ELECTRONIC PROJECTS ¢BLECTRONIC PROJECTS 20 PASSIVE PROJECTS AC LINE FILTER @ AUDIO SQUELCH ® CW MONITOR TAPE DUBBING FILTER @ FM TUNING METER : TWEETER CROSSOVER ® WATIMETER @ & MORE PAGES 4-14 IOILOW COST PROJECTS WIRELESS MIKE FOR FM @ SCREAM GENERATOR @ GUITAR TWANG AMP ELECTRONIC TOUCH ALARM @ FUZZ AMP CRYSTAL TESTER SPEECH CLIPPER @ BLACK-OUT ALARM @ MINI-LIGHT BLINKER ‘AM REBROADCASTER @ RC FROM WALKIE TALKIE AND MUCH, MUCH MORE PAGES 15-16 12) EXCITING & USEFUL PROJECTS YOU GIN BULD IMPORTANT, The various circuits described in this hook are for 117 volts A.C, Necessary changes in the power supplies and component substitution may be necessary in some of the circuits. Published by G C Jain for Business Promction Bureau through the courtsey of Page Publications of Qus Australia and Printed et: GOYAL OFFSET PRINTERS 308/6-E, Shahzeda Bagh, Daya Basti, Delhi-11(036th this 1974 issue of “101” the Editors have gathered a number of new circuits labled passive. 1 is a group of 20 circuits usually consisting only of resistors, capaci- tors, diodes or inductors. We define passive circuits as those that do not connect directly to a battery, AC supply, solar cell or similar power source. Amphtication devices such as discrete transistors or operutional IC ampli- fiers ure not used in passive circuits, As an example, the BC-CB DUPLEXER project prevents transmitted and received CB RF power from eniering your auto radio even though both use the same CB whip an- tenna, The duplexer is @ passive circuit, com- PASSIVE CIRCUIT PROJECTS posed entirely of resistive. capacitive ductive clements, that clectrically permits the .55 to 1.6 MHz AM signal to pays only to the AM radio, not to the CB set. Similar ly, «27.135 MHz CB signal (CHIS) picked up by the same antenna will be electronically routed directly 10 the CR set—hypasing compleicly the AM radio, So, passive circuits you find in this issue do net require way type of “gain” devices: they are, in addition. fairly simple projects that are used to improve the operation or make measurements of other ele equipment. How about you gettins active with a passive circuit today? Here's an easy way to measure an ampli fier's output power without trying to con. vert voltage to power measurements. Re sistor RI provides the load for your ampli- fier and should be rated at least twice the meximum amplifier power output: for ex- ample, if your amp puts out 26 watts, RL should be rated at least 50 watts. The meter scale must be hand calibrated, and will take some time and effort, but once done it's done for good. Remove the 4 ij Audio Wattmeter scale cover from meter ML and borrow an AC variable autotransformer, or ‘connect a 1000 Hz signal generator to the ampli fier output. Connect the output of the auto- transformer (or amplifier) to binding posts BP1 and BP2, and connect an AC volt. meter (VOM) across the binding posts. Set R2 to off—full counter-clockwise if correct- ly wired. Adjust the autotransformer (or amplifier) output until the AC meter indi- cates 20 V rms—the voltage for 50 wattsBPr InpuT * ape’ cn 100uF c2 100uF across 8 ohms. Adjust potentiometer R2 for a full scale indication on meter Mi Seal R2’s shaft with a drop of Glyptol or nail polish. Reduce the voltage across the binding posts in accordance with the table shown and mark the meter scale accord ingly. { PARTS LIST FOR AN AUDIO WATTMETER BPI, BP2—Insuloted binding posts C1, C2100 uF, 50 VOC 01, D2, D3, D4—Diede, HEP-134 M1—0.1 mA DC mete: Ri—a-chm, 100-wettt resistor, see text R2—1500-ohm linear taper potentiometer 03 Voltage 20. 17. 15. 4. 