Quick Shipper. Very Good. Add to Cart Make an Offer. Show More. Follow this product to see new listings in your Feed! Follow this Product. If you want a little more, the mod also includes the addition of a Phat switch employs an immediate bottom end boost for the utmost in presence.
By continuing to use Reverb, you agree to these updates, and to our cookie policy. Learn More. Listings Price Guide Reviews. Featured Listing. Buy Used. Very Good. If you want a tighter crunchier type of tone, make the cap smaller. If you plug in these values to my calculator at indyguitarist. BD-2 tonestack left and Traditional Fender tonestack right After this first gain stage, we go through what first looks like an odd tone filtering stage.
It is actually a Fender-type 3-band tonestack with fixed values with the treble on 0 and the bass and mid on This is a really cool thing to mess with if you want to go hog wild, because you can add trim pots in place of R37 use a k trim pot for treble , R50 use a 1M trim pot for bass , and R51 use a 25k trim pot for mids. When you are replacing these resistors with trim pots, just connect one hole to pin 1 on the trim pot, and the remaining resistor hole to pin 2 on the trim pot.
Leave the third lug untouched. The BD-2 EQ before clipping looks like this due to this filter: Notice how there is a ton of bass present? A good mod at this location is to make R50 a ohm, and change R36 to a 47k. That will give you a much flatter EQ response. After that the signal is clipped by diodes connecting to ground D7, D8, D9, D10 with two diodes on each side and fed into another discrete opamp. This opamp is nearly identical, except the frequency response is a little different.
There is more gain in the bass set by R34 and C24, frequency is about 72hz but it works exactly the same. C17, R25, and C19 form both a highpass and low-pass filter, which will get rid of some high harmonics about 5k or so, as well as to get rid of some of the bass content that was created by boosting the lows so much previously.
View full-sized, printable schematic From here, the signal goes through a fairly standard tone control very similar to that of an old Fender tweed Princeton. It acts as a high-pass filter with the tone knob turned up, and a low-pass filter with the tone knob turned down. So, you increase the highs as you turn up the tone, and lose some bottom end once you are past about halfway or so.
Changing C will change what high frequencies are filtered with the tone control up, and changing C will change what frequencies are filtered with the tone control turned down. The volume control is next before going into the next stage—the EQ stage. The next stage is a simulated inductor, which is boosting the bass content at about hz or so by 6dB. It also does a little bit of filtering as well as help to output a low impedance signal.
This is probably due to varying degrees of harmonics being ever so slightly clipped. If you want to mess with the EQ, there are several ways to do it.
You can try changing the cap sizes of C9 and C16, or changing R Changing the caps can get you many more frequency options just by subbing in various values. Increasing the resistance lowers the frequency and decreasing it raises the frequency to a point. The new clipping section adds second order harmonics for a smoother more natural drive. Bass response is increased and tightened up for solid and responsive tone. From twangy percussive snap-to warm, bluesy surprise!
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