Do i change the 220n c12 to 47n or 470n? Thanks!
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Show posts MenuQuote from: LaceSensor on December 20, 2011, 11:24:41 AM
I dunno, just thats what it does in the rebote unless i am imagining things.
It goes to the lug 2 of the Repeats pots (which is 20k). I think typically its a switch of something like 11k and 15k.
But that said, apparently the DBD is less like the rebote so I would go with Brians suggestions over mine.
Quote from: LaceSensor on December 18, 2011, 09:12:30 PMnot yet. havent tried it yet.. might try as well. what resistor value would you recomend? thanks!
Have you tried adding a resistor in series with the feedback pot and making it switchable?
Quote from: madbean on December 19, 2011, 12:36:44 AM
You can try lowering R15 from 5k1. Socket it for experimentation.
Quote from: jimmybjj on October 25, 2011, 01:10:57 PM
Pretty much on point, I think
http://www.diystompboxes.com/smfforum/index.php?topic=92976.0
Quote from: madbean on November 28, 2010, 05:05:45 PM
Well, it's an easy question but fundamental to understanding how to build effects, so it's good that you asked!
You can always substitute linear for audio and vice-versa. This will never cause your effect to become inoperable. What it can change, though, is how a control responds. There are two reasons we use audio tapers. One is that an audio taper attempts to mimic how the human ear responds to small changes in volume. We hear perceived changes in volume on a logarithmic (ie exponential) scale rather than a linear one. So, rather than creating a 1:1 correspondence between resistance on the pot wafer and rotation of the pot shaft, the audio taper breaks it down into two parts. The first part uses more resistance in the first half of the rotation and the second part uses less. This means as you turn the pot up halfway, you have traveled a little more than half the value of the pot's total resistance. Turning it up further means you use up the remaining resistance in less space: this is close (although not exact) to a logarithmic scale.
The second reason we use audio taper pots is that with some controls, it is better have more control over one half of a pot than another. For instance, in a Fuzz Face, the standard pot for the fuzz control is a 1kB. However, a common complaint with this effect is that all the Fuzz bunches up at the very end of the control. In this case, using a reverse-audio taper (the opposite relationship of what I described above) evens it out. Less resistance is used in the first half of the control, and more resistance is used in the second. This gives you greater control over small changes in Fuzz, which makes it a much more useful control overall.
So, using a linear as a sub for audio can change how the control responds. It could be unoticable, or it could be bothersome, depending on the set up you are using. Note that you can turn a linear pot into somewhat of an audio pot by using an additional resistor. By placing a resistor across lugs 3 and 2 of a linear pot, you are in effect reducing the overall resistance on one half of the taper (remember that putting resistors in parallel reduces their overall value). So, if you took a 100kB pot, and put a 47k resistor across lugs 3&2, you have essentially shifted a larger portion of the resistance to the first half of the taper---i.e. an audio pot.