Chapter 10: Tone Controls and Tone Stacks

Although a large amount of tone shaping is permanently built in to the preamp by means of partial cathode
and plate bypassing, inter-stage coupling and so on, almost all amps will provide some user-adjustable tone
controls. Some tone controls have already been described in earlier chapters (see figs. 1.20, 3.27, 8.18, 8.19)
and might be regarded as being integral to a particular gain stage. In this chapter we explore tone controls on
their own, as another building block of the preamp. An infinite number of tone control circuits is possible,
limited only by the will and inventiveness of the designer. However, for guitar purposes there is a handful of
popular circuits and arrangements which are sufficient for most designs and may be expanded or simplified,
to suit new designs and these will be discussed.

Fig. 10.1: Fundamental filters where 𝑓 = 1⁄2𝜋𝑅𝐶, a: low-pass filter (treble cut), b: high-pass filter (bass-
cut), c: band-stop, bridged-T filter (mid scoop), d: band-stop. bridged-T filter (mid scoop), e: band-stop,
twin-T filter (mid-scoop).
Fig. 10.2: A simple tone control.

The fundamental RC filters used to construct tone controls are shown in fig. 10.1 and should look familiar.
Most passive tone controls used in guitar amplifiers are simply variations and combinations of these filters
and are variable versions of the inter-stage coupling networks described in chapter 2.
Inductors or chokes are rarely used for audio tone controls since very large values of inductance are required
for use at low frequencies which tend to be difficult to obtain, are bulky and expensive; they are extremely
sensitive to interference and will inevitably produce unwanted hum in the amplifier.
Full mathematical treatment of filter circuits can consume an entire book and is beyond the scope of this
text. Instead, only basic formulae and suggested-circuits are provided which are easily modelled and altered
using circuit simulation software.

Tone-control circuits typically have rather low input impedances, so that if they are driven from a high source
impedance, there will be significant attenuation of the signal, which is known as insertion loss. This may
not be a concern in a low­gain, clean preamp but for higher-gain circuits it is usually desirable to drive a
tone circuit from a low impedance source such as a cathode follower and this configuration is found in
many amplifiers. However, most of the tone circuits described in this chapter are designed with a high input
impedance so, they may be driven by a typical ECC83/12AX7 gain stage, Zout ≤ 40KΩ, no more loss than
if they were driven by a cathode follower. This will provide flexibility for new designs since it is not
necessary to use a buffer to drive the tone circuit however, a low source impedance is desirable and a useful
compromise is to drive the tone controls from a low plate resistance triode, such as an ECC82/12AU7, Zout
≈ 8KΩ.
Most tone circuits have a high output impedance, which varies with the settings of the control pots.
Consequently, we should not overload a tone stack or further loss will occur with a decrease in range and
frequency response of the controls. Most tone circuits will be followed by a 1MΩ gain control so, they may
be connected directly to the grid of the following tube. For minimal loading, it is desirable to place a tone
stack before a stage having a high input impedance, such as a cathode follower, cathodyne or long-tailed
pair.

For guitar, treble frequencies may be estimated to be frequencies of 1KHz and above. Bass frequencies may
be taken to be 200Hz and below. Middle frequencies then lie between 200 - 1KHz with 600 - 800Hz as the
center frequency. Note that this is somewhat lower than the standard 1KHz used in hi-fi tone controls. For
bass guitar all these figures may be halved.
Presence applies to the upper-middle range of frequencies of 600 - 2KHz, a region where the human ear is
quite sensitive. However, the traditional presence control found in many guitar amplifiers acts on all
frequencies above 600Hz and is really just an extended treble control.

Small practice amps often have only a single tone control which usually controls the treble content. This is
required to compensate for the naturally bright, small diameter loud speakers used in such amplifiers. One-
knob tone controls are useful when it is desirable to distribute the frequency shaping throughout the
preamplifier, so that progressive tone shaping is possible, rather than performing all the equalization in one
stage; this works well in high-gain preamps. Generally it is desirable to place the bass control early in the
preamp, so that later stages are less likely to be overwhelmed by low frequency content, which may otherwise
lead to blocking distortion. Treble control is placed towards the end of the preamp so that all of the harmonics
generated in earlier overdriven stages can be adjusted to taste and avoid shrillness. Alto or middle-frequency
control can usually be placed anywhere in an amp, with good results.

