Burstboy
Dr. Nick, 'Hi Everybody'
- Joined
- Aug 9, 2001
- Messages
- 3,136
I just received #0012. I will tell you a bit about it from the info given. The first feature, which is great, is the battery hatch that is hidden in the back. What a nice surprise. The pedal itself is about the size of a BOSS pedal, so it's small for a Fulltone.
This is from Mike:
"The Distortion pro is designed to cover the huge gap between Overdrive and out-and-out Fuzz. The DP-1 delivers these Hi-Gain sounds with a great amount of flexibility in a very natural, amp-like manner, reacting to your pick attack and cleaning up well when the guitar's volume knob is backed off. This flexibility is further enhanced by the inclusion of some very powerful tone-shaping knobs, all of which are interactive, allowing the user to create his own signature sound. The DP-1 also works well with wah's, Univibe types, and ALREADY distorted amps.
Knobs:
-Volume
-Distortion: determines the overall clipping in the early stages of the circuit.
-Saturation: an integral knob for dialing in the desired amount of "tube feel", additional clipping, and sustain. Interactive with the Distortion knob.
-Resonance: Shaped the Bass frequencies.
-Voicing: Not a standard Midrange control in that it not only actively varies the overall frequency (low-mid, mids, hi-mids, treble) but it also alters the distortion in these frequencies.
-Highs: works with voicing knob...allows unusual signature settings
....pilot light, TRUE-BYPASSING, 9-volt DC port, battery hatch
-one button
Browner Sound: for late 60's Cream-era Clapton tones...humbuckers through 100 watt plexi amps. Also, adjust the voicing knob for a smoother violin-like Eric Johnson or Alan Holdsworth tone. Increase the Resonance knob to similate a 4x12 cab if using a combo, raise the voicing and distortion for Brian May.
Jimmy Page "Heartbreaker" tone:
Page always recorded with such a crunchy, bass-shy tone. By itself, it was odd, but it fit like a glove with the rest of the track. You can back off the Saturation a bit to get a faster attack on the strings...hence a crunchier, less compressed sound. A little tweak here and you've got the AC/DC rhythm.
Cutting Blues Tone: very SRV-like...he describes this in detail as well.
My thoughts? I have only played through it for about 15 minutes, but it is VERY clear, quiet, easy to use, with a wide range of tones which are easily achievable. It is VERY crunchy and distorted BUT NOT MUDDY, which I was afraid of since I was playing it through an already distorted modified JCM800. It will work incredibly well as a distorted boost during solos, and great as a fat-bottom end crunch. It's a Distortion, Overdrive, Clean Boost, and Fuzz all in one extremely small package....worth a test drive.
BB
This is from Mike:
"The Distortion pro is designed to cover the huge gap between Overdrive and out-and-out Fuzz. The DP-1 delivers these Hi-Gain sounds with a great amount of flexibility in a very natural, amp-like manner, reacting to your pick attack and cleaning up well when the guitar's volume knob is backed off. This flexibility is further enhanced by the inclusion of some very powerful tone-shaping knobs, all of which are interactive, allowing the user to create his own signature sound. The DP-1 also works well with wah's, Univibe types, and ALREADY distorted amps.
Knobs:
-Volume
-Distortion: determines the overall clipping in the early stages of the circuit.
-Saturation: an integral knob for dialing in the desired amount of "tube feel", additional clipping, and sustain. Interactive with the Distortion knob.
-Resonance: Shaped the Bass frequencies.
-Voicing: Not a standard Midrange control in that it not only actively varies the overall frequency (low-mid, mids, hi-mids, treble) but it also alters the distortion in these frequencies.
-Highs: works with voicing knob...allows unusual signature settings
....pilot light, TRUE-BYPASSING, 9-volt DC port, battery hatch
-one button
Browner Sound: for late 60's Cream-era Clapton tones...humbuckers through 100 watt plexi amps. Also, adjust the voicing knob for a smoother violin-like Eric Johnson or Alan Holdsworth tone. Increase the Resonance knob to similate a 4x12 cab if using a combo, raise the voicing and distortion for Brian May.
Jimmy Page "Heartbreaker" tone:
Page always recorded with such a crunchy, bass-shy tone. By itself, it was odd, but it fit like a glove with the rest of the track. You can back off the Saturation a bit to get a faster attack on the strings...hence a crunchier, less compressed sound. A little tweak here and you've got the AC/DC rhythm.
Cutting Blues Tone: very SRV-like...he describes this in detail as well.
My thoughts? I have only played through it for about 15 minutes, but it is VERY clear, quiet, easy to use, with a wide range of tones which are easily achievable. It is VERY crunchy and distorted BUT NOT MUDDY, which I was afraid of since I was playing it through an already distorted modified JCM800. It will work incredibly well as a distorted boost during solos, and great as a fat-bottom end crunch. It's a Distortion, Overdrive, Clean Boost, and Fuzz all in one extremely small package....worth a test drive.
BB
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