and has the form shown in Figure 45, although it can be changed depending on the needs of a particular sound engineer.
Figure 45 Approximate frequency grid of a ten-band equalizer.
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In addition to building equalizers, bandpass filters can be used one at a time to correct a specific frequency or range. For example, if you use only the lowest-pass bandpass filter, you can get a rather interesting filter for a subwoofer.
Well, here are actually all the main options for tone controls with all the pros and cons.
Frequencies that are useful to remember
The network (power) is noisy at 50 Hz (and multiplying). To eliminate this, you need to remove the frequencies of 50 and 100 Hz using a parametric equalizer, the bandwidth of which is quite narrow. This will then not noticeably affect the overall sound, but will eliminate network noise. A graphic equalizer (one-third of an octave) is also applicable in this situation, but it is better not to use other types of equalizers for this, since they have too wide (zone of influence) and the adjustment can seriously change the sound of a 6ac guitar.
The lower frequencies of the bass guitar and bass drum lie in the region of 40 Hz or less. To give these sounds power (attack), adjust the frequency to 80 Hz. Many modern microphones designed for the bao drum have a slight peak at this frequency, which allows for a nice, thick sound.
The lower frequency of an electric guitar is 80 Hz. To eliminate barreliness, you need to cut out the frequency of 200 Hz; to eliminate the unpleasant harsh overtone, weaken it around 1 kHz. In any case, the sweep equalizer must be adjusted by ear. To achieve a high-pitched sound, use a hi shelving control filter. You can also experiment with bell equalizer (6 kHz - 10 kHz). To "add some venom" and make a rock guitar sound "stingy", scan the region from 1.5 kHz to 4 kHz, find the frequency you want and turn it down until the attack is where you want it to be.
The main problem with acoustic guitars is usually that they sound barrely (due to improper microphones, microphone position, room acoustics - or simply because the instrument is bad). To correct this shortcoming, you can use a sweeper equaliser: the region of the “harmful” frequency is usually between 200 Hz and 500 Hz; it needs to be cut out. Boosting in the lower mids will likely make the sound harsh, so it's always best to use a high rise/fall filter if you want to add extra punch to your guitar sound.
Vocals also occupy a large portion of the frequency range, with the 2-4 kHz region being adjusted to improve articulation. Try to avoid high gain whenever possible, as the natural sound of the voice may be lost. Use the top fade-in filter to brighten your voice if needed; bell equalizer is unlikely to be applicable here.
Description of the methodology for constructing equalizer models in the MICROCAP simulator:
Equalizer for rear window
An equalizer for the rear window is one of the technological innovations offered to motorists on the modern market. Such innovations will always come in handy while driving.
An auto equalizer on the glass will add a certain elegance and sophistication to the car. Many motorists have heard about the equalizer, but not everyone has heard about the tone control.
Note. An equalizer and a tone block are the same thing, it’s just that the latter option is, from a scientific point of view, a more correct name.
Here is what I would like to focus the reader’s attention on:
These include the following:
Here they are:
So, the process of installing an equalizer yourself looks like this:
Note. The protective film easily adheres even to tinted glass, so there is no need to worry about this. It is important to simply stick it evenly, without any distortions.
Let's continue:
Note. The equalizer must be glued in such a way that all signs located in the form of stickers on the rear window of the car are visible.
Note. It is also possible to connect the equalizer directly to the wiring, and not through the cigarette lighter, as is often the case in practice. To do this you need to have a good understanding of electrical engineering. A car service center will charge no more than 500 rubles for such a procedure, so you don’t have to bother.
You also need to know the following:
Here they are:
An equalizer for the rear window of a car can significantly enhance the image of a passenger car due to its visual design. The cost of self-installation is low and therefore every motorist can afford it.
Working with your own hands and carefully reading the instructions will allow you to complete everything quickly and in proper quality. It is also important to use photo and video materials so as not to get confused anywhere, especially if this manipulation is being carried out for the first time.
I decided to make an equalizer for the headlights, just for fun, it turned out to be a pretty good craft. Maybe someone will ask why this is necessary, well, everyone has their own troubles, some make strobes, some make a VIP signal, but I got carried away with the equalizer, so that everyone can see...
Operating procedure:
How to make a printed circuit board
What materials do we need for this:
Fiberglass one-sided (size 10 x 15)
- Ferric chloride
- Glossy photo paper Lamond 120 or 140 g/m2
- Glycerin
- Acetone
We will produce the board using laser-iron technology. Thanks to the elevated temperature, the toner will stick (from the photo paper) to the foil textile, which will protect the copper from ferric chloride poisoning.
The necessary materials have been purchased, let's get to work.
We print the board. This must only be done on a laser printer with high precision. In the Sprint Layout program, we delete the layer with the captions; the tracks must be converted to black. We print in a mirror image. Try to touch the printout as little as possible so as not to leave greasy marks.
Voltage stabilizer 78L05 – 1 piece
- IC LM3916N – 1 PDIP18 ˟ 2 pcs
- Operational amplifier TL081 PDIP8 – 1 piece
- Diodes 1N4148 (KD522A) 150mA, 100V DO - 35˟5 pcs
Resistors:
330 Ohm
- 2.2 kOhm
- 3.0 kOhm
- 3.9 kOhm
- 47 kOhm
- 120 kOhm
- Trimmer resistor 10 kOhm, possible 3362-1-103
Capacitors:
K10-17A N90 0.33uF – 1 piece
K10-17A N50 0.1uF – 2 pcs.
K50-35 47uF 16V- 3pcs
K50-35 470uF 16V – 1 piece
Voltage stabilizer: first you need to solder the circuits on the LM7805 in the TO220 case, they are only 1A, we attach a radiator to it. If there is a large amperage, then purchase a stabilizer.
