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04-10-2024, 11:57 PM
Hi Guys
Resistors of the same power rating come in all different sizes.
If you look at the guide on our site: "About Our Kits", you will see that we use only metal-film resistors, except where significant power must be dissipated, in which case we use metal-oxide or wire-wound. The small metal films are 600mW and are tech that has been around since the 1960s. These are 25-50ppm temp coefficient, 1% tolerance, so very stable.
The caps are generally plastic films, the red ones are polypropylene. Electros are long-life types.
Having the pots on a common board with each other, let alone with the rest of the circuitry, is not a good choice for a kit unless a drilled chassis is also available. We keep things flexible so hobbyists can customise the layout to suite their own aesthetic and requirements. We chose to have the tube sockets on a common carrier with the Rs and Cs to control parasitic elements and have unit-to-unit consistency, despite variability of wiring to the pots and jacks from one build to another. We can also follow Galactic Grounding methods for lowest-noise and best note articulation.
D-PRE is based on Howard Dumble's topology, shared with the Mesa Mk1. TUT6 explains how this arrangement evolved from Fender reverb amps and the basic form is straight-forward. There are Dumble fanatics that have catalogued as many available variants of values as they can find, naming them, numbering them, etc. keep in mind that Mr. Dumble tweaked each amp for the specific customer. If that player later sold it, then it is the luck of the draw if the next owner is getting exactly the tone he expected?
That means that D-PRE is like all the other D-samples out there and all the various clones inasmuch as it is just a foundation and one can tinker with it how one sees fit. This is the case with every tube circuit ever built for musicians. D-PRE comes with a set of values that may or may not have been catalogued, but its tone is in the range as reported above.
The original circuit did not include as many user Level controls as D-PRE does, as half the examples of HDs were modified fenders and Marshalls. TUT6 illustrates this and discusses ways to modify the circuit. The topology has limitations in its basic form as the Clean channel has to be set up before the OD section. As is typical of early-EQ circuits, the EQ is more effective for the clean output than for the OD output. In later assemblies, Howard added EQ just for the OD, which goes a long way towards voicing the OD for tones suitable for rock.
Have fun
Resistors of the same power rating come in all different sizes.
If you look at the guide on our site: "About Our Kits", you will see that we use only metal-film resistors, except where significant power must be dissipated, in which case we use metal-oxide or wire-wound. The small metal films are 600mW and are tech that has been around since the 1960s. These are 25-50ppm temp coefficient, 1% tolerance, so very stable.
The caps are generally plastic films, the red ones are polypropylene. Electros are long-life types.
Having the pots on a common board with each other, let alone with the rest of the circuitry, is not a good choice for a kit unless a drilled chassis is also available. We keep things flexible so hobbyists can customise the layout to suite their own aesthetic and requirements. We chose to have the tube sockets on a common carrier with the Rs and Cs to control parasitic elements and have unit-to-unit consistency, despite variability of wiring to the pots and jacks from one build to another. We can also follow Galactic Grounding methods for lowest-noise and best note articulation.
D-PRE is based on Howard Dumble's topology, shared with the Mesa Mk1. TUT6 explains how this arrangement evolved from Fender reverb amps and the basic form is straight-forward. There are Dumble fanatics that have catalogued as many available variants of values as they can find, naming them, numbering them, etc. keep in mind that Mr. Dumble tweaked each amp for the specific customer. If that player later sold it, then it is the luck of the draw if the next owner is getting exactly the tone he expected?
That means that D-PRE is like all the other D-samples out there and all the various clones inasmuch as it is just a foundation and one can tinker with it how one sees fit. This is the case with every tube circuit ever built for musicians. D-PRE comes with a set of values that may or may not have been catalogued, but its tone is in the range as reported above.
The original circuit did not include as many user Level controls as D-PRE does, as half the examples of HDs were modified fenders and Marshalls. TUT6 illustrates this and discusses ways to modify the circuit. The topology has limitations in its basic form as the Clean channel has to be set up before the OD section. As is typical of early-EQ circuits, the EQ is more effective for the clean output than for the OD output. In later assemblies, Howard added EQ just for the OD, which goes a long way towards voicing the OD for tones suitable for rock.
Have fun