Treble:
The very simplest tone control is based on the filter in fig. 10.1a and is simply a treble-cut control, the same as
the tone control found on most guitars. This is shown in fig. 10.2 and it is simply a shunt capacitor in series
with a pot, allowing the degree of treble cut to be varied from negligible to infinity, with a -3dB roll-off
frequency of:
1
f = 2πCR
Where:
C = the treble shunt capacitance.
R = the source resistance in series with the capacitor when the pot is turned to zero resistance, which is simply
Zout in this case.
In this example the control is placed after the main coupling capacitor so, the shunt capacitor need only be
rated for the maximum AC signal voltage, which is rarely more than 250Vp-p. This is a variable version of
the plate bypass capacitor, explained in chapter 2, fig. 2.23.
This control can be improved by combining it with other variables, such as gain control or partial cathode
bypassing. For example, fig. l0.3a shows the tone control used in the Fender Princeton, several Gibson GA
amplifiers and many others. When P2 is turned fully clockwise, C2 is effectively the bright capacitor which is
often attached to gain controls (see fig. 2.17) and introduces an effective treble boost, unless the volume pot
is fully CW. Cl is a treble-shunt capacitor so, P2 offers both treble cut and boost, although the degree of
boost does depend on the setting of the volume pot. Some interaction between control settings is common to
most guitar-amp tone control circuits. Despite its simplicity, this circuit provides a very useful tonal range.
The +3dB boost due to C2 when the volume control is at 50% rotation was given in chapter 2:
2.74
f = 2πC2P1
The -3dB roll-off frequency caused by C1 when the tone control is turned fully down is as before:
1
f = 2πC1R where: R = the source impedance.
Fig. 10.4 shows the frequency response of the circuit assuming a source impedance of 40KΩ which is a
typical output impedance of an ECC83/12AX7 gain stage. Note that an additional coupling capacitor will be
needed before the circuit shown, in order to keep DC off the pots and may be chosen in the usual way.

Fig. 10.3: a) the treble cut/boost control used in the Fender Princeton, b) an alternative circuit without volume
control.
Fig. 10.4: Frequency response of the circuit in fig. 10.3a assuming a 40KΩ source impedance.

If no volume control is used then it could be replaced by fixed resistor, R1 and R2 in fig. 10.3b, whose values
may be large enough not to load down the previous stage. These attenuate the whole signal by a factor of
R2/(R1 +R2) or 0.3 or -10dB. The apparent available boost is then + 10dB when the treble control is turned
fully CW. When the treble control is at 50% rotation the frequency response is approximately flat, while
below this point the treble is shunted to ground by the 4.7nfd capacitor.
Fig. 10.5 shows the treble control used in the Gibson GA30RVT and is a combination of the simple treble-cut
control (fig 10.2) and partial cathode bypassing (fig. 1.20).
When the pot is turned fully CW, the cathode bypass capacitor is grounded and provides treble boost, while at
fully CCW, the cathode bypass is effectively removed and the treble-shunt capacitor is connected to ground
instead. In this way the control may be regarded as semi-active. Fig. 10.6 shows the frequency response when
used with an ECC83 with Ra = 100KΩ and Rk = 1KΩ.

Fig. 10.5: A treble control providing active boost and passive cut.
Fig. 10.6: Frequency response of the circuit in fig. 10.5 using an ECC83 with Ra = 100KΩ, Rk = 1KΩ.

