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Sound Processor for Electric Guitar
Thesis · July 2018

DOI: 10.13140/RG.2.2.34822.19520
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ESCUELA POLITÉCNICA DE INGENIERÍA DE
GIJÓN
GRADO EN INGENIERÍA
ELÉCTRONICA INDUSTRIAL Y AUTOMÁTICA
ÁREA DE INGENIERÍA DE SISTEMAS Y AUTOMÁTICA
TRABAJO FIN DE GRADO Nº 17010315
SOUND PROCESSOR FOR ELECTRIC GUITAR
D. LÓPEZ DIÉGUEZ, Pablo

TUTOR: D. Pablo García Fernández
Julio de 2018
This page is intentionally left blank
Acknowledgments
To my family and friends.
Abstract
The music scene has always been reluctant to change. In recent history, the digital revolution
has taken this aversion to digital systems in general and digital pedals in particular.
Therefore, in order to put aside the preconceptions about digital systems and prove their
advantages, a programmable digital effects pedal for electric guitar was created as a market
alternative to the existing devices.
The work presented here aims to provide the foundations of the design of digital effects
pedals, both from a technical and economical point of view.
A detailed study was performed for selecting the adequate components for the pedal, and a
printed circuit board based in microcontroller technology was specifically designed to
implement the software developed in a previous project [1].
Resumen
La escena musical siempre se ha mostrado reacia al cambio. En la historia reciente, la
revolución digital ha trasladado esta aversión hacia los sistemas digitales en general y los
pedales digitales en particular. Por tanto, para dejar a un lado los prejuicios acerca de los
sistemas digitales y demostrar sus ventajas, se ha creado un pedal de efectos digital
programable para guitarra eléctrica, como alternativa de mercado a los dispositivos
existentes.
El trabajo aquí presentado constituye los fundamentos del diseño de pedales digitales de
efectos, tanto desde el punto de vista técnico como económico.
Además, se ha realizado un estudio detallado para seleccionar adecuadamente los

componentes del pedal, y se ha diseñado una tarjeta de circuito impreso basada en tecnología
de microcontroladores específicamente para implementar el software desarrollado en un
proyecto anterior [1].
Table of contents
1. LIST OF ABBREVIATIONS AND FIGURES ..................................................... 7
2. INTRODUCTION .............................................................................................. 10
2.1 SOUND PROCESSOR FOR ELECTRIC GUITAR PROJECT ....................................... 10
2.2 INITIAL HYPOTHESIS AND SCOPE ......................................................................... 11
3. STATE OF THE ART ........................................................................................ 12
3.1 ORIGIN .................................................................................................................. 12
3.2 TYPES OF PEDALS ................................................................................................. 12
3.3 TYPES OF EFFECTS ............................................................................................... 14
3.4 PROGRAMMABLE DIGITAL PEDALS ...................................................................... 17
4. MAIN OBJECTIVES ......................................................................................... 19
5. THEORETICAL BASIS .................................................................................... 20
5.1 AUDIO SIGNAL PROCESSING ................................................................................. 20
5.2 SOUND PROCESSOR AND EFFECTS PEDAL............................................................. 20
5.3 BLOCK DIAGRAM .................................................................................................. 22
6. WORKING METHODOLOGY ......................................................................... 23
7. EXPERIMENTAL PROCEDURE ..................................................................... 25
7.1 OVERALL UNDERSTANDING OF DIGITAL EFFECTS PEDAL ................................... 25
7.2 DEFINITION OF THE CORE: TMS320F28335 ....................................................... 25
7.3 DEFINITION OF REQUIREMENTS OF THE PCB ..................................................... 26
7.3.1 Power supply. .................................................................................................... 26
7.3.2 Processor/Controller. ....................................................................................... 26
7.3.3 Inputs. ............................................................................................................... 26
7.3.4 Outputs. ............................................................................................................. 27
7.4 DEFINITION AND SELECTION OF COMPONENTS ................................................... 27
7.4.1 DC Power Jack ................................................................................................. 28
7.4.2 DC/DC Converter ............................................................................................. 29
7.4.3 Voltage regulator .............................................................................................. 29
7.4.4 JTAG ................................................................................................................. 30
7.4.5 Board Mount Connector .................................................................................. 31
7.4.6 Jack connector .................................................................................................. 32
7.4.7 Audio Codec...................................................................................................... 34
7.4.8 Crystal Oscillator .............................................................................................. 36
7.4.9 Volume and Effect Potentiometer .................................................................... 36
7.4.10 Slide Potentiometer ....................................................................................... 37
7.4.11 Footswitches.................................................................................................. 38
UNIVERSITY OF OVIEDO
Polytechnic School of Engineering of Gijón Page 6 of 63
7.4.12 LEDs.............................................................................................................. 40
7.4.13 LCD ............................................................................................................... 41
7.4.14 Rotary Switch Encoder ................................................................................. 43
7.4.15 Resistors, Capacitors and Ferrite beads. ..................................................... 44
7.5 USER INTERFACE DESIGN .................................................................................... 45
7.6 PCB DESIGN ......................................................................................................... 47
7.6.1 Initial approach ................................................................................................ 47
7.6.2 Version 1.0 ........................................................................................................ 48
7.6.3 Version 2.0 ........................................................................................................ 48
7.7 REVIEW ................................................................................................................. 51
7.8 PCB PRODUCTION AND TESTING.......................................................................... 51
8. RESULTS AND DISCUSSION .......................................................................... 53
9. CONCLUSIONS ................................................................................................ 55
10. BUDGET ........................................................................................................ 56
11. REFERENCES ............................................................................................... 60
12. APPENDIX ..................................................................................................... 62

1. List of abbreviations and

figures
µ micro, 10-6
3PDT Three Pole Double Throw
ADC Analog-to-digital Converter
CCW Counterclockwise
CW Clockwise
DAC Digital-to-analog Converter
DC Direct Current
DSC Digital Signal Controller
DSP Digital Signal Processor
EDA Electronic Design Automation
EQ Equalization
GND Ground
GPIO General Purpose Input/Output
I2C, I2C, IIC Inter-Integrated Circuit
IC Integrated circuit
IEEE Institute of Electrical and Electronics Engineers
JTAG Joint Test Action Group
L Left
LCD Liquid Crystal Display
LED Light-emitting Diode
M Mega, 106
Hz Hertz, s-1
n nano, 10-9
p pico, 10-12
PCB Printed Circuit Board
R Right

SDA Serial Data Line

SCL Serial Clock Line
SMD Surface-Mount Device
SPDT Single Pole Double Throw
TI Texas Instruments
TRS Tip-Ring-Sleeve
USB Universal Serial Bus
VCC Voltage Common Collector
XTAL Crystal (oscillator)
Figure/Table Page
3.1 – Analog MXR Phase 90 13
3.2 – Digital Multi Effects Boss GT-100 14
3.3 – Ibanez Tube Screamer 9 15
3.4 – Boss GE 7 Equalizer 16
3.5 – Cry Baby® Classic Wah 16
3.6 – Arduino Mega Guitar Pedal 18
5.1 – Basic configuration of effects unit 21
5.2 – Block Diagram 22
6.1 – Working methodology 23
7.1 – Power jack schematic 29
7.2 – DC/DC converter schematic 29
7.3 – Voltage regulator schematic 30
7.4 – JTAG schematic 31
7.5 – TMS320F28335 control card schematic 32
7.6 – Jack connector configuration 33
7.7 – Jack connector schematic 34
7.8 – Audio codec schematic 35
7.9 – Audio codec associated circuit schematic 35
7.10 – Crystal schematic 36
7.11 – Volume and effect potentiometer schematic 37

7.12 – EQ slide potentiometer 38

7.13 – EQ slide schematic 38
7.14 – Expression pedal schematic 38
7.15 – 3PDT footswitch 39
7.16 – SPDT footswitch 40
7.17 – Footswitches schematic 40
7.18 – Indicator schematic 41
Table 7.1 – I2C wiring 41
7.19 – LCD (top view) 42
7.20 – LCD (bottom view) 42
7.21 – LCD screw terminal schematic 42
7.22 – Rotary switch 43
7.23 – Encoder schematic 44
Table 7.2 – Resistors 44
Table 7.3 – Capacitors 45
7.24 – Selection of effects 46
7.25 – Effect setup 47
7.26 – PCB layout design (top view) 50
7.27 – PCB layout design (bottom view) 50
8.1 – PCB created (top view) 53

