1 Proteus 1 month ago During the fuzz-mania of my first few years of electric guitar (when as far as I knew tremolo and reverb only came in amps, and the only pedals there were were fuzz and wah), I started with an off-brand bitenspit fuzz (the LRE Fuzz Sound), looked with envy upon buddies' Fuzz Faces and Tone Benders, and thought the Muff was the end-point of evolution of the species. Then after about 1975 I just forgot about fuzz.It's back with a vengeance in my lab over the last couple of years, and I've made friends with virtually every permutation, crossbreed, improved clone, and lost soul I can lay ears on. Thing about fuzz is that there are no even remotely objective standards of good or bad - and a mysteriously infinite range of gain structures, textures, dynamic responses, envelopes, and grit which might work for someone in some context.There are also builders with ears and sonic taste in all sizes and shapes, and the best put a distinctive stamp on their designs which only fits the aural receptors of particular players, in particular situations. For everyone else, it's nails-on-chalkboard; for the right guy (in the moment, with the receptor for it), it's nirvana. This scattershot mating process makes fuzz-shopping an endless gamble, with plenty of disappointments but amazing finds.It's an odd effect category that includes everything from spitting, spiky, broken-sounding blatts of next-to-noise and the super-smooth, über-compressed sweet singing sustain of Muffdom.Also, 50 years on, a fuzz is still the best way to annoy people.Always fun.