Most bass-cut controls rely on a small coupling capacitor, so that lower frequencies are blocked and this too
may be made variable. One option is to switch between different values of coupling capacitor, as shown in
fig. 10.7a. This is a characteristic feature of the Orange Graphic amplifiers and offers infinite, first­order bass
attenuation. The -3dB roll-off frequency caused by each combination of capacitors depends on the loading
resistance, which is often a 1MΩ volume pot, according to formula 10:
1
f = 2πCR′
Where: C = the coupling capacitance. R' = the total effective resistance in series with the capacitor or Zout +
load.
In this case the 220pfd coupling capacitor is permanently connected while larger values can be added in
parallel with it. This avoids breaking the circuit completely while switching, which helps to reduce popping
sounds.
Fig. l 0.7b shows a bass-cut shelving filter, which works on a similar principle to that in a. A small value
coupling capacitor is permanent while a larger value can be progressively introduced in parallel as the bass
pot is turned to zero resistance.

Fig. 10.7:a. selectable coupling capacitors for varying bass attenuation, b) bass-cut shelving control.
Fig. 10.8: Frequency response of the bass-cut shelving control in fig. 10.7b.

The maximum amount of useful cut is determined by the potential divider formed by the pot and the following
load resistance. The frequency response of this circuit is shown in fig. 10.8, where it can be seen that because
both the pot and the load resistance are equal, the maximum useful cut is - 6dB (half). Reducing the load
resistance would increase the amount of available cut but would also load down the tube more, so a
compromise should be determined with respect to available gain and the useful range of tone control.
A more advanced bass control is shown in fig. 10.9 and requires more components. Cl resembles a bright
cap while C2 is a treble shunt cap. The circuit is symmetrical at the mid point of P1 with the degree of
boost and cut equal, producing a flat frequency response; however, the whole signal is attenuated by half or
-6dB. When Pl is turned fully clockwise Cl is shorted, so any treble emphasis is removed or a bass boost
is effectively produced. At the other extreme C2 is shorted, so treble is now more emphasized and bass-cut
is produced. Assuming a symmetrical circuit such as this, the +/-3dB frequency at maximum and minimum
cut is given by:
1
f ≈ 2πC1R′ where: R' = R1 + the source impedance.
The frequency response of this control is shown in fig. 10.10. A variation on this circuit, combined with a
bridged-T, middle control was used in Silvertone amplifiers, Fender Bantam Bass and Danelectro Twin 15.
An additional coupling capacitor is required, prior to the circuit shown and may be an arbitrarily large value
(47 – 100nfd). This will also be assumed for the following circuits discussed, if it is obvious that DC might
be present on any pot.

Treble cut and bass-cut filters are easily implemented almost anywhere in a preamp but a middle cut or
band-stop filter is slightly more elaborate, since it is a combination of the other two types. The Gibson
GA30RVT used a bridged-T filter (fig. 10.1d.) with a pot added to allow variable cut. A version of this
circuit is shown in fig. 10.11. By using a large value of shunt capacitor, the center frequency is lowered and
the maximum amount of cut is increased but it is at the expense of frequencies adjacent to the center
frequency, the Q of the filter is reduced. The frequency response is shown in fig. 10.12. Many Gibson
amplifiers used bridged-T filters as fixed, inter-stage frequency shaping networks for a characteristic
scooped mid tone.

Fig. 10.9: A wide­range bass control.

Fig. 10.10: Frequency response of the circuit in fig. 10.9 assuming a 40KΩ source impedance.
Fig. 1 0.11: A middle-cut control.

Fig. 1 0.12: Frequency response of the circuit in fig. 10.11 assuming a 40KΩ source impedance.
Fig. 10.13: A middle­cut control.
Fig. 10.14: Frequency response of the circuit in fig. 10.14 assuming a 40KΩ source impedance.

Fig. 10.13 shows a middle control using the bridged-T filter of fig. 10.1c. The bridge resistor is replaced
by a pot so that at one extreme the output is taken from the right side of the filter, whereas at the other
extreme the output is taken from the input side of the filter, so the filter is no longer in series with the
signal path at all. This provides a very smooth range of control, as shown by the frequency response in fig.
10.14. A smaller value of shunt resistor increases the maximum amount of cut but it is at the expense of
the filter's Q. This type of control is favored in Framus amplifiers.

