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Alembic Series 1 with Dummy Coil Construction

Hey everyone, im trying to nail down the series 1 or so Alembic bass pickups with the dummy coil.

Heres what im certain of:

-2.6ish output
-Ceramic Magnet(s)
-Single Coil with Separately housed dummy coil (not 100% here but about 95%)

And nothing else.

Has anybody ever been able to figure this out?

Im trying to figure out the size of the housing in relation to such a few amount of wraps. Does the material a dummy coil is wrapped around matter at all? Like wood, plastic, something else
 
AFAIK the humcanceller in a Series instrument consists of wire wrapped around a non-magnetic bobbin of sorts, in a shallow plastic housing. While some of the earliest versions had trapezoidal pickups and one or two trapezoidal shaped huncancellers that would get stashed in the electronics cavity, they soon settled on rectangular pickups with one smaller rectangular humcanceller flush-mount between the pickups. More recently, they "hypermatch" sets of pickups and humcanceller.

The signal of the humcanceller consists of the same noises that the single coils pick up, but not the electromagnetic signal from the strings, and the signals are combined in the preamp to eliminate those noises electronically.
 
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AFAIK the humcanceller in a Series instrument consists of wire wrapped around a non-magnetic bobbin of sorts, in a shallow plastic housing. While some of the earliest versions had trapezoidal pickups and one or two trapezoidal shaped huncancellers that would get stashed in the electronics cavity, they soon settled on rectangular pickups with one smaller rectangular humcanceller flush-mount between the pickups. More recently, they "hypermatch" sets of pickups and humcanceller.

The signal of the humcanceller consists of the same noises that the single coils pick up, but not the electromagnetic signal from the strings, and the signals are combined in the preamp to eliminate those noises electronically.
Alright so i've figured this much out now.

-Winds
-Wire
-Dummy Coil

Now im looking for bobbin shape.. magnet shapes... similarities and what not. Like would this be essentially a P90, Pole Piece magnet style, Bisonic?

My assumption is that they are similar to bisonics. Another assumption is that theres a lot of empty space in the pickup casing itself. If the pickup sits at the center, with 2 bar magnets on either side = lots of air.

Another mystery is hte preamp used to power the pickups/dummy coil. and specific wiring in general.
 
Ok. this seems to line up dimensionally with what I have so far. A 1 inch wide ceramic magnet will leave almost the perfect amount of space for a wire wrapped around it about 3000 times. But that part doesn't make sense to me and must be my own arrogance.
Is the wire wrapped around the magnet and thats the total pickup? or are metal slugs being used as well. 1 inch is about the width of a bisonic pickup if you imagine they all have double magnets but are one uniform magnet. Implying the slug sit on top of the magnet with the poles touching, as opposed to the sides?
From there we'd have steel slugs of some radius that the wire is probably wrapped around. Basically, a low impedance bisonic with zero adjustments screws for the poles. Thats my thinking essentially. Heavily based around the bisonic.
The dummy coil would then just be some kind of plastic housing to mimic the slugs, and the housing could be made so it fits perfectly into the dummy coils casing, which would be made to be similar to the others in looks.
Lots of assumptions im working with.

Anyways, I got the casing made accurately.
 
I’ve found nothing that says anything about metal poles. Just a ceramic magnet as pole piece.
Me either. Its an assumption based on the fact that Rick Turner, who made the pickups, originally began by messing with Phil Leshes bisonics. He added a magnet to increase the width of the magnetic field and add power, I believe.
Therefor, I assume he based his design around the bisonic. Particularly in noting a few things.. For one, the surface area of a full sized magnet filling ot the casing is almost exactly double of what is in a bisonic with 2 magnets, excluding the space between them, which is where the steel slugs would go for a bisonic.
Is it possible to make a pickup by wrapping a wire carefully around a bar magnet?
Does the coil need to be a specific shape? Example, on strat pups the coil goes around so its inner portion faces upwards. Is is possible to do this opposite and have the inner portion face horizontally? Does this mess with the field in good or bad ways?
LOTS to figure out still haha
 
Alright. Learning more about pickups it appears anything is possible. Without pole pieces, it seems to reduce the overall output, and potentially add more highs, which I know is related. Depending on just how much it reduces the output, it may not have been possible with the extremely low wrap count on the alembics.
So, I think this is the point where Its necessary to just build several theory models, set up an oscilloscope, and report back with my findings.
 
If you do a web search for "Alembic PF-6 Preamp Service Schematic" you might turn up something that helps with your questions about how the hum canceller coil is used.