2. Introduction
Since the creation of the first electric guitar in 1931, modern guitar players from all over the
world have been trying to develop new sounds, defining its own style in many ways.
Electronics have taken this revolution to the music field in general and to the electric guitar
field in particular. After electric guitar becoming the most important instrument in pop music
during 1950s and 1960s [2], new ways of creating innovative sounds came up. One of these
methods was the use of pedals, which are devices connected between the electric guitar and
its amplifier, allowing the musician to modify the sound of the instrument during the
performance.
Like in almost every technological field, the digital revolution has meant the replacement of
analog systems by digital ones. This conception also applies to the effects pedals world and,
nowadays, the number of digital pedals being developed and produced is increasing,
although there is still an amazing technology to be discovered.
In general, digital effects pedals are expensive and standardized; they offer a minimum level
of customization. Besides, when compared to analog, especially in the live-music scene,
digital pedals are assumed to have a poorer performance. Therefore, in order to put aside
these preconceptions and prove the advantages of the digital systems, the idea of creating a
single device capable of emulating a variety of effects came up. Furthermore, the use of the
project developed in this document would be considered for laboratory lessons in the course
Hybrid Control Systems of the Master's Degree in Electrical Energy Conversion and Power
Systems, University of Oviedo.
The work presented here aims to provide the foundations of the design of digital effects
pedals: a digital pedal was designed and manufactured, as the continuation of a broader
project.
2.1 Sound Processor for Electric Guitar Project

In 2016, the project “Sound Processor for Electric Guitar” was originally divided into two
parts: hardware and software. The software was developed by Ignacio Marqués Fernández,
from the Polytechnic School of Engineering of Gijón, University of Oviedo, for his Final
Degree Project in 2017. It included the development and testing of the software, by means

of digital signal processing techniques, applying the impulse responses of different sets of
systems to emulate a variety of sounds [1].
Regarding the hardware, which is the part presented in this document, the main idea was to
replace the commercial development tool used before by a customized board especially
created for the abovementioned purpose. This work implies the development of the hardware
prototype of the effects pedal considered. It would include the design of the PCB, a detailed
justification of every component selected, the assembly of the board and finally the testing
and validation of the model.
2.2 Initial hypothesis and scope

The initial hypotheses comprised the search engine of the project, and they were directly
related to the first approach performed in order to establish the technical prerequisites:
• The pedal is connected to the 9V DC standard, either coming from a power supply
or from an external battery.
• It is possible to avoid the fact of having several power supplies of different voltages.
Although it depends on the components that will be included in the pedal, main
references for voltages are 9V, 5V and 3.3V.
• The Peripheral Explorer Kit and Experimenter Kit of TMS320F28335 from T.I. are
good solutions for the development of the pedal.
• At least two potentiometers are employed, connected to ADC ports. Volume
potentiometer must be logarithmic.
• Several peripherals will be required, it should be noted the LCD as the main
communication tool between the machine and the user.
• USB connector is necessary for on-board emulation.
Besides these initial hypotheses, the idea of creating a PCB only for the audio codec (see
7.4.7 Audio Codec) and performing the testing in an evaluation and development tool was
part of a second approach to the problem, but it was discarded due to the impossibility of
efficiently reusing that part for the main project. Instead, direct integration of all the
components into one single board was sought.

3. State of the art

Before going on with further technical aspects of sound modulation and functioning of
effects pedals, it is necessary an overview of the current technology regarding this field.
3.1 Origin
In the second half of 1940s, engineers and experimental musicians began manipulating reel-
to-reel recording tape to create echo effects and other futuristic sounds, using techniques that
were aimed to emulate echo chambers. In 1948, the first commercially available stand-alone
effects unit was created [3]. It represented an inflection point in the industry, although
incoming effects pedals created during the following years, the 50s and 60s, were expensive
and impractical. In fact, musicians preferred the technology that had started in the late 40s,
consisting in built-in effects in their amplifiers [4].
A whole generation of rock musicians was influenced by the primeval use of effects
pioneered by guitar players such as Chet Atkins, Roy Orbison and Chuck Berry, among
others. From Jimmy Page (Led Zeppelin) and Hendrix to Joey Santiago (Pixies), the use of
effects pedals has experienced a considerable emergence, to the point of becoming very
popular, mainly because of the transition from vacuum tubes to transistor-based pedals. The
success of these transistor-based pedals is justified by size and performance advantages,
since they were smaller and more stable [4].
3.2 Types of pedals

In light of the foregoing, effects pedals can be classified in two main categories: analog and
digital.
There was a time when the digital electronic technology was not proficient enough for
compete, in terms of sound quality and processing speed, with analog pedals. However, even
if nowadays the situation has changed, discussions on what type of pedal is better over the
other one are meaningless; each kind has advantages and disadvantages.
For the Sound Processor for Electric Guitar Project, a digital effects pedal was developed
because it was more suitable for meeting the established goals (4 - Main objectives).
From the point of view of the evolution of effects units, there are pedals based in either
vacuum tubes or based in transistors, both of them being analog pedals. Analog pedals are

usually independent systems capable of emulating one or two different effects, although this
does not necessarily have to be truth for every case. The concept of analog pedal is generally
related to stompboxes. Some of the features of analog stompboxes are:
• More organic sound.

• There is no latency, which is a critical factor for audio processing. Human ear begins
to perceive latency when the delay of the audio signal is greater than 10ms.
• However, sound variety is limited, since each stompbox has a different function.
• Combining several units into a pedal-board can be very expensive.
FIGURE 3.1 - ANALOG MXR PHASE 90 (92€) [5]
On the other hand, when DSP (digital signal processor) techniques were powerful enough to
combat latency, multi-effects pedals emerged as a revolution in the music scene. They are
associated with digital pedals. In this kind of pedals, several effects are integrated into one
single device with the following characteristics:
• It has a wide range of sounds and effects in one device.

• Capability of updating the pedal software in order to include new features.
• The ratio number of effects/price results in an important advantage over analog
pedals, since each effect available is much cheaper.
• Higher versatility and portability.

FIGURE 3.2 - DIGITAL MULTI EFFECTS BOSS GT-100 (359€) [6]
Nonetheless, in the field of music, it seems that any technological deviation is a constant
source of debate for musicians. A historical example can be mentioned: in the 1980s, when
digital rackmount units began to replace stompboxes, the topic quickly became one of the
most controversial ones in the history of rock music [4]. Even nowadays advocates and
critics of those two systems keep the struggle.
Now that it is clear the background and main classification of pedals, it is convenient to
explain the different sounds that a pedal can perform, regardless they are analog or digital.
3.3 Types of effects

DISTORTION
One of the most obvious effect that can be used is distortion, also referred as gain. It has a
wide range of possibilities, including different types of distortion pedals (in ascendant order
from lower distortion to higher distortion): Gain, Overdrive and Fuzz.
Distortion (gain) pedals produce perfectly flattened peaks or hard clipping; whereas
overdrive pedals produce soft tube-like distortion, by compressing the sine wave without
completely flattening it. That is the reason why overdrive units produce cleaner sounds at
quieter volumes and warm distorted sounds at louder volumes. Both distortion and overdrive
pedals may either be transistor-based or digital [7].

FIGURE 3.3 - IBANEZ TUBE SCREAMER 9 (128€) [8]
DYNAMICS
Dynamics effects are also called volume effects, since they modify the loudness of the input
signal. This kind of effects were among the first to be used by musicians. It is worth to
mention the related pedals available: boost/volume, compressor and noise gate.
Boost pedals increase the amplitude of the audio signal, thus increasing the volume provided
by the amplifier. Several applications can be obtained from boost effect, such as highlighting
a passage of the song, besides allowing the amplifier to distort the signal with less gain.
Compressors, on the other hand, decrease the dynamic range of an audio signal, making loud
sounds quieter and quiet sounds louder; while noise gates are placed after the pedal or the
chain of pedals that is adding undesirable noise to the circuit [9].
FILTERS
Filter effects modify the audio signal that passes through them based on the frequencies of
those signals, increasing or decreasing the strength of certain intervals. The most important
filter effects are equalization and wah-wah.
Equalization: An equalizer is a set of linear filters that strengthen ("boost") or weaken ("cut")
specific frequency regions [10]. Basic equalizers or equalizers embedded in other pedals
may have two key action areas, one for adjusting bass and another one for treble; while more
advanced devices can admit several frequency bands.

FIGURE 3.4 - BOSS GE-7 EQUALIZER (81€) [11]
Wah-wah effect sweeps the peak response of a frequency filtering up and down in frequency
to create the distinctive sound that replicates the human voice saying the onomatopoeic name
"wah-wah". It is controlled by movement of the player's foot on a rocking pedal connected
to a potentiometer [12].
FIGURE 3.5 - CRY BABY® CLASSIC WAH (125€) [13]
MODULATION
Modulation is the modification of the strength of a signal. In the context of electric guitar
effects, it is referred as this variation of strength over time, in order to alter the properties of
the sound. The most common effects of this kind are chorus, flanger, phaser, tremolo and
vibrato.

