Other Equipment

Fuzz role call?

26

I had a silver-face Big Muff in the early daze. Was prone to knob breakage, often the stems, which appeared to be some kind of nylon, would fracture deep inside the pot. This was in the days before Crazy Glue and nylon was not the easiest substance to glue back to itself.

After a couple of annoying instances I stopped using it.

Wonder what happened to it...? Have not seen it for a couple or three decades. It's around here somewhere, though.

Mostly, I play clean, and have done so for a long time, so I actually don't have one that works in my kit. But like Prot, I have had the occasion to lust after Bachman's "No Time" tone, so there may be hope for me yet.

– Kevin Frye

Perhaps it's mine now.... ; ) But actually I think mine has the original pots so that's not very likely...

I now mostly use a Fuzz Face mini with the Germanium transistors. It's simple to use, small and I like the sound.

27

I felt the need for one last year. Bought a used EHX Little Big Muff.

Great fun. Absolutely filthy without much gain.

28

I've had the Boss FZ , the Swollen Pickle, and the One Ton Bee. Currently I'm using the Little Big Muff and enjoy what it brings to the table. Any take on the Fender Blender, though? Seems like an interesting unit.

29

The Blender is indeed very interesting. At its most distinctive best, it’s about intermodulation between notes - all the new overtones it creates when presented with 2 or more notes at a time. With open 5ths, it creates a gnarly stacked power chord sandwich you can taste. 4ths are similar, but a bit less defined. 3rds are alMOST too much, with a menagerie of dense and complex overtones fighting each other.

Chords with 3 or more different notes, however, are mostly unmanageable - just a spiky wall of squall.

Single-notes can be fine, or can break up in a gritty sputter.

It’s a wacky box, and the first “broken” fuzz I came across back in the day when I had the original. The “blender” part of the name refers to a useful knob that lets you mix whatever degree of destruction you’ve dialed in with your clean tone, from 100% meatgrinder to 100% clean - and all points between. That lets you retain some definition and intelligibility even with more extreme settings.

Loads of fun for the whole family.

30

The pattern juggler lifts his hand; The orchestra begin. As slowly turns the grinding wheel In the court of the crimson king. Or, mebbe fer a schizoid man.

31

I used to own a 1978 Big Muff, which was so thick and rich that one of my bandmates described it as "playing your guitar through a chocolate milkshake." It's gone, but I currently have a couple of fuzzes that I LOVE to death.

I love the Vox Tonbender. Playing a Gretsch through it and into an old Fender amp can give you "Mr Soul", "Bluebird", and the other Buffalo Springfield tones.

The other fuzz I find to be highly addicting is the Jordan Bosstone. There are a couple of slightly different circuits, so you have to find the one that speaks to your ears. Want Randy California tones? This is the ticket. And it's much more than a one-trick pony--there are sweet spots all up and down the range of the gain knob--so don't just turn it to 10 and think that you're getting the best out of this funky plastic box.

32

I am getting along nicely with my Joyo Americana It's not really what it's designed for but I love the fuzz tones that derive from it.

33

Hmmm... maybe this weekend I’ll dust off my Voodoo Lab Bosstone. Haven’t tried it in years. My I’ll give the Expandora another go too.

34

I was reading up that Ivy Rorshach used a Univox Super Fuzz - I haven't done in-depth to see if there were others but the price on this vintage unit seems like it must be the real deal.

I've got a V1 Fuzz Ray that I need to play with for a bit.

35

@Baxter, I do like the JHS stuff, it's pretty solid and that fuzz sounds pretty dang good.

I'm looking up Univox clones (originals are $500-$1000??) just for kicks. Pretty interesting tones.

36

This was the first, or maybe the second, pedal I ever bought (could have been an original script-logo Phase 90). Sometime around mid-1977. I remember buying it at the Hollywood Guitar Center, in its old location, when I lived about 50 miles away from it. While I was there that day, someone grabbed a Les Paul off the wall and bolted through the emergency exit, with two GC staffers giving chase. Don't know if they got it back or not.

Its (the Maestro's) sheer enormity made me think it was all the effect I'd ever need (except, I guess, for the Phase 90 and later the Morley Power-Wah Boost pedal), and it sounded great with whatever I played through it. It's long gone, and despite its easy-to-manipulate-with-your-foot controls, I'm not really missing it. The rest of you have displayed an impressive amount of appreciation for one type of pedal, the rationale for which is probably "fuzzy logic." Carry on.

