im talking to Tom Cram about this idea, he responded that he had never thought of it that way before & im probably on to something.

Tom Cram : DOD
[email protected]

DOD Carcosa

The Tone dial is a Rangemaster,

The Bias in the Eleven-One clock position can actually pick up sounds like a piezoelectric (tap on the dial),

The Up Switch in Demhe position is a Maestro,

The Down Switch in Hali is a Tonebender.

What you need to figure out is how to get a Moog Resonance LP Filter into a fuzz pedal.

Where the Cutoff & Resonance work together, and with a wide Q Peak, a giant tube sound.

Almost like a Echoplex vs Plexi

Moog Resonance : Echoplexi

Tone: [Rangemaster] (Dumble-Rumble, Rat)
Switch up [Maestro] (Open)
Switch down [Tonebender] (Bass Cut)
Bias: (Distortion: Clean to Fuzz)
Gain (Echoplexi)
Volume (Echoplexi)

Tone acts like a Low Pass Filter & Gain is the Rat, headroom is choked by Bias, creating Distortion.

the interaction between Gain, Bias & Tone make Resonance Peak at the High-cut, exactly like Moog.

Only if the Tone is capable of going into self oscillation, like a Dumble-Rumble.

the trick is to compress the Echoplexi (Gain & Volume) preamp into itself, independent of another stage.

like two independent Orange Squeeze drives, so Volume dosnt just get louder & Gain only get distorted, but squeezed.

Distortion & Fuzz are made from the Bias, not from Gain, meaning Gain always retains its analog tube compression.

Tone creates the High-Cut & Resonance Peak, as on the Rumble Tone/Body by JHS 3-Series Overdrive.

JHS 3-Series Overdrive
Rumble Dumble

Gain & Body are like two independent drives.

Rumble: Gain/Body made into a single Orange Crush Echoplexi.

Retaining full spectrum frequencies & bass cut switch.