Chorus, flanger and phaser sound in a similar way. For basic understanding, it can be said
that these pedals output the audio signal multiple times, with slight variations in timbre, pitch
and time. The characteristic sound of these pedals would be defined as “choir”, “spaceship”
and phase shifting, respectively. Regarding the other two effects mentioned, tremolo
emulates the rapid variation of volume, while the rapid change of pitch is associated to
vibrato.
PITCH
These type of effects alters pitch by changing the frequency of a sound signal. Pitch shifters
raises or lowers the note that a musician is playing, according to a pre-set interval. They are
also called octavers. Octavers are very useful for guitars that need to sound like a bass during
a certain section of the song (the bass tone is just one octave lower than the guitar tone).
Besides, a harmonizer is a more complex pitch shifter, since it combines the altered pitch
with the original one to create a two-note harmony. Other harmonizers are capable of
creating a three-note harmony [9].
TIME-BASED
Time-based effects have two main categorizations, depending on whether the delay is short
or long.
On the one hand, if the effect is based on a short delay of the signal, the sound is duplicated
with a slightly variation of time, producing what is called reverberation or echo. There are
two distinctions in the effect created: single echo or multiple echoes. These effects can be
emulated with a reverb unit.
On the other hand, if a long delay is applied to a recorded phrase on the guitar, the resulting
sound is a loop on which another section can be played while the loop is being repeated.
There exist loop pedals especially for this purpose.
3.4 Programmable digital pedals

A closer concept to the work presented in this document is represented by programmable
digital pedals. These types of pedals have the typical features of digital pedals, together with
the advantages of customization that implies designing and programming a pedal from
scratch.

A popular programmable pedal that is worth to be mentioned is the pedal-shield DUE, which
is an open source and open hardware pedal based in Arduino. Being part of an open project
has the main advantage of exchanging knowledge with the community of makers, which
leads to a constant improvement of the pedal. Besides, since the software can also be
updated, programmable pedals are not outdated as easily as conventional pedals, which is
indeed a part of the market strategy.
FIGURE 3.6 - ARDUINO MEGA GUITAR PEDAL [14]

4. Main objectives
The main objective of the work presented was to provide a feasible hardware alternative to
the guitar pedals used nowadays, that transform the sound produced by an electric guitar,
bass or keyboard; in terms of loudness, frequency, pitch, time, etc.
The reason for the work being done was to provide the foundations of the design of digital
pedals and promote the understanding of its functioning through a methodic research. This
research is aimed to study the feasibility of the developed pedal, who is intended to provide
at least the same features as those present in a digital pedal from the market. The prototype
must process the audio signals and emit it with an acceptable sound quality, without
interferences nor noise, and with a latency below human perception (10-12ms).
The advantages of selecting a customized set of components according to the nature of the
project would lead to the goal of providing a more accurate adjustment to the needs and
desires of the user.
This latter purpose is also closely related to the scientific goal of developing a powerful tool
capable of performing real-time calculations in an efficient way, both from the hardware and
software points of view, in the sense of needing an optimized printed circuit board (PCB)
design, components and software algorithms. This point includes the accomplishment of an
efficient PCB design, that should be methodically performed in order to include all the
necessary elements and follow certain rules to ensure a proper functioning of the system. It
is worth to mention the explanations and reviews of the components that are included in the
prototype as a key point.
Besides, establishing a formal manner to understand the interactions between the elements
and the system is also important.
A long-term and therefore secondary objective was to develop a guitar pedal that was capable
of becoming a business model, successfully competing against other products on the market,
both from the technical perspective and economically. For this purpose, it must fulfill several
characteristics related to performance and capability, compatibility with other systems, size
and cost.

5. Theoretical basis
To effectively create the sound processor for electric guitar, the most basic and fundamental
point is to understand the theoretical basis of the project. Thus, explaining the theory that
backups the functioning of the pedal in the first place is also oriented towards the definition
of the work to be done.
5.1 Audio signal processing

Audio signal processing is the intentional alteration of audio signals in either analog or
digital domain, according to the signal nature. Analog processing directly deals with
electrical signals in the form of voltage or current and can be mathematically represented as
a continuous function. It was the only available method before digital revolution. On the
other hand, digital signal processing is available nowadays and it is based on the
mathematical manipulation of a signal in the discreet domain of time or frequency [15].
When both analog and digital signals converge in a single system or device, such as analog
signals being processed by a microprocessor and transmitted to external equipment,
converters are needed. There exist two types:
• ADC (analog to digital converter): analog continuous signals are converted to

discreet digital ones in a two-step process. First, during quantization, samples are
stored every certain amount of time and assigned a value according to their voltage
or current. It is noted than quantization is very sensitive to noise and therefore must
be considered. Then, codification assigns a binary code to every value stored
previously.
• DAC (digital to analog converter): it is the reverse process of ADC. Basically, the
impulses of finite-precision numbers are converted to physical quantities (e.g.
voltage), then reconstruction filters fill the data between the impulses by different
interpolation methods [15]. It is noted that a digital signal can be converted into an
analog one without data losses if the Nyquist-Shannon theorem is fulfilled.
5.2 Sound processor and effects pedal

From the title of this work, the concept of sound processor must be clearly identified as the
digital effects pedal for electric guitar. Its definition is also very closely related to the concept

of audio signal processing [16], explained in the above section as the alteration of an input
signal, i.e. a certain sound, generating an output with different properties.
This alteration of the audio signal is performed by the effects pedal presented, also called
effects unit or processor. An effects pedal is an electronic device that modifies the input
signal usually coming from an electric instrument (such as electric guitar or bass), admitting
other types of audio sources as well, e.g. microphones.
There exist many techniques for implementing these type of alterations, whose first division
is based, as mentioned before too, on the nature of the signal processed: analog or digital.
Another difference could be made according to the environment of the audio being modified:
live or studio performances. In studio recordings, some of the effects are applied in a digital
way to each track, by means of specific software employed in the industry. Indeed, the
earliest sound effects were strictly studio productions [3]. On the contrary, during life
performances, musicians tend to use more effects units.
To conclude with this basic understanding of effects pedals, it must be mentioned that the
device is mean to be placed on the ground and controlled by the feet of the musician, thus
allowing the performer to use both hands to play. The basic configuration is:
FIGURE 5.1 - BASIC CONFIGURATION OF EFFECTS UNIT

5.3 Block diagram

Although it is important to understand the elements that compound the system, which are
explained in detail in the section 7 - Experimental procedure, before focusing on the
functionality of the block diagram, it was decided to include it here as an overview of the
relationships among elements.
FIGURE 5.2 - BLOCK DIAGRAM

6. Working methodology
For the purpose of reaching all the objectives previously set, it was important to establish a
proper working methodology that suits the development of the project in a timely and
adequate manner. Work was scheduled in different stages, allowing the project to progress
according to the feedback provided at every key point by the previous stage. The working
methodology was as follows:
FIGURE 6.1 - WORKING METHODOLOGY
For the first step, the overall understanding of effects pedals, a study of the state of the art is
required.
The requirements of the PCB and the general definition of the DSC can be set based on the
Peripheral Explorer Board of T.I., together with the general information provided by the
work of Ignacio Marqués [1].

The user interface can be designed from the requirements established by the components
that the board prototype will mount.
A deep study of electrical and mechanical compatibility among DSC, audio codec, power
tracks and peripherals will lead to a successful selection of market components.
Every step up to the current state will be reviewed, especially while designing the PCB.
Altium Designer software will be used for this purpose.
After the design and validation of the PCB, it will be manufactured according to the means
available.
The next step will include the welding by hand of the previously purchased components to
the PCB.
Finally, an overall revision of every process up to the current moment and the testing of the
digital effects pedal to be created will be performed.

7. Experimental procedure
This section is aimed to describe and explain the steps and processes performed in
chronological order.
The experimental procedure was based on the working methodology presented in the
previous section, since it was initially designed according to the expected evolution of the
work schedule. It is noted that the exact evolution of this work as initially scheduled was
difficult to maintain, essentially because some of the main tasks, or at least a part of those
main tasks, could be done at the same time. However, the overall process has been consistent
with the initial purposes, and the chronological order has been kept appropriately.
7.1 Overall understanding of digital effects pedal

The first logical step to be done in order to design a digital effects pedal was actually trying
to understand how a digital pedal works. There exist several different models in the market,
but it was advisedly chosen not to establish one as a reference, as it could negatively
influence the design and requirements of the project with an external source that might not
accomplish the performance expectations.
In general, this stage involved an initial research to clarify the concepts related to the audio
signal transmission process and the basic hardware pre-requirements of any pedal. It was
accomplished during the study of the state of the art regarding effects pedals, especially
digital effects units.
Besides, it included the understanding of the physical development tool used for the software
part of the project (Peripheral Explorer Board) and its peripherals, which led to the design
of the block diagram of the system, including the relationships among main elements.
7.2 Definition of the core: TMS320F28335

The TMS320F28335 is a highly integrated and high-performance Digital Signal Controller
(DSC) from Texas Instruments for demanding control applications [17]. As it was mentioned
earlier, the specific microcontroller was used for the software development of the project [1]

and, since a good performance with satisfying results was obtained, the logical choice was
to keep using this already known DSC.
TMS320F28335 is indeed the microcontroller and main component of the control card, that
acts as the core of the pedal. This TMS320F28335 100DIMM based control card would be
directly connected to the socket integrated into the PCB.
7.3 Definition of requirements of the PCB

There exist several general requirements in every PCB, plus some specific requirements
related directly to the nature of the project, that are also necessary to take into account.
Besides, the block diagram of the system was made with a superficial level of details. Later,
the accuracy in the definition of the elements would allow to make the block diagram more
specific (see 5.3 Block diagram).
In a general manner, the requirements that can be applied are:
7.3.1 Power supply.