T
By combining complementary filters it is possible to produce a control which produces a flat response in
the center position and boosts treble/cuts bass when rotated in one direction and does the opposite when
rotated in the other direction. The frequency response can be tilted from one extreme to the other. Hence,
one tilt control can replace, two individual treble and bass controls. Fig. 10.15 shows the basic arrangement
of the tone control used in the Electro-Harmonix Big Muff-π fuzz pedal. It is simply an RC (low­pass) and
CR (high-pass) filter in parallel, with a pot connected between their outputs to allow blending from one
response to the other. Essentially the same arrangement is also used in the Gretch G6162. Pl will normally
be large in value to provide a good degree of separation between the two filters and a wide range of
control; 470KΩ or 1MΩ is appropriate. R1 and R2 will be of similar order, to avoid loading down the
previous stage.
Depending on the -3dB roll-off and pole frequencies of the two filters, various mid­frequency responses
are possible. For example, if both filters are assigned the same -3dB frequencies (C1 = C2 and R1 = R2)
then a flat response occurs at 50% rotation; this would be suited for jazz or electro-acoustic use. However,
if the -3dB frequency of the low-pass filter is set higher than that of the other filter then a mid-hump is produced at
intermediate settings, which might be useful for blues players using humbuckers.
Conversely, if the -3dB frequency of the low-pass filter is set lower than that of the other filter then a mid-scoop is
produced at intermediate settings, which is useful for higher­gain playing styles. The further apart the poles are,
the more pronounced the hump or scoop becomes, although the range of control from bass boost to treble boost is
reduced.

Fig. 10.15: The Big Muff π tilt control.

Fig. 10.16: Frequency response of the tilt control in fig. 10.15 with different component values.
Fig. 10.17: The Quad-34 tilt

If the poles are set one octave apart then the hump or scoop will be +/-3dB at the center setting and they should
not be more than a decade apart if a wide range of control is desired. The frequency response graphs in fig.
10.16 show three example conditions. With the addition of two more resistors we obtain the circuit in fig.
10.17. Assuming the same component values are used for each filter, this provides a more symmetrical
frequency response which is appropriate for hi-fi use, as indicated by the frequency response plot in fig.
10.18; an active version of this circuit was used in the Quad 34 preamplifier. For guitar purposes this tilt
control has little advantages over the Big Muff-π type control. A disadvantage of a tilt control is that it’s
control does not allow adjustment of the mid boost or scoop, unless another control to select other component
values, is provided. Such a control is probably less intuitive to most guitarists than separate knobs for treble,
middle and bass. Separate controls also tend to offer a greater degree of boost and cut and are more easily
tailored to suit a particular tone. For simple amplifiers, a tilt control is still an improvement on the
conventional tone/treble cut control.

When multiple tone controls are grouped together into a single circuit block, the collective arrangement is
known as a tone stack, a name which will become more obvious in due course. These generally consist of
two or three controls for treble, middle and bass, although more advanced stacks may include more options.

This circuit is possibly the simplest treble­and-bass tone stack, requiring only two capacitors and two
resistors in addition to the treble and bass pots. It appeared in the Fender Bandmaster and brown face Pro-
Amp. Variations on this circuit have appeared in many other amps such as Vox and later versions of the
Selmer Treble n Bass 50W amplifiers. The circuit is shown in fig. 10.19; the treble pot appears to be stacked
on top of the bass control and it is circuits like this and the FMV circuit which gave rise to the term tone
stack. The component values shown in fig. 10.19 differ from the original and have been chosen to yield less
loss when driven from a 40KΩ source impedance; the average loss being about -10dB.

Fig. 10.18: Frequency response of the Quad-34 tilt control in fig. 10.17.
Fig. 10.19: An extremely simple treble­and-bass tone stack based on the Fender Bandmaster circuit.
Fig. 10.20: Frequency response of the Bandmaster tone stack in fig. 10.19 assuming a 40KΩ source.

