Recent content by thunderaxe

so this is a nut i've been trying to crack for a while. almost every approach i've seen published has taken the signal from pin 7 -- the square wave output of the op amp -- as their starting point. some use a capacitor to smooth it out but the problem with that is that the capacitor's value is...

since the "throb" LED takes its input as pin 7, the square wave output of the op amp. am i correct in assuming that it will only blink in time with the rate and not ramp up and down like the triangle wave output of the LFO? because if so i think i have something valuable to contribute and not...

did you end up doing the PH-1? i'm working on the PH-1R right now and would love to hear your insights

and another question: as i understand it it's standard best practice so isolate the power supply for the LFO from the rest of the circuit so as to avoid crossover "tick", and yet in the phase 90 and PH-1R that isn't the case, nor have you felt the need to do so in your pretty extensive redesign...

could you clarify what the COLOUR (appreciate the non-americanized spelling on that one btw) control does? it seems like it replaced the RANGE trimmer, which from the name makes me think it shifts the sweep toward the treble or bass end? am i right?

^this is the RG keen panner circuit i was referring to in my posts. if you download his .pdf on it you can understand how and why the circuit works and adapt it for your purposes

this method will work but it's taking the square wave output of the op amp so the LED will only blink in time with the rate, it will not swell or throb or ramp the way the LFO's triangle wave output does

i've been thinking about how i can get better headroom out of this pedal. the clipping cap is allowing a lot of bass to pass through the clipping stage at full volume and if it isn't clipping the op amp at that stage, it definitely will if it's boosted in the tone section. and as much as i do...

for me, what i'm chasing in a big muff is that creamy siamese dreamy sound, but with greater clarity and articulation, and the ability to play complex chords without it turning into mud. i know that might be impossible and those might be diametrically opposed goals, but i've found a couple of...

okay, so before i get my PCBs printed i wanted to build a prototype to test the circuit in an actual stompbox, so i made a hack job of the original circuit on its PCB and the tone section, clean buffer, and output stage on vero. it's ugly, but it works. except for one thing -- with the VOLUME...

i've put a clean blend on a big muff style pedal, and the way someone else described it to me -- and i agree with them -- is that it doesn't really sound so much like you're mixing a clean signal back in with the dirty signal, but rather just that you get your transients and dynamics back. and i...

i'm designing the PCB right now, and i don't have a buffered VREF, but i do have a 100uF filter cap for VREF, and i also made sure to route it so that the VOLUME and CLEAN pots that use VREF as signal ground (see schematic in the previous post) are on a separate track than any of the...

i used electros when trying out different caps and they all worked just fine, and the original op amp big muff used a 4.7uF electro. any reason you'd want to limit yourself to box films?

the potential downside to the clipping cap is that without the diodes to keep the level in check, at a certain gain level the low end will start clipping your op amp. this is mitigated by the cap right before the GAIN/BUZZ control, which forms a variable high-pass filter that really only comes...

it didn't occur to me either until i saw that the keeley moon pedal (the successor to the rotten apple) has one. as soon as i tried it out it was just like... oh there it is, everything i've been trying to achieve through other more complicated means...