Necessary for powering the elements contained into the PCB, thus ensuring that
every element has enough power to function properly. DC power is provided to the
device and, later on, it will be discussed whether to use a battery or an external power
supply.
7.3.2 Processor/Controller.
It is the core of the PCB. As stated before, the DSC TMS320F28335 manages the
control of every element, determines inputs, outputs and establishes relationships
among elements. It includes a high-performance 32-bit CPU, 16 channels of 12-bit
ADC, I2C bus, GPIO ports, 150MHz and a supply of 3.3V for I/O design [17].
7.3.3 Inputs.
Going through the definition of an effects pedal once more, the audio signal, which
is the signal acting as an input to the system, is processed in different stages. This
audio signal is probably the most important one in the whole prototype, at least in
terms on information.
There exist other inputs as well, such as the information flowing through the
controller and USB/JTAG connectors.

Some of this information are processed data, expected to be used afterwards; while
other inputs proceed directly from the user: the musician. The person that controls
the pedal allows the sound transformation by means of communication with the
machine, it is basically a human-machine hardware interface. Potentiometers are
employed very frequently in effects pedals or stompboxes for this purpose, while
speakers or LCD displays provide a feedback signal to the user. Footswitches also
represent one of the main control features in any functional effects unit.
7.3.4 Outputs.
If the audio signal coming from the source (guitar) is the most important input signal
in terms of information provided, it is clear that its homologous in the output scenario
is the processed audio signal sent from the pedal to the amplifier.
From the user perspective, the LCD is an output capable of providing any type of
alphanumeric character that the programmer considers convenient depending on the
situation. This is a very powerful tool, allowing the user to receive a feedback
response right after changing input values from potentiometers, footswitches, etc.
Visual outputs other than LCD display are LEDs: they are integrated into the circuits
connected to power supplies and/or voltage regulators, that provide information
about the current flowing through the circuit; in other cases, they are designed to give
information about the footswitches state or current audio effect being used.
In addition to the aforementioned, there also exists the possibility of implementing
sound effects, provided by a small loudspeaker integrated directly into the device.
7.4 Definition and selection of components

This section is aimed to study and discuss the required components for the project in a much
more specific manner, stating the definition, purpose and functionality of each element
present in the pedal prototype. Afterwards, the selection of market components involved in
the project was made according to their specific features and according to whether they were
suitable for the success of the work or not. During the process, all the technical and economic
information related to those chosen elements was recorded.
It is noted that the economic analysis is also importantly related to the actual prototype
assembly, but it was decided not to include it here because the section is intended to be more

focused on functionality and performance rather than on the price of the elements. However,
a detailed budget is attached at the end of the document (see 10 - Budget).
From the explanation stated before, the two points shown in the methodology chapter were
merged: Definition of components required and Selection of commercial components. It was
decided to include both topics into only one section because they are closely related, thus
making easier the comprehension of the concepts.
The characterization for each component consisted in three main stages. Firstly, it was
specified in detail the components required; secondly, the schematic drawing was done; and
lastly, the components were selected according to the technical specifications in every case.
The datasheets of all the elements taken into account were used as a guide and therefore are
included in the 11 - References section.
7.4.1 DC Power Jack

Like every PCB, the prototype developed needs to be powered. During the initial
stages of the project, it was discussed whether to use a power supply or a battery.
Although it is true that using a battery would provide more independence, by
allowing the pedal to be used anywhere, autonomy is a critical factor and it is
necessary to avoid even the minimal risk of having a drained battery in the middle of
a performance. Another agent involved was the fact that most of effects pedals in the
market use a power supply, and these pedals are seldom used alone, thus forcing the
musician to have a power supply anyway. Besides the factors stated, a power supply
is, in general and for our specific purpose, more reliable than a battery. In conclusion,
it was decided to use a DC power supply.
The power jack allows the PCB to be powered with 9V DC, since it is the standard
power supply for effects pedals. It mounts an also standard cylindrical female jack
and an ON/OFF slide switch, to select the current state of the supply while
maintaining the physical connection of the cable, thus making the pedal more
efficient by saving energy.

Power
9V 1
1#
2
2#
3
3#
DC hembra
GND
FIGURE 7.1 - POWER JACK SCHEMATIC
7.4.2 DC/DC Converter

Even if the DSC from T.I. requires a power supply of 5V, the whole PCB is powered
with the 9V pedal industry standard, bringing in the necessity of using a DC/DC
converter. The chosen converter is a reduction by commutation converter with a wide
range of input voltages (6.5V – 36V), has an efficiency of 96% with integrated
capacitors and protection against short-circuits. Output voltage is 5V DC with a
precision of ±2% and no requirement of external capacitors. It is the TSR 1-2450
from Traco Power [18].
9 to 5V
9V 1
+Vin
2
GND
5V0 3
+Vout
dc dc
GND
FIGURE 7.2 – DC/DC CONVERTER SCHEMATIC
7.4.3 Voltage regulator

The prototype contains several components whose voltage supply is 3.3V: Audio
Codec; Volume, Effect and Equalization potentiometers; JTAG, etc. Therefore, the
regulator is capable of providing the voltage required for proper functioning of these
elements, that will be reviewed and explained later. TPS795 is an ultralow-noise,

low-power linear voltage regulator, whose application is recommended for RF (radio

frequency), Bluetooth and audio systems [19]. It is a SMD component, located near
the different voltages power supply in the PCB, and integrated in a circuit with
capacitors, a resistance and an indicator LED.
5V0 3V3
U1
1 4
EN OUT
5 TO 3.3 R1
2 5
IN NR/FB 330
3 6
GND GND
C1 TPS79533 C2 C3
1u 100n 4u7 DS1
GND Verde
GND GND GND GND

GND
FIGURE 7.3 - VOLTAGE REGULATOR SCHEMATIC
7.4.4 JTAG
JTAG (Joint Test Action Group) is commonly referred to as boundary-scan and
defined by the Institute of Electrical and Electronic Engineers (IEEE), which
originally began as an integrated method for testing interconnects on printed circuit
boards (PCBs) implemented at the IC level. It implements standards for on-chip
instrumentation in electronic design automation (EDA) as a complementary tool to
digital simulation [20]. Therefore, a 14-pin strip was included in the PCB, in order
to verify the design and test the prototype once assembled.

JTAG
14 EMU1
14
13 EMU0
13
12
12
11 TCK
11
10
10
9 TCK
9
8
8
7 TDO
7
6
6
5 Vjtag
5
4
4
3 TDI
3
2 TRSTn GND
2
1 TMS
1
3V3
3
Vjtag
2
5V0
1
J1
FIGURE 7.4 - JTAG SCHEMATIC
7.4.5 Board Mount Connector

From what was explained previously in section 7.2 Definition of the core:
TMS320F28335 is integrated into the Control Card developed by Texas Instruments.
However, this Control Card can only be added to the system by means of a board
mount connector, which was included into the PCB design.
The socket selected is a TE Connectivity through hole board mount connector, which
has 100 pins to perform the connection between the Control Card and the other
components of the pedal.

