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Capacitor size

I bought a pair of capacitors off Amazon, needing only one for a mod project I'm doing to turn an active bass passive. I got .047 uf orange drop caps but I was surprised at how big they are when I opened the package (Amazon's pictures do a poor job of showing the relative size of things like this).

Available space won't be a problem - I'm taking out a preamp and a battery so there will be room to spare - but are there any other reasons a cap this size will cause problems? Will it be a challenge to solder this to the back of the cap?
PXL_20230517_015431881.jpg
 
The reason to use an Orange Drop is because Sprague is a good company with a superlative reputation for quality control and consistency. Yes, I have used green chicklets also. They all work well. Capacitance is capacitance. It's just that when I purchase an Orange Drop, and as above I get the smallest voltage rating available since a pickup puts out less than a volt, even hot passives, so I have no problems with the capacitor's physical size fitting the control rout. So I know that when I purchase one, it will be the value stated within the tolerance stated. I can't say this without reservation for chicklets, brownies, and other lesser expensive capacitors. This goes the same for Mallory and the other reputable manufacturers as well.
 
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I wanted to test this "a cap is a cap" story, so I A/B/C tested a green chiclet, a brown chiclet and a Sprague Orange Drop, all .047. The tester was the same bass, strings, amp settings etc for all. The Orange Drop DID sound better in that it gave a smoother and more controlled roll off of the treble frequencies.
 
I wanted to test this "a cap is a cap" story, so I A/B/C tested a green chiclet, a brown chiclet and a Sprague Orange Drop, all .047. The tester was the same bass, strings, amp settings etc for all. The Orange Drop DID sound better in that it gave a smoother and more controlled roll off of the treble frequencies.

Did you measure their actual capacitance before testing them? With a manufacturing tolerance of + or - 20%, you could have had three capacitors with three different actual values.
 
I may have been ambiguous earlier. What I meant to say is that Sprague, Mallory, and the other similar manufacturers have good quality control, reliability, and reputation. I can't say that about chicklets, brownies, or other lesser expensive capacitors.
 
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I regularly test capacitors of all prices and the cheapest ones have the same tolerance as the expensive ones. Large caps with thick leads are simply easier to handle and less flimsy.

Same goes for expensive CTS pots over Alpha. There's a reason why some people pay a premium for pots that have been tested and guaranteed to be right on the value. Some Les Paul players buy 550k pots to make sure the value is never below 500k.

For resistors it's the opposite, cheap metal films have a 1% tolerance, expensive carbon comps 5-10%.

No reason to use expensive parts in guitars as the low voltages mean there's no difference in sound. Fender used ceramic disc caps - the cheapest and worst for audio - back in the fabulous 60s, when everything was "better".
Tone caps in particular can be anything because all they do is dump high end to ground, you can't hear a note going through them. Expensive tone caps are one of the biggest scams around. Recently a company called 920D was caught selling a standard cap wrapped in some material to make it look like an expensive cap. Double scam.

Of all the myths concerning parts in guitars and pedals the only one I've been able to verify as true is that some fuzz circuits do sound different (and IMO better) when powered by a carbon-zinc battery than by a power supply.
 
1- Sprague hasn't made the orange drop capacitors since 1992, when they sold the line to Vishay, who then sold it to Cornell-Dubilier in 2012. The 'SBE' on the pic in post #5 indicates a Vishay part.

2- Parts bought from legitimate electronics distributors (DigiKey, Mouser, Arrow, AvNet, Newark, Tayda are some I've used) will reliably be within specification. Virtually all electronics parts are tested before shipping and any manufacturer who cannot ship almost 100% good product will be dropped by the distributors.
Parts bought off Amazon or eBay may be fine, or could be parts that failed testing, or are from pirate production runs, or counterfeit/misrepresented (like selling Shottkey diodes as germanium).

3- Capacitors can be rated in quality with measurements of their dielectric absorption, dissipation factor, and temperature coefficient. To greatly simplify, these are measurements of how the operation of real-world capacitors differs from that of an 'ideal' capacitor.

4- Ceramic disc caps were used initially because that was what was available when Fender began making basses.

5- In a typical passive bass circuit, the signal going through the capacitor is shunted to ground and the DA and DF of the cap don't affect the output signal at all. Capacitance is capacitance there.

