There is no tone knob, so you can't roll off the high end to make it smoother sounding. I used this circuit as my learning tool. With the drive backed off to 1k from 50k the hump is flattened out over a broader frequency range from 20 to 100hz with a resulting flatter overall response across the audio range. There are some nice crunchy tones available from 10 to 2 on the drive control. It came out in the 70s, so a lot of famous people used it over the years. I hope to goodness you aren't using a 4558 plugged into a 741 layout or vice versa.
In the hour or so I was thinking about it someone beat me to the punch. Dweezil told us that he first heard Randy Rhoads—a player he looked up to—talking about the stompbox in interviews, inspiring Dweezil to pick one up himself. Like another poster said, sometimes it can be a bit bright because there is no tone control. It does not feature a Tone control. The original uses a 10k output pot, but you will get much more output level if you use a 50k or 100k pot instead. The main unit was a 2U with separate controls for each effect.
Dunlop has created new models in addition to the original lineup, including signature pedals such as Eddie Van Halen Phase 90 and Flanger, and Zakk Wylde's Wylde Overdrive and Black Label Chorus. The circuit should sound at least pretty good, hard to tell for sure what your'e hearing, but the tone should at least be satisfyingly distorted with some increase in volume over unity, even using Ge diodes for clipping the output. Here''s the stock circuit: The signal enters where C1 and C2 intersect. There are several versions of the circuit with some variation in component values and types. There are also two finishes with the older ones being smooth and later versions have the rough texture like current Dunlop pedals.
Then you'll have the gain squared. These original pedals in the series included the Dyna Comp, Distortion +, Phaser, Stereo Chorus, Stereo Flanger and Time Delay. The humpy shape of the graph is explained in the section. Pumps up the volume and gives you endless tonal possibilities. Exactly the kind of reply I was hoping for. In the image above, the output signal voltage level is shown sweeping the volume potentiometer. When mixed back in with the first circuit the hump is still prominent.
At higher settings it's not particularly smooth so if that's not your thing you won't like it. . This leads itself to a bit of a fuzzy compressed tone with not much volume left over after being clipped. It's not the most sophisticated thing, it has a certain grunginess and grit to it that I rather like. Other mythic op-amps like the is even slower 0. C1 is a low pass filter, throwing some highs to ground pre-clipping. The circuit is so simple that if you change a component type, it changes the sound.
The input, output and power jacks were all moved to the top of the case to allow a tighter grouping on the floor, or pedal board. I'm sure the Whirlwind version is probably great for those who had an original D+ and loved it. Another poster said it sounds brash, which I agree, it does. I have maybe 7 iterations of that particular pedal. It's just a standard diode clipper. But the 2 diodes D1 and D2 explained in the next section will limit and clip the guitar waveform when it reaches 700~800mVpp and before the power supply rails get into the mix. This pedal is perhaps best known for its crunchy sound that was featured by in his work with.
These were all similar to Roger Linn's drum machine. Then I tried an open box dist + they had and was surprised how great the thing sounded. It is required that you write at least a short first impressions, review, or thoughts on what you are sharing in the comments of link posts. As mentioned before in the Clipping Stage, this 1nF cap will remove the harsh harmonics from the clipping action, resulting in a smoother distortion. He goes on to talk about how, after picking up his first pedal, he realized that actually getting the Randy Rhoads tone he was looking for was going to be a bit more complicated and nuanced than he'd originally thought. Whatever sounds best is the right order for you so experiment! To be clear, I'm saying remove the res ckt completely.
C2 allows mainly mids and highs through into the clipping section. The tone response of the Distortion Plus features a mid hump around 1. What did you use for diodes? It is my main distortion. Breaking this rule results in a ban. So what are people's opinions of these two pedals especially in comparison to each other? To put it in context, other modern bipolar op-amps like the 4558 have a slew rate of 1. I second the advice to double check all wiring and soldering. If it's a little distorted, then that's good.
Usually, the value of this R2 resistor is 10x bigger than the resistor that creates the virtual ground R6 and R7. The main complaint is the bass heavy qualities at higher drive settings where the resonance control adds too much even when set very low. Bob Mould of Hüsker Dü also used the Distortion + as part of his trademark guitar sound. At least I can return it. I've only used the vintage ones. D1 and D2 are 1n34a type Germanium diodes in the stock version.