Reducing C1 reduces the bandwidth of the treble control, generating a deeper mid scoop and values as
low as 100pfd are worth experimenting with. The treble response is influenced by the setting of the bass
control, although considering the simplicity of this circuit it is remarkable that it is not used more often. A
suggested layout is given in fig. 10.21.
Fig. 10.21: Suggested layout for the Bandmaster tone stack in fig. 10.19.
Fig. 10.22: The Voigt tone stack has been almost forgotten and is suitable for bass amps.
Fig. 10.23: Frequency response of the Voigt tone stack in fig. 10.22 assuming a 40KΩ source impedance.

The circuit shown in fig. 10.22, was described by Voigt in 1940 but appears to be almost completely
forgotten perhaps because it does not provide a very flat response at center settings. Nevertheless, it is
still very suitable for musical instruments and although it requires one more resistor than the Bandmaster
tone stack, the controls are less interactive with one another. It has a wide range of control; at center
settings the gain of the circuit is about 0.2 or -14dB, a substantial loss. The frequency response plot in
fig. 10.23 indicates that the center frequency is about 200Hz which makes this circuit well suited for
clean, bass amps.

Voigt, G. A. H., (1940). Getting the Best from Records: Part III. Wireless World,

This popular circuit was described by James in 1949. The circuit itself is actually much older but James'
name has become permanently attached. Unfortunately, some modern texts incorrectly refer to this circuit as
a Baxandall tone control, which may lead to some confusion as this term actually applies to a subtly
different circuit arrangement, which is described next.

Fig. 10.24: Suggested layout for the Voigt tone stack in fig. 10.22.
Fig. 10.25: The James tone stack with optional shift control.
Fig. 10.26: Suggested layout for the James tone stack in fig. 10.25.

The James circuit is shown in fig. 10.25; component values have been altered from the original, to suit guitar
use and to reduce the inherent loss of the circuit to about -7dB. It is a combination of the one knob treble
and bass controls described in figs. 10.3b and 10.9. The only difference in this circuit is the bass control
doubles as the potential-divider originally required by the treble control in fig. 10.3b. Numerous amplifiers
have used this stack or variation of it, including Ampeg, Dynaco, Garnet, Magnatone, Orange and the Fender
blonde Twin Amp, making this perhaps the second most popular tone stack, after the FMV circuit.
P3 was not part of James original design but can be included to shift the center frequency of the two controls.
Increasing its value shifts the response envelope down in frequency, as shown by the frequency response plots in
fig. 10.27. This is more useful than a simple middle control, particularly for bass guitar; a similar circuit is used
in the Carlsbro 60TC amp.

The passive Baxandall tone stack:

This prominent circuit is based on a design by Peter Baxandall, published in 1952. The paper describes an
active circuit, which is why this version is referred to as the passive Baxandall. The original also required a
tapped pot but this is normally omitted since they are quite rare today.
As seen in fig. 10.28, it incorporates the same bass control as the James tone stack but the treble arrangement
is different. Resistor R3 is required to separate the two controls; without it the treble control is rendered
useless. This circuit arrangement is capable of providing a very flat response at center setting (see fig. 10.29),
good isolation between controls and a very predictable, though subtle, range of control; unsurprisingly, it
became very common in hi-fi amplifiers.

Fig. 10.27: Frequency response of the James tone stack in fig. 10.25.
Fig. 10.28: The passive Baxandall tone stack is somewhat less versatile than the James stack.

Baxandall, P. J. (1952). Negative-Feedback Tone Control. Wireless World,

However, for equivalent component values the Baxandall stack places a slightly greater load on the
preceding stage than the James stack and a useful shift control is not so easily added, so in many ways the
Baxandall tone stack is less useful for musical instrument purposes and very few guitar amplifiers use it.
Increasing C3 shifts the center frequency down and values up to 1nfd are worth experimenting with. An
obvious addition would be to place a 470pfd capacitor and switch in parallel with C3 to allow the center
frequency to be shifted down by one octave.

Fig. 10.29: Frequency response of the Baxandall tone stack in fig. 10.28.
Fig. 1 0.30: Suggested layout for the passive Baxandall tone stack shown in fig. 10.28.