100 TMDSDIM100
V33-ISO 1 100 EMU0
V33-ISO EMU0
2 99 TRSTn
ISO-RX TRSTn
3 98 TDO
nc TDO
4 97 TDI
nc TDI
5 96 5V0
nc +5V in
GND-ISO 6 95 ISC-SCL
GND-ISO GPIO-33
DAC-1 7 94 CAN-TX
ADC-B0 GPIO-31
8 93
GND AGND GPIO-29
DAC-2 9 92 5V0
ADC-B1 +5V in
10 91 Cdc-MFSXA
GND AGND GPIO-23
ADC-B2 11 90 Cdc-MDRA
ADC-B2 GPIO-21
12 89 Cdc-CS
GND AGND GPIO-19
ADC-B3 13 88 TZ-6/PB-1
ADC-B3 GPIO-17
14 87 5V0
GND AGND +5V in
ADC-B4 15 86 ECAP4-IR
ADC-B4 GPIO-27
16 85 ECAP-2/SPISOMI
nc GPIO-25
ADC-B5 17 84 Vol-2
ADC-B5 GPIO-14
Cdc-MCLKRA 18 83 Vol-1
GPIO-58 GPIO-13
19 82 5V0
ADC-B6 +5V in
GPIO-60 20 81
GPO-60 GPIO-85
21 80
ADC-B7 GPIO-49
GPIO-62 22 79 EPWM-6B/LED-2/SPISTE
GPIO-62 GPIO-11
DB0_LCD 23 78 EPWM-5B/LED-1
GPIO-00 GPIO-09
DB1_LCD 24 77 5V0
GPIO-02 +5V in
DB2_LCD 25 76 RS_LCD
GPIO-04 GPIO-07
DB3_LCD 26 75 E_LCD
GPIO-06 GPIO-05
27 74 DB7_LCD
GND DGND GPIO-03
DB4_LCD 28 73 DB6_LCD
GPIO-08 GPIO-01
DB5_LCD 29 72
GPIO-10 GPIO-63
R/W_LCD 30 71
GPIO-48 ADC-A7
Boot-84 31 70 GPIO-61
GPIO-84 GPIO-61
32 69
GPIO-86 ADC-A6
Vol-0 33 68 Cdc-MFSRA
GPIO-12 GPIO-59
Vol-3 34 67 ADC-A5
GPIO-15 ADC-A5
ECAP-1/SPISIMO 35 66
GPIO-24 nc
ECAP-3/SPICLK 36 65 ADC-A4
GPIO-26 ADC-A4
37 64
GND DGND AGND GND
Cdc-SDIN 38 63 ADC-A3
GPIO-16 ADC-A3
Cdc-SCLK 39 62
GPIO-18 AGND GND
Cdc-MDXA 40 61 ADC-A2
GPIO-20 ADC-A2
Cdc-MCLKXA 41 60
GPIO-22 AGND GND
42 59 VR-2
GPIO-87 ADC-A1
43 58
GPIO-28 AGND GND
CAN-RX 44 57 VR-1
GPIO-30 ADC-A0
ISC-SDA 45 56
GPIO-32 GND-ISO
PB-2/Boot-34 46 55
GPIO-34 nc
47 54
GND DGND nc
TCK 48 53
TCK nc
TMS 49 52 TX
TMS ISO-TX
EMU1 50 51
EMU1 V33-ISO
DIM100 TMDSDIM100CON5PK
FIGURE 7.5 - TMS320F28335 CONTROL CARD SCHEMATIC
7.4.6 Jack connector

The audio signal is transmitted to and from the system by means of an audio jack
male connector. Therefore, it is necessary to implement two female jack connectors
in order to receive the analog audio signals. The first connector will be used to obtain
the raw signal from the guitar, while the second connector will be used to emit the
transformed signal from the pedal to the amplifier. The selected connector is a

through hole six-contact, TRS (Tip, Ring, Sleeve) stereo connector from Cliff
Electronics, whose maximum operating current is 5A, thus the possibility of having
a failure in the system is practically non-existent, since the maximum current will
not overpass 500mA.
The female connector has a setup that allows any ¼ inches (6.35mm) standard audio
jack to plug in perfectly. Although the component has 6 contacts, they are actually
paired, resulting in 3 pins for in terms of real functioning. At the initial position,
when the audio jack is not inserted; pin 1 is connected to 4, pin 2 is connected to 5
and pin 3 is connected to 6. After the 6.35mm jack is inserted, it fills the gap between
pins, maintaining the contact between paired pins 1-4, 2-5, 3-6 and isolating every
couple from the others (see Figure 7.7 - Jack connector schematic). In stereo audio,
the ring is connected to the right channel, the tip is connected to the left channel, and
the sleeve is connected to the common channel or GND.
FIGURE 7.6 - JACK CONNECTOR CONFIGURATION

JACK IN 470n C10

L1 R4
GND 1 4 RIN RLINE_IN
RIN mH
2 5 4k7
470n C11
LIN L2 R5
3 6 LIN LLINE_IN
mH 4k7
C8* C9* R6 R7
JACK OUT 4k7 4k7
GND 1 4
ROUT
2 5
GND
LOUT
3 6 GND
220µF
C15
L3
ROUT RHPOUT
mH
L4
LOUT LHPOUT
mH
220µF
C13* C14* R15 R16 C16
47k 47k
GND
GND
FIGURE 7.7 - JACK CONNECTOR SCHEMATIC
7.4.7 Audio Codec

From the previous explanation regarding audio jack connector, it is easy to
understand that both the signal received by the input connector (audio signal coming
from the guitar) and the signal emitted from the output connector to the amplifier are
analog signals. However, the processing and transformation of the signals that takes
part inside the pedal is digital. Therefore, it is necessary the presence of an audio
codec that links together signals from the jack connectors with the DSC of the
Control Card.
In terms of hardware, an audio codec is a device capable of encoding analog audio
as digital signals and decoding digital streams of data back into analog signals. The
audio codec selected was the TLV320AIC23B from Texas Instruments, which is a
high-performance stereo audio codec with highly integrated analog functionality,
that contains analog-to-digital converters (ADCs) and digital-to-analog converters
(DACs), running off the same clock signal. The codec integrates analog features
consisting of stereo-line inputs with an analog bypass path, a stereo headphone
amplifier, with analog volume control and mute, and a complete electret-
microphone-capsule biasing and buffering solution [21].

The circuit linked to the input audio jack is connected to the codec by means of the
pins 19 and 20, RLineIn for the right channel and LLineIn for the left one; while the
circuit regarding the output audio jack is connected to the pins 9 and 10, LHPOut
and RHPOut, respectively.
TVL320AIC GND
BVdd 1 28
BVDD DGND
2 27 DVdd
CLKOUT DVDD
BCKL 3 26 XTO
BCLK XTO
DIN 4 25 XTI/MCLK
DIN XTI/MCLK
LRCIN 5 24 Cdc-SCLK
LRCIN SCLK
DOUT 6 23 Cdc-SDIN
DOUT SDIN
LRCOUT 7 22 MODE
LRCOUT MODE
HPVdd 8 21 Cdc-CS
HPVDD *CS
LHPOUT 9 20 LLINE_IN
LHPOUT LLINEIN
RHPOUT 10 19 RLINE_IN
RHPOUT RLINEIN
11 18
HPGND MICIN
12 17
LOUT MICBIAS
13 16 VMID
ROUT VMID
AVdd 14 15
AVDD AGND
GND TLV320AIC23B_PW_ GND
FIGURE 7.8 - AUDIO CODEC SCHEMATIC
MODE
R13 R14*
3V3
10k L5
3V3 AIC-3V3
GND mH
C12
Cdc-MCLKXA 10u
R8
Cdc-MCLKRA BCKL
33R
R9 GND
Cdc-MDXA DIN
33R
R10 L6
Cdc-MFSXA LRCIN 3V3 3V3A
33R
R11
mH
Cdc-MDRA DOUT C13
10u
33R
R12
Cdc-MFSRA LRCOUT
33R GND

AIC-3V3 3V3A
BVdd DVdd AVdd HPVdd VMID
C19 C20 C5 C6 C7
100n 100n 100n 100n 100n
GND GND GND
FIGURE 7.9 - AUDIO CODEC ASSOCIATED CIRCUIT SCHEMATIC
7.4.8 Crystal Oscillator

The selected crystal oscillator is an 12MHz SMD component from NDK America
[22], that is connected directly to the audio codec explained above, through the pins
25 (XTI/MCLR) and 26 (XTO).
It is noted that the codec TLV320AIC23B features an internal oscillator that, when
connected to the 12-MHz external crystal, provides a system clock to the DSP and
other peripherals at either 12 MHz or 6 MHz, using an internal clock buffer and
selectable divider [21].
X1
XTI/MCLK XTO
C17 12MHz C18

33p 33p
GND GND
FIGURE 7.10 - CRYSTAL SCHEMATIC
7.4.9 Volume and Effect Potentiometer

In the system, there are two potentiometers that play a main role: control of volume
and control of effect. The first potentiometer controls the volume level provided to
the amplifier, while the second one is in charge of the effect, which can be explained
as the quantity of transformation of a certain input signal. If it is set, i.e. distortion
effect, the more the potentiometer is rotated clockwise the more distorted the output
signal will be.

Both Volume and Effect controls are through hole 5kΩ linear potentiometers from
Alps Electric [23]. The impedance was chosen based on the potentiometers of
Peripheral Explorer Board, from Texas Instruments, whose control is carried out by
the same DSC used in the prototype created. It is also noted that, even if the human
ear is logarithmic, the potentiometers are selected to be linear because the software
of [1] was developed with the same Peripheral Explorer Board as mentioned before,
and the results obtained in terms of sound perception were satisfying.
GND GND
POT1 VOLUME POT2 EFFECT
R21 1 R23 1
3V3 3V3
2 2
3 3
R22 R24
VR-1 VR-2
C4 C21
100n 100n
GND GND
FIGURE 7.11 - VOLUME AND EFFECT POTENTIOMETER SCHEMATIC
7.4.10 Slide Potentiometer

Besides the volume and effect control explained in the above section, there are other
potentiometers whose function is also very important for the long-term goal of
obtaining a high-quality and balanced sound: equalization (see 4 - Main objectives).
In order to control the frequency ranges, three slide potentiometers were used, where
each one manages one third of the audible frequency spectrum (see 7.4.10
Slide Potentiometer).
In this case, through hole 10kΩ linear potentiometers from Bourns were selected
[24]. They mount a single gang, whose performance meets the technical requirements
and has the advantage of being simple enough. The total length of the casing is 35mm
and the distance of the track is 20mm, which are adjusted to the PCB size, providing
a good frequency calibration capacity as well.