Basically, the input section for each pickup (not the filters, that's a whole separate thing) has a buffer with high input impedance (a matched pair of JFETs in series operating at their saturation current) driving an op amp. The op amp is set up as differential, with the pickup coming into the non-inverting input and the hum canceller coming into the inverting input. There's a gain control for the pickup and another for the hum canceller, which is used to null out the interference.

The low load on the pickups provided by the input buffer is probably part of getting the DC-to-daylight response out of the pickups that Series basses are known for. It's probably also why they need an external power supply (because of the saturation current of the JFETs).

I'd expect the effectiveness to depend on some characteristics of the pickup and hum canceller matching pretty well. I don't know, but this may be related to the "hypermatch" mentioned in an earlier post. Cell phone RFI was not a thing when the original Series basses were developed, the older pickups and hum cancellers might not have been as carefully matched at higher frequencies. (My Alembic, which is not a Series instrument, informs me quite directly if there's a cell phone operating within about 6 feet.)
 
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Alright. Learning more about pickups it appears anything is possible. Without pole pieces, it seems to reduce the overall output, and potentially add more highs, which I know is related. Depending on just how much it reduces the output, it may not have been possible with the extremely low wrap count on the alembics.
So, I think this is the point where Its necessary to just build several theory models, set up an oscilloscope, and report back with my findings.
Pole pieces or not having them has no direct impact on output level or frequency response of a pickup. It’s the combination of magnet type, number of rounds of the coil, coil shape, wire thickness and amount of steel in the pickup.
 
Pole pieces or not having them has no direct impact on output level or frequency response of a pickup. It’s the combination of magnet type, number of rounds of the coil, coil shape, wire thickness and amount of steel in the pickup.
Ok I understand now.
Found the preamp schematic for the pickups. Working on filter section now.
I believe I have solved the majority of the mystery around these pickups at this point. Time to build. Experimenting not necessary anymore.
Now designing bobbins
 
If you do a web search for "Alembic PF-6 Preamp Service Schematic" you might turn up something that helps with your questions about how the hum canceller coil is used.

Basically, the input section for each pickup (not the filters, that's a whole separate thing) has a buffer with high input impedance (a matched pair of JFETs in series operating at their saturation current) driving an op amp. The op amp is set up as differential, with the pickup coming into the non-inverting input and the hum canceller coming into the inverting input. There's a gain control for the pickup and another for the hum canceller, which is used to null out the interference.

The low load on the pickups provided by the input buffer is probably part of getting the DC-to-daylight response out of the pickups that Series basses are known for. It's probably also why they need an external power supply (because of the saturation current of the JFETs).

I'd expect the effectiveness to depend on some characteristics of the pickup and hum canceller matching pretty well. I don't know, but this may be related to the "hypermatch" mentioned in an earlier post. Cell phone RFI was not a thing when the original Series basses were developed, the older pickups and hum cancellers might not have been as carefully matched at higher frequencies. (My Alembic, which is not a Series instrument, informs me quite directly if there's a cell phone operating within about 6 feet.)
I got the
If you do a web search for "Alembic PF-6 Preamp Service Schematic" you might turn up something that helps with your questions about how the hum canceller coil is used.

Basically, the input section for each pickup (not the filters, that's a whole separate thing) has a buffer with high input impedance (a matched pair of JFETs in series operating at their saturation current) driving an op amp. The op amp is set up as differential, with the pickup coming into the non-inverting input and the hum canceller coming into the inverting input. There's a gain control for the pickup and another for the hum canceller, which is used to null out the interference.

The low load on the pickups provided by the input buffer is probably part of getting the DC-to-daylight response out of the pickups that Series basses are known for. It's probably also why they need an external power supply (because of the saturation current of the JFETs).

I'd expect the effectiveness to depend on some characteristics of the pickup and hum canceller matching pretty well. I don't know, but this may be related to the "hypermatch" mentioned in an earlier post. Cell phone RFI was not a thing when the original Series basses were developed, the older pickups and hum cancellers might not have been as carefully matched at higher frequencies. (My Alembic, which is not a Series instrument, informs me quite directly if there's a cell phone operating within about 6 feet.)
Alright I got the printed board schematic and harness schematics. Im also an idiot lol. Could you explain this like your talking to a small child please? Id really appreciate it if you could help point me in the right directions for understanding this more.
 