This circuit is the most common tone stack found in guitar amps. Originally devised by Fender, it was copied
by Marshall and Vox and the most used of any other tone stack, from which became the abbreviation FMV.
It is regarded as an industry standard for guitar amps and has been used by many other guitar amplifier
companies, at one time or another. The attraction of the circuit is obvious; it requires only three capacitors
and one resistor in addition to the treble, middle and bass pots. However, the circuit does exhibit
deficiencies, the controls are highly interactive and the middle control leaves something to be desired; it
should not be considered as the ideal tone stack but simply as the most economical. In spite of its
shortcomings, it is so well-known that it deserves special attention.
Two variations on the FMV tone stack are shown in fig. 10.31, the only difference being with the connection of
the middle control. This makes very little difference to the functioning of the circuit, except at minimum settings.
With the connection in a., used by Fender, when all controls are set to minimum the signal is completely shunted
to ground; the amp will be silenced. This may confuse some players and so the arrangement in b., favored by
Marshall, avoids this condition.
R1 is known as the slope resistor and for the most part it determines the minimum input impedance of the
circuit so, it should be made sufficiently large to avoid loading down the previous stage. If the stack is driven
by a cathode follower then values between 33K - 100KΩ are usual, whereas if it is an ECC83/l 2AX7 gain stage
then values of about 100K - 220KΩ are required. Typical frequency response plots are shown in the next
section.

The easiest way to design this type of tone stack is to begin at the bottom, with the middle control. The
following method is sufficiently accurate for both versions of the circuit shown in fig. 10.31.
Let us assume that the middle control P3, is set to maximum, while the bass and treble controls Pl and P2,
are set to minimum, since this yields an approximately flat response; this is shown in fig. 10.33a. At middle
frequencies, C1 is small enough that it may be ignored while C2 and C3 appear in parallel and are large
enough that we may assume they are short-circuits. The circuit may then be reduced to the equivalent circuit
in fig. 10.33b. The stage is to be driven from a common gain stage with an output impedance of 40KΩ and the
slope resistor R1, will be 100KΩ.

Fig. 10.31: The FMV tone stack is the most common tone stack found in guitar amplifiers. The variation in
a. was used by Fender, while that in b. was preferred by Marshall.
Fig. l 0.32: Suggested layout for the FMV tone stack in fig. 10.31b.

We may now choose P3. Since Zout + R1 and P3 form a potential divider, this determines the degree of
attenuation at the flat setting. The greater the attenuation, β, then the greater the amount of apparent treble and
bass boost we can add back with the controls at maximum. However, this also means the greatest reduction in
middle-frequency signal level, where most of the guitar's range lies. The classic Fender amps use about -23dB
of attenuation providing a wide tonal range for a low-gain, clean preamp. Classic Marshall amps, reputed
for their higher levels of gain and cathode­follower driving stage, use only about -7dB attenuation. In this
case we might choose an intermediate value of -10dB.
𝑑𝐵 𝑃3
𝛽 = 10 �20 = 𝑍𝑜𝑢𝑡+𝑅1+𝑃3
−10
In this case: 𝛽 = 10 �20 = 0.32
Solving the earlier equation for P3 gives:
−𝛽(𝑍𝑜𝑢𝑡+𝑅1) −0.32×(40𝐾+100𝐾)
𝑃3 = 𝛽−1
= 0.32−1
= 66𝐾Ω
The nearest standard value pot is 47KΩ, which gives an attenuation of:
47𝐾
𝛽 = 40𝐾+100𝐾+47𝐾 = 0.25 𝑜𝑟 − 12𝑑𝐵