6- Ceramic disc caps do have poor DA and DF, but more importantly for basses they often have very wide tolerance ranges (+20%/-80% is common), poor temperature coefficients and can be microphonic. So the capacitance value may not be what you want, it may change greatly when the stage lights hit you, and it may make noise when you jump off a speaker cabinet.

7- The orange drop caps are legitimately quite good capacitors but audio was not a consideration in their design and they have an outsized reputation among musicians. They were the first of the modern film capacitors to appear and were designed for motor controls, such as within air-conditioning units. That's why they have voltage ratings of 100-600 volts, why they're so large.
In a standard passive high-cut RC filter like in a bass, any of the film capacitors (mylar/polyester, metalized polyester, polystyrene, and polypropylene) will give you the same performance and are better than a ceramic disc type. Orange drops are polypropylene (which has the best DA and DF and are inherently the largest and most expensive to produce) but a 25v rating would be more suitable.

8- There seem to be a lot of people making money selling myths, ju-ju, and magic beans to musicians. With a little bit of ju-ju and repackaging, they can sell a part bought for $1.38 ea in hundreds for $6.53 ea (actual example) to musicians who don't know any better. It's our own fault when we reject science and fall for the scams.
 
I wanted to test this "a cap is a cap" story, so I A/B/C tested a green chiclet, a brown chiclet and a Sprague Orange Drop, all .047. The tester was the same bass, strings, amp settings etc for all. The Orange Drop DID sound better in that it gave a smoother and more controlled roll off of the treble frequencies.

I tested an orange drop with a Nichicon poly film and heard no difference. The only difference the Nichicon was a lot smaller and only 50 cents. The orange drop was bigger and cost $2. I never understood why those Nichicons are slept on. You get superior quality for a low price. Another great cap is Panasonic and they're only 40 cents
 
8- There seem to be a lot of people making money selling myths, ju-ju, and magic beans to musicians. With a little bit of ju-ju and repackaging, they can sell a part bought for $1.38 ea in hundreds for $6.53 ea (actual example) to musicians who don't know any better. It's our own fault when we reject science and fall for the scams.

Remember what WC Fields said..
 
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I wanted to test this "a cap is a cap" story, so I A/B/C tested a green chiclet, a brown chiclet and a Sprague Orange Drop, all .047. The tester was the same bass, strings, amp settings etc for all. The Orange Drop DID sound better in that it gave a smoother and more controlled roll off of the treble frequencies.
Was the measurement of the frequency roll-off done with a good quality oscilloscope?
 
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[QUOTE="6- Ceramic disc caps do have poor DA and DF, but more importantly for basses they often have very wide tolerance ranges (+20%/-80% is common), poor temperature coefficients and can be microphonic. So the capacitance value may not be what you want, it may change greatly when the stage lights hit you, and it may make noise when you jump off a speaker cabinet.

8- There seem to be a lot of people making money selling myths, ju-ju, and magic beans to musicians. With a little bit of ju-ju and repackaging, they can sell a part bought for $1.38 ea in hundreds for $6.53 ea (actual example) to musicians who don't know any better. It's our own fault when we reject science and fall for the scams.[/QUOTE]

Point 6 made me laugh, hard, and with my 60+ years a not very Rock'n'Roll picture went through my head...

A lot of the Ju-Ju comes from the E2 world, especially from those with Gibsons (and to a lesser degree for guitar amps with old way out of spec drifted caps - my hair stands on end when some insist on installing or keeping old leaky caps & charcoaled carbon resistors in the power section for their "tone"). Many will e.g. buy old drifted oil in paper or bumble bees as tone control caps for ridiculous prices, and swoon. If they would measure them, I believe many would find they simply prefer the drifted 40+ nf to the labeled 22nf for frequencies shunted to ground.

Ceramic caps have improved since the 60s, but I still prefer poly caps with low tolerances and in the 100-200v range for size reasons, higher they tend to get too large ... nice thick long leads, easier to solder, less sensitive to temperature & humidity. Tip: Buy them at an electronics shop instead of a music shop & pay 200%-500% less.

-Henry
 
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Note, just checked, the last batch of 68nfs & 100nf poly caps I bought were 22 cents a piece, they happen to be axial +/- 10% (all measured 1-2%) Vishays rated at 250v (I wasn't going by the brand name) ... they are also quite compact and have good long solid leads... so 100-300v would probably have been a better range above.