MXR's Randy Rhoads Distortion+ pedal

Polka dot was limited run. The Concorde isn't. But the new one's don't have the 70's chips & diodes, thats where the majic is.
 
Polka dot was limited run. The Concorde isn't. But the new one's don't have the 70's chips & diodes, thats where the majic is.

We will have to disagree on this. You can still buy the OG diodes for a reasonable price, and the opamp in a circuit this crude doesn't make too much of a difference. If you lifted the diodes, maybe, but any difference in slew rate is going to get clipped into nothingness by the germanium clipping diodes.
 
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We will have to disagree on this. You can still buy the OG diodes for a reasonable price, and the opamp in a circuit this crude doesn't make too much of a difference. If you lifted the diodes, maybe, but any difference in slew rate is going to get clipped into nothingness by the germanium clipping diodes.


I have both an old-school ROSS distortion and a D+, and while they share the same circuit, they sound distinctly different. One of the differences, from what I’ve read, is the value of the input capacitor. The ROSS sounds tamer with less gain—when fully dimed, it’s about as aggressive as the MXR at around 9 o’clock. I also have had both a non-LED vintage D+ and a reissue D+, and the tonal gap between those two is even more noticeable.

The non-LED D+ has a fuller, smoother sound with more mid-low presence, giving it a warmer and more balanced character. The reissue, on the other hand, is brash, very gritty, and lacks mid-lows, which makes it sound thinner. It’s not just a subtle difference—the feel and response are completely different. I once bought a reissue to replace my original ’80s D+, but after a week I returned it and paid extra for a used vintage unit instead.
 
I have both an old-school ROSS distortion and a D+, and while they share the same circuit, they sound distinctly different. One of the differences, from what I’ve read, is the value of the input capacitor. The ROSS sounds tamer with less gain—when fully dimed, it’s about as aggressive as the MXR at around 9 o’clock. I also have had both a non-LED vintage D+ and a reissue D+, and the tonal gap between those two is even more noticeable.

The non-LED D+ has a fuller, smoother sound with more mid-low presence, giving it a warmer and more balanced character. The reissue, on the other hand, is brash, very gritty, and lacks mid-lows, which makes it sound thinner. It’s not just a subtle difference—the feel and response are completely different. I once bought a reissue to replace my original ’80s D+, but after a week I returned it and paid extra for a used vintage unit instead.

I've had several examples of non-Ge pedals where the reissue was harsher even though there weren't any major design changes. DS-1, Rat, Script 90. My only theory about this is that looser parts tolerances tend to disproportionately favor the reduction of high frequencies. This isn't some far fetched idea either, it's really easy to accidentally cut treble with high tolerance parts, bass and mids are a lot more forgiving.
 












Tone is in the semi-conductors dude. You stick to your "slew-rate" hypothosees and i'll stick the my hammer anvil & stirrups at least while they're working.
 
I was/am a huge RR fan. It was the Distortion/Jazz combo in his Jackson's that led me to Seymour Duncan when I wanted humbuckers in my Bullet S3.

Back on topic, the D+ is one of the reasons I am not that big on pedals. I bought one but it never sounded that great to me. Although I may have been stuck comparing it to the TS the other guitarist in the band was using. I also do not recall the D+ getting much love in the 80's. It could have been the part of the country I lived in, but everyone around me was using a TS.

I anticipate always being a RR fan, but likely will never get another D+.

If anything I need to get my crap out of storage and unbox that Diamondhead I bought week 2 as I liked the tone I was hearing in the demos.
 
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By the mid 80s, the production on the Ozzy albums was so overdone that it didn't sound like a band to me. But Dio suffered the same fate, really. I like the first 3 or 4 Dio albums, but he lost me after that.

Dio made an album after Last in Line?
 
Yeah, if you are a nerd who likes to know how slew rate effects the Rat, here's a link about it:

https://share.google/lKVWrsGuMOVeG2tWL

He summarizes it all at the end of the first post if you're not into reading. BTW the slew rate on a Rat can be raised or lowred with a single capacitor if you are into experimentation.

When Brian and Josh tell you the op amps don't really matter, I tend to believe them. As a Psychologist who spent some time in Sensation & Perceoption labs (as an instructor, and knowing what I know about pots and industrial variability - I REALLY believe them.

For the record - I am not a D+ guy, or a DS1 guy even. Have they changed over time? Sure. Can people notice it - probably some. Is it enough for me to care in the mix, I doubt it.

And returning to the main point: MXR are GOLD DIGGING WHORES!!!!!!
 
I often wonder if he had access to more modern amps and pedals if his tone would have changed over the years. He didn't have high gain ENGLs or anything like that then.

I wish they could re-amp all his old tracks thru an ENGL and some decent speakers..... Man what a phenomenal player he was!
 
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I wish they could re-amp all his old tracks thru an ENGL and some decent speakers..... Man what a phenomenal player he was!

Probably super simple these days with AI, even though they most likely do not have a direct track. But isn't part of the genius and vision what Randy thought his guitar should sound like? I know that if my band re-recorded my tracks to sound like a JCM800 boosted with a TS or a Rockman, I would not be too thrilled. They are great tones, but they are not what I hear when I hear our music.

Disclaimer: I am not claiming to be a genius or equating myself with Randy.
 
Sacred Heart was good. Dream Evil was even a little better. Some really catchy stuff on those albums.

Dream Evil is probably his second best solo album. I'd take it over Last in Line any day, and I have no idea why so many people dismiss it, except perhaps for the fact that a lot of people had moved on to thrash when it was released.
 
Dream Evil is probably his second best solo album. I'd take it over Last in Line any day, and I have no idea why so many people dismiss it, except perhaps for the fact that a lot of people had moved on to thrash when it was released.

I did like it when it came out, like Sacred Heart. Neither hold up. Knowing how talented Dio has been in his career, why he settled on writing mid-tempo 80s metal ballads, I'll never know.
 
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