Well, there are some things that are fairly simple to understand (and thus explain) about that circuit... and some things that definitely go beyond my general understanding (yeah, I'm an EE, but a degree in digital design doesn't help me with active filters :laugh:). This discussion will make a lot more sense if you have the schematic in front of you; as I mentioned, a web search might turn this up for you but I'm not comfortable posting the document or a link to it myself because I'm not certain of the provenance and ownership.

This will get lengthy - I'll break it down and explain a little at a time, as clearly as I can.

First, a very few simple things to know. The Alembic Series preamp uses a "dual-rail" power supply, where "rail" means a connection to a power supply. One is positive (relative to ground) and the other is negative, the same voltage but opposite polarity. See? Simple.

Second, an operational amplifier (op amp) is a very high gain voltage amplifier. How high gain? Usually something around 100,000, or about 100 dB. Its symbol is a triangle with two inputs (+ and -) on the wide side and output on the point. The output voltage is the difference between the + and - inputs, multiplied by that enormous voltage gain. Why such a large gain is useful will become clear later. That's not hard either, is it?

Next, a junction field effect transistor (JFET) is a solid state device that behaves very much like a pentode vacuum tube. Its input is called the gate. The other two terminals are two ends of a semiconductor channel, they are called the drain and the source. The voltage on the gate relative to the voltage on the source controls the current from drain to source. For a given gate voltage the drain current is nearly constant, independent of the voltage difference between the drain and source. Again, it's a simple device. Even a child can understand that.

A child needs to be old enough to understand multiplication and division for the last thing: Ohm's Law. It says that if a current flows through a resistance, the voltage V across that resistance R is the current I times the resistance. V = I x R. By about third or fourth grade, that child has learned enough to be able to rearrange that as R = V/I and can calculate a resistance given voltage and current measurements, or I = V/R to calculate how much current will flow. (I hope they still teach this!)

And those simple things (plus a few more details to refine and clarify them) are enough to explain the input buffer and hum canceller parts of the Series preamp.

The "J" in JFET stands for junction. This is because the gate and the channel (to which the drain and source connect) are defined by a semiconductor junction. This has the characteristic that it only allows current to flow in one direction. In a JFET, current flowing from the gate to the channel is not useful for amplification, so a circuit is configured so that voltage between gate and source is such that this never happens. When the voltage takes the opposite polarity, negligible current flows between the gate and the channel. What happens (conceptually) is that the electric field created in the channel by the gate voltage "pushes" the current from drain to source to the far side of the channel; eventually, there's no room for any current to flow at all (this is called pinchoff). This is how the gate voltage controls the drain-to-source current.

A JFET has two very important characteristics defining the limits of its useful operation. One is the saturation drain current (IDSS). This is the most current that will flow from drain to source when the gate-source voltage is zero, no matter what the voltage (up to some specified limit, beyond which damage may occur). The other is the gate-source cutoff voltage VGS(off): if the voltage exceeds this, no drain current flows at all.

Now it's possible to explain the input buffer, consisting of nothing more than two JFETs in series. I had to stare at that a bit before I made sense (I think) of it; this is how I see it. The gate and source of one JFET are connected together to the - rail; that means the drain current must be IDSS. The drain of the other one is connected to the + rail, the gate is the input signal from the pickup, and its source is connected to the other JFETs drain.

What I finally realized is that those two JFETs are a matched pair. (If you find a picture of the old PF-6 circuit board, they are the little black "water tower" things.) They are made at the same time on the same tiny chip of silicon, and have very nearly exactly the same characteristics - in particular IDSS. That means that when the input voltage is zero (no signal from the pickup) the gate-source voltage of that JFET must also be zero. As the input voltage at the gate changes, the voltage at the source changes to match it. Because the gate-source voltage remains zero, Ohm's law tells us that no current flows - so the input buffer places no load on the output of the pickup and thus doesn't affect its frequency response. Contrast this with a passive bass, where the value of the volume pot (and in some circuits, the volume setting) change the sound of the pickup significantly.

One more thing: the Series instruments are usually used with an external power supply. They can run on batteries, but have a reputation for having quite an appetite for fresh ones. I think this is at least partly due to the JFETs operating at IDSS all the time. (Exercise: how many high-quality 9V alkaline batteries can you buy for the price of a DS-5 power supply?)

Edits: fix a few typos visible in the light of morning.

Wow, that's a lot for tonight, and a lot for a child to absorb ;). Sleep on that, ask me about anything that's unclear... then we'll be ready to move on to op amps and how they are used to control the gain and the hum cancellation.
 
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