37

Are you suggesting we may be a little lost in this particular rabbit-hole?

39

I really like my Yardbox, its a interesting pedal and I have another one made by Lumpy's Tone Shack, I can't remember the name of it but its great. Early Zep and you can dial in some Revolver fuzz tones too. I've had a few Soul Benders too the fulltone ones that were nice, the big box ones not the greatest for a pedal board

40

I have a bunch of fuzzes collecting dust since I found the one Fuzz To Rule Them All: JHS Muffaletta.

Its a bunch of Muffs in one. Just turn the dial for the era Muff you want. I love it. Link

42

Are you suggesting we may be a little lost in this particular rabbit-hole?

Not at all. Just working too hard in search of a laugh.

43

Although most folks would throw it into the "distortion" category instead of the "fuzz" category, I prefer the sound of a slightly dialed-back Pro Co Rat for my fuzzy needs.

44

I have only bought one fuzz and overdrive and I don't think I need anymore. These two are phenomenal. The reason why is that I use this tube preamp that lets me dial in exactly what goes into the front of my amp. A Thorpy Muffroom Cloud, Caroline Haymaker followed by my Effectrode Blackbird.

45

I use a Fender Blender, because of Proteus' soundclips from waybackwhen, and and added a Z-vex Fuzz Factory some 18 months ago.

The Fuzz Factory is as wild or tame as you want it to be. Very adaptable.

The Fender Blender, well, it just is what it oddly is

46

I have a fair few old fuzzes and totally agree that the Vox Tonebender is killer. I have a Jen one from 67/8 which is the same...nasty cutting trebley fuzz with a good clean up capability.

No one every mentions them but I have a Univox Square Wave from the mid 70s, its Melos branded which I think were more common in Europe. Little orange fuzz with a knob on each side...absolutely destroys....probably my favourite silicon transistor fuzz.

One other I love is the big blue mid 90s Dick Denney designed Colorsound Fuzz Box...really fat sounding...lots of low end. I love the fact that it has one knob but since the thing is only a little more than unity gain with it full up you don't really even need that knob...should have none...but then it wouldn't look as cool!

47

Yes well.

I’m still down the fuzz rabbit hole.

Have we not mentioned the sublime insanity of synthy all-but-unmanageable square-wave generatin’ hybrid fuzzes? I have the EQD Data Corruptor, which does things to a signal that probably should be regulated and licensed - generating additional intervals, oscillating and percolating like an isotope, like it’s juggling chainsaws and only partly successful at it. For every time I manage a safe ride with it - and thus either love it for the wild places only it can take me, or am simply proud of myself for staying on - I fall off three times and call it Satan.

I also have its little brother, the EQD Bit Commander. Simpler to manage and less dangerous to wrangle, with “only” three octaves to blend (no intervals) and a filter, it has a slightly different voice than the Data Corruptor. But it does have the same general synth-fuzz character, and since I’m trying to recover some sense of proportion in my pedal madness, I’m consigning to Reverb today.

Sense of proportion? Well yeah. Nothing goes out without at least one something coming in, and I should have a couple weapons of sonic destruction to report in a few days. I’ll say no more.

48

Have we not mentioned the sublime insanity of synthy all-but-unmanageable square-wave generatin’ hybrid fuzzes? I have the EQD Data Corruptor, which does things to a signal that probably should be regulated and licensed - generating additional intervals, oscillating and percolating like an isotope, like it’s juggling chainsaws and only partly successful at it. For every time I manage a safe ride with it - and thus either love it for the wild places only it can take me, or am simply proud of myself for staying on - I fall off three times and call it Satan. - Proteus

This is why I stay away from these things, or I'll wind up starting a noise band, constantly experimenting with all manner of tone manipulation, but especially anything giving off a saw toothed wave.

49

Nothing wrong widda Lil Big Muff in my opine. Does what I need for the duration I need it.

50

I don't use fuzz very much, so I'm not real fussy about it. For those times when I want fuzz, I have a MXR Distortion Plus from the late 70's or early 80's and the distortion setting on my Morley Pro series Distortion-Wah-Volume pedal.

I also have a Korg ToneWorks AX1500G and a Line6 Spider II modeling amp, both of which have whole spectra of fuzzy tones available.


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