12. li 9, NN HEP-134 o 9 5 1 6 0 0 3 8 0 Watts at 8 ohms 50 40 30 25 20 15 10 5 1 05[tie HY Load Matcher Most audio circuits transfer their maximum power at minimum distortion only when the output impedance is matched to the load impedance. But it is often necessary to con: nect equipment of differing impedances. For example, how do you correct an ampli fier with 2 600 ohm output into an ampli: fier with a 50 ohm input? Usually, if the 50 ohm input is connected across the ampli fier with @ 600 ohm output, the excessive loading caused by SO ohms will sharply reduce the cutput of the 600 ohm ampli. fier, and will generally increase the distor: tion sharply. ‘A minimum loss pad is the device used to match 2 high impedance to a low impe- dance. Though there is always a signal level loss through a pad, the circuit shown provides the absolute minimum loss that fy Zz ze SIGNAL IN Fe SIGNAL OUT Zi MUST BE GREATER VEG THAN 2 [rar can be obtained while providing a precise match. If the resistance values work out to odd values, such as 134 ohms, use the closest standard value. Though 5 percent tolerance resistors are suggested, almest as good performance will be obtained with 10 percent resistors. Ze Ri Ee 3 | Remote Speaker Setup Even if your hi-fi amplifier does not have output terminals for remote speakers, it is easy enough to add them without complex switching equipment. With few exceptions, n solid-state amplifiers have no out: put transformer and automatically match any speaker impedance between 4 and 16 ohms. The oaly important consideration is that the total impedance connected to the left and/or right speaker output is never less than 4 ohms, or the amplifier will at- tempt to deliver so much power output, the output transistors will self-destruct, If your main speakers have an impedance of 8 or 16 ohms, simply add remote speakers as shown; switch S1 turns the remote speakers on and off. Since transistor amplifiers usu. ally put out more power at 4 ohms than at 8 or 16 ohms, adcing the extra spe cers does not substantially reduce the volume at the main speakers because the amplifier sees a lower impedance load and altempts to drive more power output into the com. bined speaker load. If your speakers are 4 ohms, and you plan to use 4 ohm remote speakers use the circuit modification shown. Switching in the remote speaker will result in the main and remote speakers 6 being series connected for a total load of B ohms. Crew] wan SPEAKER REMOTE SPEAKER vert} aicous Ufaisoines Ste stento ( SERRE. 1 evswiven pst [— - a rignT Js-teonms lexcouns oh . t \ MAIN SPEAKER REMOTE SPEAKER FROM a LEFT AMPLIFIER | ual seoby REMOTE Hi at $= —~S2-switcn opot FROM 7 EMF Hl ic] ain RIGHT AMPLIFIER, } ual s2e Tr REMOTE anLast IF AMPLIFIER -——bI— se ‘Those inexpensive portable Public Service Radios do a fine job of receiving police and fire calls. But if you're not tuned precisely to the center channei of the base station, it's more than likely you don’t near the much weaker signals from the mobiles With an FM Tuning Meter hooked onto your public service inhaler, you'll be able to copy any signal that can fight its way into the antenna terminals. The schematic shows @ detector circuit common to most public service portables. Resistor Rx and capaciter Cx form the de-emphasis net- work. Connect one end of sensitivity con- tol RL fo the junction of Rx and Cx as eit FM Tuning Meter RATIO DETECTOR NEW mt 1 AL y——4—e auoie ovteut mam PARTS LIST FOR FM TUNING METER MI—5O or 100 A meter, zero contor Ri—1 megehm minieture potentiometer shown. Meter M1 is the zero center minia: ture type; one rated either 50 or 100 mic. roamperes will be satisfactory. Adjust Rl so the meter pointer is not driven offscale when the signal is detuned to the extrome of the sidebands. Proper tuning is then indicated when the meter shows center scale. Old 78 rpm collector’s-item records cut back in the early cays when performers sang in front of a large horn usually nave a peak in the midband that drives the sound into your mind like a fingernail scratched across a blackboard. The overall sound quality is easily tamed, and made more natural and modern, by attenuating the shrill peaks with a Record Restorer, 2 de- vice that suppresses, by hi-fi standards, the midband frequencies. The Record Re- Record Restorer