The weakness of the middle control becomes clear: the treble and bass can be boosted above the flat level
however, the middle control is already at maximum, so it can only cut middle frequencies. Its range of cut is
also limited and very interactive with the treble control.
We may now choose C3 by assuming that the bass control is set to maximum and the middle control is set to
minimum, offering the equivalent circuit in fig. 10.34. It can be seen that C3 shunts upper frequencies to
ground, while the remaining lower frequencies are passed to the bass control P2. Therefore, C3 determines the
upper end of the bass control's range. To a very close approximation, the +3dB transition frequency between
the middle and bass bands is then:
1
𝑓 ≈ 2𝜋𝐶3(𝑍𝑜𝑢𝑡+𝑅1)
The Fender 5F6 Bassman uses a frequency of 140Hz, for Bass use, while the Marshall JMP50 redesigned this
to 213 Hz. Let us choose a frequency of 200Hz:
1 1
𝐶3 = 2𝜋𝑓(𝑍𝑜𝑢𝑡+𝑅1) = 2𝜋×200(40𝐾+100𝐾) = 5𝑛𝑓𝑑
The nearest standard value is 4.7nfd, providing a frequency of 242Hz which is reasonable for a design with
more mid-range focus. A value of 6.8nfd would give 167Hz, which would be more suitable for bass guitar.
Given the limited range of capacitor values it is often easier to adjust the value of the slope resistor at this
point. We may now choose the bass components P2 and C2. The larger the value of P2, the greater the degree
of bass-boost possible, since the theoretical, minimum amount of bass cut is then:
𝑃2+𝑃3
𝛽(𝑏𝑎𝑠𝑠) = 𝑃2+𝑃3+𝑅1+𝑍𝑜𝑢𝑡
In practice this value is only achieved at very low frequencies and only if C2 is made very large, so a high
value of 1MΩ is normally used. However, this can make the tone stack rather bass-heavy, except at the very
lowest bass settings. This may be suitable for rhythm playing with single-coil pickups but can make the
control of bass content difficult when using humbuckers or playing lead and it is recommended to use a lower
value of about 470KΩ. This may be a linear or logarithmic type, depending on taste.
C2 determines the lower end of the bass control's range but this is normally set below audio frequencies
and has the least tonal impact of all the components in the circuit. In fact, C2 could be omitted and replaced
with a wire link, were it not for the necessity to keep DC off the pot.
With the controls at maximum, the lowest -3dB transition frequency is then:
1
𝑓 = 2𝜋𝐶2(𝑍𝑜𝑢𝑡+𝑅1+𝑃2+𝑃3)
This will rise somewhat as the bass control is turned down; a typical value is low, at about 10Hz. In this
case a value of 10nfd for C3 would provide a frequency of:
1 1
𝑓 = 2𝜋𝐶2(𝑍𝑜𝑢𝑡+𝑅1+𝑃2+𝑃3) = 2𝜋×10×10−9 ×(40𝐾+100𝐾+470𝐾+47𝐾 = 13𝐻𝑧
We may now choose the treble components Pl and Cl. The value of Pl should be large enough that C1 can
be made small, otherwise middle frequencies will be passed through C1 straight to the output and the range
of the treble control will be poor; the other two controls control will become exceedingly interactive with
the treble control. However, if Pl is made too large, it will contribute a good deal of noise and C1 will need
to be so small that stray wiring capacitance becomes a significant factor. A value of between 220K -
470KΩ is typical. Cl now determines the lower end of the treble control's range, the -3dB transition
frequency being given approximately by:
 1
𝑓 ≈ 2𝜋𝐶1(𝑃1+𝑍𝑜𝑢𝑡)
Setting it too low will rob the middle control of range, so a typical frequency is about 2KHz. lf we use a
470KΩ potentiometer then:
1 1
𝐶1 ≈ 2𝜋𝑓(𝑃1+𝑍𝑜𝑢𝑡) = 2𝜋×2000×(470𝐾+40𝐾) = 156𝑝𝑓𝑑
Values of 150pfd and 120pfd are common. Often, this will be a ceramic capacitor although, as suggested in
chapter 2, a poly type is preferred by most players.
The final schematic is shown in fig. 10.35, together with the frequency response in fig. 10.36. If the circuit
were driven by a cathode follower then Zout will normally be small enough that it drops out of the previous
equations but it should be clear that with this method, the FMV tone stack can be designed to produce the
same response with any source impedance, the only limitation being how large we are willing to make the
resistances. All three caps block DC from reaching the pots and will need to be rated for the full B+ voltage.