FIGURE 7.12 - EQ SLIDE POTENTIOMETER [25]
GND GND GND

EQ1 EQ2 EQ3
R25 3 R27 3 R29 3
3V3 3V3 3V3
1 1 1
2 2 2
R26 R28 R30
ADC-A2 ADC-A3 ADC-A4
C25 C26 C27

100n 100n 100n
GND GND GND
FIGURE 7.13 - EQ POTENTIOMETERS SCHEMATIC
GND
PEDAL
R34 1
3V3
2
3
R35
ADC-B2
C28
100n
GND
FIGURE 7.14 - EXPRESSION PEDAL SCHEMATIC
7.4.11 Footswitches
The generic function of footswitches in market effects pedals was explained in
section 7.3.3 Inputs.. For the prototype, two footswitches were included into the

model, whose general function is the same as in a regular pedal; activate or deactivate
any effect or sequence of effects under current control. However, the specific
function of these switches cannot be determined yet because it will depend directly
on the development of the 7.5 User Interface Design.
At the beginning, the idea was to use a 3PDT (3 Poles Double Throw) switch, where
the audio signal would pass through, assuming that the bypass would be mechanical
as well.
FIGURE 7.15 - 3PDT FOOTSWITCH [26]
This option was quickly discarded because of the difficulty and higher risk due to
noise. The solution proposed at that point was to perform the bypass by software,
thus the 3PDT was no longer needed.
The selected components were two On-(On) SPDT (Single Pole Double Throw) push
button switches from APEM [27], whose default position is a short-circuit between
pin 2 and 3. While the pushbutton is being pressed, pin 1 and 2 are connected (see
Figure 7.17) and a signal is sent to the GPIO-17 and GPIO-34 of the Control Card.
Therefore, the response to the footswitch toggle can be managed by software.
This functionality is very useful because the DSC can establish a different output in
each of the following cases:
• Short push.
This case represents the easiest function to determine, since it is the most
basic one. When the footswitch is shortly pushed, the current effect or
sequence of effects is turned on/off.

• Long push.
When the footswitch is pressed during a longer time, the function can be
altered, such as storing the current effect composition, returning to the
previous effect composition, returning to the previous menu or submenu item,
etc.
• Double push.
In this case, the user will press the footswitch twice in a short amount of time,
established by the software developer. Regarding its function, it applies the
same as in the Long push section, and it will be discussed in detail in the 7.5
User Interface Design.
3V3
R2
1
2
4k7
TZ-6/PB-1
PULSADOR1
GND 3V3
R3
1
2
4k7
PB-2/Boot-34
PULSADOR2
GND
FIGURE 7.16 - SPDT FOOTSWITCH [28] FIGURE 7.17 - FOOTSWITCHES SCHEMATIC
7.4.12 LEDs
LEDs included in the pedal prototype are a very important manner of providing
consistent feedback to the user, regarding the current state of the machine, among
others. For this purpose, three basic through hole LEDs from Kingbright were
chosen. One of them was placed above the footswitch #1 and the other two were
placed above the footswitch #2, whereas the three of them were connected to GPIO-
60, GPIO-61 and GPIO-62, respectively. This solution allows the DSC to control by
software the state of each LED when desired.

The basic function will be for LEDs #1 and #2 and it will consist in a very simple
command: each LED will be ON while the effect associated to their respective
footswitch is active and will turn OFF and remain in that state while the effect of
their respective footswitch is not being used. On the other hand, the third LED can
be assigned with an alternative functionality, i.e. blinking to represent a certain
feature used by the user.
GPIO-60 GPIO-61 GPIO-62
R31 R32 R33

330 330 330
DS2 DS3 DS4

Verde Verde Verde
GND GND GND
FIGURE 7.18 - INDICATOR SCHEMATIC
7.4.13 LCD
Another fundamental component for turning a prototype into a professional effects
pedal is the Liquid Crystal Display. LCD can provide very useful information to the
user of the pedal: menu options, submenus, functionality and customization of
effects, instructions for use, help, etc. According to its functionality, a display could
be included in the same category as the information LEDs, although the first case is
a much more complex system and the information provided is much broader as well.
At the initial stages of the development or the prototype, when the idea of including
a display came up, the first solution was to use a regular 20x4 monochromatic LCD
with 16 pins but, after realizing a I2C expansion board could be added, those 16 pins
were reduced to only four:
VCC 5V
GND GND
SCL ISC-SCL
SDA ISC-SDA
TABLE 7.1 - I2C WIRING

In summary, the selected display was a 20x4 monochromatic LCD from Gaoxing
Tech, where an I2C expansion board was integrated into the LCD board.
FIGURE 7.19 - LCD (TOP VIEW) [29]
FIGURE 1.20 - LCD WITH I2C MODULE (BOTTOM VIEW) [30]
LCD
ISC-SDA
1
ISC-SCL
2
GND 3
5V0
4
CON4
FIGURE 7.21 - LCD SCREW TERMINAL SCHEMATIC

7.4.14 Rotary Switch Encoder

It is noteworthy to mention a component directly related to the previously explained
LCD: the rotary switch encoder. This encoder is basically a rotary knob that has
several pre-defined positions. It is aimed to control certain features of the effects
pedal, where, after receiving the information regarding whether the encoder is
rotating with CW or CCW direction, a change in the system will be determined. This
change comprises various concepts, from sound processing to different commands
shown to the user by means of the display.
However, these features still need to be determined, and that chapter will be
discussed in the 7.5 User Interface Design section.
The chosen rotary switch encoder is made by Alps Electric, has 5 pins (where 2 of
them are connected to ground and the 3 remaining ones are connected to GPIO-12,
GPIO-13 and GPIO-14) and provides 15 pulses per turn. Depending on those pulses
coming from signal A and B, the encoder rotation, that is, CW or CCW direction,
can be determined and, therefore, a certain action would be associated to the current
feedback that is being received.
FIGURE 7.22 - ROTARY SWITCH [31]

A-ENC
1
B-ENC
2
GND 3
C-ENC
4
GND 5
ENCODER
Vol-0 Vol-1 Vol-2
R17 R18 R19

27K 27K 27K
A-ENC B-ENC C-ENC
C22 C23 C24

100n 100n 100n
GND GND GND
FIGURE 7.23 - ENCODER SCHEMATIC
7.4.15 Resistors, Capacitors and Ferrite beads.

Last, but not least, it is noted to mention three different types of components that are
extremely useful in every PCB design: resistors, capacitors and inductors. These
electric passive components were extensively used in the circuits related to the main
elements of the prototype; audio codec, footswitches, effects and volume
potentiometers, equalization potentiometers, rotary encoder, audio jack connectors
and voltage regulator.
All resistors used are 0805 SMD, but their resistances comprise a wide range:
Resistance (Ω) Designator Quantity
2.2 R22, 24, 26, 28, 30, 35 6
33 R8, 9, 10, 11 ,12 5
200 R21, 23, 25, 27, 29, 34 6
330 R1, 31, 32, 33 4
4k7 R2, 3, 4, 5, 6, 7 6

10k R13 1
27k R17, 18, 19 3
47k R15, 16 2
TABLE 7.2 - RESISTORS
The capacitors employed are ceramic ones, with an 0805 SMD package, except two
electrolytic capacitors directly connected to the audio jack output connector, whose
mounting system is through the PCB.
Capacitance
Designator Type Quantity
(F)
C17, 18 ceramic 2
33p
C2, 4, 5, 6, 7, 19, 20, 21,
ceramic 15
100n 22, 23, 24, 25, 26, 27, 28
C10, 11 ceramic 2
470n
C1 ceramic 1
1µ
C3 ceramic 1
4µ7
C12, 13 ceramic 2
10µ
C15, 16 electrolytic 2
220µ
TABLE 7.3 – CAPACITORS
7.5 User Interface Design

Although the user interface is not closely related to the hardware design of an effects pedal,
it should be taken into account for future implementation of hardware and software. One of
the main important conditions that the user interface must fulfill is that it is intuitive.

FIGURE 7.24 - SELECTION OF EFFECTS
In the main menu, several options may be displayed: play, select effect, settings, etc. Pressing
on either footswitch allows forward and backward navigation, double press enters into a
function.
In select effects, the user would press the right footswitch to go to the next effect and the left
one to go to the previous effect. On a certain effect, the encoder would allow the selection
of different pre-configurations (parameterizations) of that effect. After a configuration is set,
the effect is stored by means of a long press on the corresponding footswitch (two positions
available to store an effect). If more than two effects need to be stored, two more positions
are available by means of double quick press on either footswitch.

