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Actually, the R16 thing did the trick.  I used a regular 10k pot, with an 8k2 resistor soldered on the wiper, so the range goes from 8k2 to 18k2.  I just turned that pot while the range is at minimum, and listened to where I wanted the minimum to be.  Changing R16 to 13K (same as the R17 value for the dry signal) works great.  At 8k2, my guess is that since the wet signal is louder, the top of the modulation overtakes the dry signal.  I'm not totally sure why I even had to do this in the first place, I'm using 2 Cornish buffered muffs into a Kemper, which is probably a different sonic environment than most people are using.  Now to fix my 18v Colorsound with the charge pump...  I've tried a MAX1044, and a 7660S-CPAZ, and both are still giving me clock noise on the flanger.  Guess I have to ditch the charge pump and just use an 18v adapter.  Thanks!

That is the million dollar question...  I can build my own Klon for about $50 in parts, and while it will sound the same, it won't sell the same   Second, there are a lot of people who still refuse to do digital.  I took the plunge, and am perfectly fine with it.  If it's good enough for Mark Knopfler, it's good enough for me.

I mean...  I played with one back in the day at the local music shop, I have the profiles on my Kemper.  I only use them for Nuno (you need a RAT too) and Vito Bratta.  Which they do well.  But there's better now a days.  It was one of the first attempts at a tube preamp modeler really.  For the time, it was revolutionary.  But today, it's more about nostalgia than unique mojo.  It's kind of limited in that you only get 2 or 3 good sounds, plus you need a power amp and cabinet(s).  For twice the listing price (or probably the cost of an MP-1, power amp, and cabinet), you can get a Kemper or Helix and have literally everything. For half of that, you can get a ToneX.       

*OR* just change the values of C11, R16, and R18 to roll off more highs?  R16 alone might just work.  It's acting like a high pass filter, right?  There's a crossover point at like 85-90% of the top of the amplitude that is gutting the frequencies I want, and leaving what I don't want.     

Thanks for the response.  I'll try that, and I should have been more precise.  At both Range and Color at minimum, the frequencies at the top of the amplitude are a little too harsh with my muffs set where I like them.  I was looking at the Range pot itself, and wondering if I shouldn't lower the pot value (or solder a parallel resistor across it for a custom value).  That part of the LM324 is set up like the gain stage of a RAT, and if you want less gain, you lower the pot.  Maybe I could just add a tone control? But that probably unnecessary.  I just need about 90% of the max amplitude coming out of the LFO when the Range pot is at minimum.  I do have an oscilloscope, and I know just enough to be dangerous...  But I also work a lot during the week, and time is limited.     

Just finished my Current Lover.  I also have a Colorsound clone as well as several Big Muffs I've built.  I'm running it through a Kemper with a ToneX in the loop, and have been through EVERY DR103 profile available for both.  You see where I'm going with this...  The Amp Factory's Kemper Profile of his actual amp is the gold medal winner.  But back to the flanger.  At minimum color, I can ALMOST get it to where I want it, but it's still just a bit too much with the muffs (it's fine with cleans).  If I mess with the bias trim, I can get to where I want it, a little less of the effect, but there's some distortion from the flanger.  I know, that's what the bias trim will do when set how I have it.  Now with the color at minimum, there is no feedback, so there's nothing left to be done on that part of the circuit.  Is there a way to make the overall effect a little less intense?  I'm more interested in the lower/medium ranges of the effect, and think it would be perfect if you could shift the entire range of the effect down a little bit.