Although the FMV tone stack is universally popular, it does not suit all tastes. In more advanced amplifiers,
switchable values and additional controls may be provided; just a few of the more useful options are given
here.

By switching in a capacitor, C4, between the bottom of the slope resistor and ground (fig. 10.37), treble
frequencies are permanently attenuated before reaching the middle control. This makes the treble and middle
controls less interactive, increases the inherent mid-scoop and shifts the middle response down in frequency,
trading-off some middle range, providing the impression of a low-bass boost. This feature appeared on later
Fender Bassman models and was labeled the deep switch.
The value of C4 will normally be made the same as C3. Resistor R2, connected in parallel with the switch is
included to reduce any popping sounds. The frequency response of the circuit is shown in fig. 10.38.

Fig. 10.33: At middle frequencies with P3 at maximum and P2 at minimum, C2 and C3 appear in parallel
and the circuit may be reduced to the Thévenin equivalent in b.
Fig. 10.34: Low frequency Thévenin equivalent circuit, with the middle control set to minimum and the bass
control set to maximum.
Fig. 10.35: The completed design.

A common addition is a switch to allow the tone stack to be effectively removed from the preamp,
defeating its effect. This allows the signal to pass without attenuation but without any equalization, for more
gain/overdrive in following stages. This is done by inserting a switch between the bottom of P3 and ground.
A large resistor, R4 of about five times R1, should be connected in parallel with this switch, to reduce
popping sounds and to retain a proper grid-leak path for the following tube. This is shown in fig. 10.39a.
Replacing this extra resistor with a pot, as in fig. 10.39b, allows the tone stack to be progressively elevated
or lifted, so the degree of equalization can be adjusted to suit. At maximum setting the tone controls are
completely defeated. The same setup can be applied to any tone stack.
If front-panel space is limited then the middle control P3, can also serve as a lift control if a switch is added to
select its mode of operation, as indicated in fig. 10.39c. Resistors R2 and R3 are added so the operation of the
stack is unchanged when in normal mode and they should each have the same value as the value of P3 when
used as a conventional middle control. Opening switch SW1, allows P3 to fully elevate the tone stack when
turned to maximum, so P3 acts as a lift control in this mode. Fig. 10.40 shows the frequency response plot and
illustrates how the range of control can be progressively shortened, until the tone stack is completely defeated.

Shift Control:
Although the circuit is normally designed around a chosen value of slope resistor, once completed the slope
resistor can be used to shift the response envelope. The shift is not as uniform as the James stack because as
the resistance of R1 is increased bass and middle frequencies are attenuated more, so the treble control range
is greater at the expense of bass/middle control.

Fig. 10.36: Frequency response of the FMV tone stack in fig. 10.35.
Fig. 10.37: C4, shifts the middle response down in frequency, producing the illusion of a bass boost.
Fig. 10.38: Frequency response of the FMV tone stack in fig. 10.37. Bold traces are the normal response
while the faint traces show the response with the ultra low switch closed.

Fig. 10.39: The circuit in a) shows a defeat switch, which allows the effect of the tone stack to be removed,
for maximum gain. b) makes this variable. c) both lift and middle control are available from a single pot.
Fig. 10.40: Frequency response of the circuit in fig. 10.39c, illustrating the normal and lift modes.

The traditional arrangement is bass-heavy and can be very useful. Reducing the value of R1 has the opposite
effect and is normally avoided. Fig. 10.41 shows such a shift control P4, added to a conventional circuit.
Because it is necessary to keep DC off this pot, an additional coupling capacitor may be required, having a
value of at least twice C2. The effect on the response envelope is shown by the frequency response plots in fig.
10.42.

Fig. 10.41: Increasing the value of R1 shifts the response envelope down in frequency.
Fig. 10.42: Frequency response of the FMV tone stack with shift control as shown in fig. 10.41.