FIGURE 7.25 - EFFECT SETUP
Play would allow the user to activate or deactivate the effects stored previously (single or
double press in either footswitch). When the primary effect associated to a switch is ON, the
LED associated to that switch would turn ON too and the LCD would show an animation
with the effect’s name; when the secondary effect is ON, the LED would blink.
Volume and strength of the effect can be modified at any time by using the potentiometers.
The same is applied to slide potentiometers, in the case of EQ (three frequency bands are
available).
7.6 PCB Design

Together with the selection of components, the PCB design was the part of the project that
took the majority of the time.
7.6.1 Initial approach

At the beginning of this process, the idea was to use screw terminals for every
component that had to be mounted in the upper cover of the effects pedal. Those
elements were the inputs and outputs of the system, essentially the ones that undergo
direct exchanges of information between the system and the user: LCD, volume and
effect potentiometer, equalization potentiometers, rotary encoder, footswitches and

LEDs. Sideways-faced components, such as input, output audio connectors and

power supply connector are exceptions, because they would not be placed on the
upper cover of the pedal.
7.6.2 Version 1.0

Therefore, according to that initial solution, pins from the LCD, potentiometers,
footswitches, etc., would be connected by external cables from the upper cover where
the elements would be inserted, to their respective screw terminals mounted on the
PCB surface.
From the first version of the schematic diagrams, a PCB was designed according to
the above explained parameters, thus obtaining a board with multiple screw terminals
ready to be connected.
In the next stage, the routing of the PCB was performed in two layers (top and bottom
layers), which was quite simple at the beginning but, as the components were being
routed, the difficulty increased meaningfully. During the process, several
inconsistencies arose:
• Incorrect selection of components in the market, due to mainly mechanical
and electrical properties.
• Unavailable stock.
• Mistakes in the design of footprints.
• Non-optimal design: components located far away (audio codec and
input/output jacks) and components located too close (footswitches and
potentiometers).
• Lack of spatial optimization.
• High risk of malfunctioning due to the use of external cables.
Therefore, this initial plan would be discarded.
7.6.3 Version 2.0

After finding out that there were two key points that it was necessary to take into
account, a more methodic and complex solution was developed instead, based on
mounting the upper part components directly on the board, designing an upper cover

that fit the whole set of elements and relocating the socket of the Control Card in the
opposite side of the PCB (pointing downwards).
Those two determinant factors were:
• The effect regulator, volume potentiometer and footswitches could not be
placed too close, generating a pedal layout that precludes the musician from
performing comfortably.
• The impossibility of producing the PCB in the laboratory of the Polytechnic
School of Engineering of Gijón, due to the complexity and narrowness of
tracks, was a constraint in terms of design. The solution adopted was to
produce the PCB outside school.
Once the basis for the real implementation of the effects pedal was clear and, after
discussing several solutions and finding a feasible one, the process of designing the
final version of the PCB begun.
The market components had been already selected (see 7.4 Definition and selection
of components), therefore, for implementing them after having the schematic
drawings it was necessary to make the footprints of each element. This stage meant
an inflection point in the project, since making good footprints design is very
important for the success of the pedal.
Since the socket of the Control Card is the component with the higher number of
pins, it was decided to locate it in the middle of the board, before setting the rest of
the components around this socket. It was required that the user could access the
power supply connector and audio jacks easily, therefore they were placed on the
upper left and right part of the PCB, respectively.
From the beginning of version 2.0, it was clear that both footswitches would require
to be placed at the bottom of the board, since they need to be activated/deactivated
with the foot. Same applies to LEDs indicators, which depend directly on these
footswitches.
On the other hand, volume, effect and equalization potentiometers, together with the
rotary encoder, are geometrically distributed according to the part of the socket that
has more pins connected to the given element.
The final version of the PCB was obtained.

FIGURE 7.26 - PCB LAYOUT DESIGN (TOP VIEW)
FIGURE 7.27 - PCB LAYOUT DESIGN (BOTTOM VIEW)

7.7 Review
The review process is very important in any engineering project. For this particular case,
even if according to the working methodology the review is supposed to be done at the end
of the PCB design chapter, in fact it has been a continuous process along the whole
development of the project.
The advantage of this continuous reviewing is huge, since small mistakes may lead to
arduous amendments after a relatively short period of time, therefore, if detected in an earlier
stage, several problems can be avoided.
Regarding the pedal prototype, automatic revision has been done since the very beginning.
1. When selected components, especially in the case of certain elements directly

depending on another new element still to be chosen. The main focus was on the
mechanical and electrical properties on the components, to check whether the system
is compatible or not.
2. Afterwards, when the schematic drawings were made, another review was
performed, by checking number of pins, default footprints and tags consistency in
different items.
3. Footprints were reviewed in the last stages of the PCB design, paying special
attention to the fact that, in general, the same components should have the same
footprints. The other focus was the checkup regarding customized footprints.
4. Also, both continuous and general reviews were done during and after designing the
version 1.0 and 2.0 of the PCB. The most important parts were: components location,
proper routing and width of tracks.
5. Finally, a review of the version 2.0 of the PCB was done before continuing with
further steps, including all the elements previously mentioned.
7.8 PCB production and testing

As it was mentioned before, the designed PCB could not be produced in the Polytechnic
School of Engineering of Gijón. The main reason was the complexity and narrowness of the
tracks, especially the ones that belong to the socket of the Control Card. This socket includes
100 pins and, according to the disposal of components in the board, the minimum width of

the tracks created in the latest version of the PCB was 10 mil or 0.254mm (1mil = 1/1000in),
which is still too thin for manufacture it at the School’s laboraboratory.
The solution was to order the production of the PCB to an external company. The most
difficult components to weld (audio codec and socket) were included in the board in this
step. The rest of the components were welded by hand.
Afterwards, the final step required the testing of the prototype. However, since the
manufacturing process of the PCB was delayed, the testing and validation of the prototype
could not be done yet. In the meanwhile, a study of possible sources of errors in the PCB
design and assembly was performed, in order to create a set of backup solutions if the
prototype was not working as initially expected.

8. Results and discussion

The main result achieved throughout the project presented was the complete design of a
programmable digital effects pedal for electric guitar. This result indicates that it is possible
to design a printed circuit board (as it can be seen in figure) capable of altering the input
signal from a certain source, performing the real-time processing and emitting the output
signal to an amplifier. This signal modification is highly customizable by the user.
FIGURE 8.1 - PCB CREATED (TOP VIEW)
Besides, the purpose of methodically collect and analyze the hardware development process
in a single document was also achieved.
With respect to the secondary goal of creating a device capable of competing in the market,
the recorded budget is slightly above the ideal. However, if the TMS320F28335 is directly
integrated into the PCB instead of into a control card and the board is mass-produced, the

cost would decrease significantly. In that case, even if the purpose of creating an appropriate
size device was already achieved (since the board is 143x122 mm), it would be easier to
make a smaller pedal. This latter suggestion would be considered for future works.
Finally, although the testing of the prototype could not be done yet due to manufacturing
delay of the PCB, several lines of action have been developed in order to solve errors that
may arise from different sources:
• Power supply. When the PCB is powered, LED DS1 will turn on. If it does not, the
first approach would be checking whether the track is conducting properly or not. If
both the track and LED are fine, voltages would be checked in power jack, DC/DC
converter and voltage regulator, to determine where the power failure is. The
component would be replaced.
• Audio processing. The error can come from two main sources: audio connectors or
audio codec. Firstly, power supply in both components would be checked. Then,
conductivity and expected voltage values between paired-pins in audio connectors
would be tested. Audio jacks and cable from guitar and amplifier might be replaced
then. The third approach would consist in replacing the audio codec IC. Latency and
delay errors would probably come by audio codec or crystal oscillator.
• JTAG. If JTAG is not allowing the pedal to be programmed, solution is rather
complex. The initial step would be checking conductivity in every track from JTAG
screw terminals to TMS320F28335 socket. Measuring the voltage supply to the
control card to make sure it is not burnt would be a good idea before replacing the
control card.
• Peripherals: LCD, footswitches, effect and volume potentiometers, EQ, rotary
encoder, expression pedal, indicator LEDs. Tracks and conductivity would be
checked first. If a single component does not work properly but the rest of its kind
does, that element would be replaced. Otherwise, socket ports would be tested and/or
control card would be replaced.

9. Conclusions
A programmable digital effects pedal for electric guitar was created, allowing the
implementation of both software and hardware in a specific PCB designed for this purpose,
instead of a development tool, although it could not be tested yet.
Regarding the questions raised in the initial hypothesis, it can be concluded that a single
power supply of 9V DC is required for the whole pedal, which is based in the
TMS320F28335 control card and in an audio codec for performing analog-to-digital
conversion. Besides, the selected peripherals for communication with the user are two
footswitches, two volume and effect potentiometers, three EQ potentiometers, one rotary
selector and one LCD; whereas a JTAG connector was included for on-board testing.
Furthermore, it is worth to mention some alternatives for future improvements of the effects
pedal:
1. The controller TMS320F28335 could be directly integrated into the PCB instead of
into a control card; thus reducing direct costs and size of the device.
2. A case could be created for commercial use of the pedal. It could be done based on
3D printing techniques, which are inexpensive even in small runs and very easy to
modify when new versions of the board are produced.
3. To include both expression pedal and external microphone connector into the PCB,
updating the current screw terminals for this purpose.
In summary, even if digital pedals are already being used in the music scene nowadays, the
work presented here constitutes an alternative to both analog and digital systems. With few
of the suggestions mentioned previously, the pedal could compete technically and
economically with other models and even might become a market success.

10. Budget
Name Manufacturer Code Unit Price (€) Quantity Cost (€)
Slide potentiometer PTA2043-2015DPB103 1.03 3 3.09
Audio connector 805-1646 2.81 2 5.62
Footswitch 8632A 5.59 2 11.18
LCD - 8.99 1 8.99
C.C. Socket 5390213-1 3.44 1 3.44
DC Converter TSR 1-2450 5.21 1 5.21
DC Connector 734-7378 3.67 1 3.67
Audio Codec TLV320AIC23BIPWR 8.50 1 8.50

Encoder EC11B152442D 2.88 1 2.88
Voltage Regulator TPS79533DCQR 2.56 1 2.56
Ferrite bead BLM21PG221SN1D 0.057 4 (25)1 0.23
Res. 330R CR0805-FX-3300GLF 0.029 4 (50) 0.12
Res. 200R CRCW0805200RFKEA 0.041 6 (50) 0.25
Res. 2.2R CRL0805-FW-2R20ELF 0.064 6 (15) 0.39
Res. 4k7 CRG0805F4K7 0.01 6 (50) 0.06
Res. 27k CRG0805F27K 0.026 3 (50) 0.08
Res. 47k CRG0805F47K 0.038 2 (50) 0.08
Res. 10k CR0805-JW-103ELF 0.023 1 (50) 0.02
1
The number in brackets indicates the quantity that has to be ordered, although the cost is calculated based only on the required components.

Res. 33R CRCW080533R0FKEA 0.041 5 (50) 2.21
XTAL 12MHz NX5032GA-12.000000MHZ- 0.56 1 0.56

LN-CD-1
Cap. 10µ GRM21BR61C106KE15L 0.159 2 (25) 0.32
Cap. 4µ7 GRM21BR61C475KA88L 0.124 1 (25) 0.12
Cap. 100n C0805C104K5RACTU 0.04 15 (25) 0.6
Cap. 470nc C0805C474K3RACTU 0.213 2 (10) 0.43
Cap. 220µ USR1HR22MDD 0.35 2 (5) 0.7
Cap. 33p C0805C330J5GACTU 0.044 2 (25) 0.09
Cap. 1µ C0805C105K4RACTU 0.07 1 (25) 0.07
LED SMD 0805 SM0805UGC 0.36 1 (25) 0.36

LED state L-53GD 0.20 3 (5) 0.6
Linear potentiometer RK09L1140A65 1.40 2 2.8
Control Card TMDSCNCD28335 61.17 1 61.17
PCB manufacture - 2502 1 250
Subtotal 376.40 €
I.V.A. 79.04 €
(21%)
TOTAL 455.44 €
2
Price for the first PCB. The following 4 boards are 10€ each.

11. References
[1] I. Marqués Fernández, “Sound processor for electric guitar: software.,” Polytech.
Sch. Eng. Gijón, 2017.
[2] C. Hempstead and W. E. Worthington, Encyclopedia of 20th-century Technology,
Volume II. 2005.
[3] C. Roads, The Computer Music Tutorial. MIT Press, 1996.
[4] D. Hunter, Guitar Effects Pedals - the Practical Handbook. Backbeat Books, 2004.
[7] D. M. Brewster, Introduction to Guitar Tone & Effects: An Essential Manual for
Getting the Best Sounds from Electric Guitars, Amplifiers, Effect Pedals, and
Digital Processors. Hal Leonard, 2003.
[9] “Effects unit,” Wikipedia. 2018.
[10] T. E. Rudolph and V. A. Leonard, Recording in the Digital World: Complete Guide
to Studio Gear and Software. Hal Leonard, 2001.
[12] P. Du Noyer, The Illustrated Encyclopedia of Music, 1st ed. Flame Tree Publishing,
2003.
[15] “Audio signal processing,” Wikipedia. 2018.
[16] J. Hodgson, Understanding records. Bloomsbury Publishing, 2010.
[17] Texas Instruments, “TMS320F2833x, TMS320F2823x Digital Signal Controllers
(DSCs),” 2007.
[18] Traco Power, “DC/DC Traco Converters.”
[19] Texas Instruments, “TPS795 Ultralow-Noise , High-PSRR , Fast , RF , 500-mA
Low-Dropout Linear Regulators,” 2015.
[20] “The IEEE Std 1149.1-1990 – Test Access Port and JTAG Architecture,” IEEE,
1990.
[21] Texas Instruments, “TLV320AIC23B-Q1. Stereo Audio Codec, 8- to 96-kHz, With
Integrated Headphone Amplifier,” no. March 2004, 2012.
[22] NDK America, “NX5032GA Crystal oscillator,” 2011.
[23] Alps Electric, “Metal Shaft Potentiometer. 9mm Size Metal Shaft Snap-in Type.”
[24] Bourns, “PTA2043-2015DPB103 Low Profile Slide Potentiometer,” vol. 1, 2003.
[27] APEM, “8000 Series - Mini. Momentary Or Alternate Action Pushbutton Switches,”
2000.

Images:
[5] “www.thomann.de/es/mxr_phase90.htm.”.
[6] “www.thomann.de/es/boss_gt100.htm.”.
[8] “www.thomann.de/es/ibanez_ts9_tube_screamer.htm.”.
[11] “www.thomann.de/es/boss_ge7_equalizer.htm.”.
[13] “www.musiciansfriend.com/amplifiers-effects/dunlop-cry-baby-classic-fasel-
inductor-wah-pedal.”.
[14] “www.hackster.io/electrosmash/arduino-mega-guitar-pedal-2bc87a.”.
[25] “es.rs-online.com/web/p/potenciometros/7377776/.” .
[26] “es.rs-online.com/web/p/botones-pulsadores/8466736/.” .
[28] “es.rs-online.com/web/p/products/1035732/.” .
[29] “www.partco.fi.” .
[30] “www.amazon.es.” .
[31] “es.rs-online.com/web/p/codificadores-giratorios/2652928/.” .

12. Appendix


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Sound Processor for Electric Guitar

Thesis · July 2018

Pablo López Diéguez

Sound Processor for Electric Guitar View project

The user has requested enhancement of the downloaded file.

ÁREA DE INGENIERÍA DE SISTEMAS Y AUTOMÁTICA

TRABAJO FIN DE GRADO Nº 17010315

SOUND PROCESSOR FOR ELECTRIC GUITAR

D. LÓPEZ DIÉGUEZ, Pablo

Además, se ha realizado un estudio detallado para seleccionar adecuadamente los

Pablo López Diéguez

1. List of abbreviations and

Pablo López Diéguez

SDA Serial Data Line

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7.12 – EQ slide potentiometer 38

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2.1 Sound Processor for Electric Guitar Project

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2.2 Initial hypothesis and scope

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3. State of the art

3.2 Types of pedals

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• More organic sound.

FIGURE 3.1 - ANALOG MXR PHASE 90 (92€) [5]

• It has a wide range of sounds and effects in one device.

Pablo López Diéguez

FIGURE 3.2 - DIGITAL MULTI EFFECTS BOSS GT-100 (359€) [6]

3.3 Types of effects

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FIGURE 3.3 - IBANEZ TUBE SCREAMER 9 (128€) [8]

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FIGURE 3.4 - BOSS GE-7 EQUALIZER (81€) [11]

FIGURE 3.5 - CRY BABY® CLASSIC WAH (125€) [13]

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3.4 Programmable digital pedals

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FIGURE 3.6 - ARDUINO MEGA GUITAR PEDAL [14]

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5.1 Audio signal processing

• ADC (analog to digital converter): analog continuous signals are converted to

5.2 Sound processor and effects pedal

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FIGURE 5.1 - BASIC CONFIGURATION OF EFFECTS UNIT

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5.3 Block diagram

FIGURE 5.2 - BLOCK DIAGRAM

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FIGURE 6.1 - WORKING METHODOLOGY

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7.1 Overall understanding of digital effects pedal

7.2 Definition of the core: TMS320F28335

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7.3 Definition of requirements of the PCB

In a general manner, the requirements that can be applied are:

7.3.1 Power supply.

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7.4 Definition and selection of components

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