The search for the perfect fuzz can be an exercise in frustration. On the one hand, there's always the desire to emulate classic vintage-inspired tones like the Rock Gods before us. They used what was available at the time to forge some of the most memorable songs in history with unbeatable sustain.
On the other hand, there are musicians who want to break away from the norm and push their own limits, using exaggerated fuzzes, like a tsunami of fuzz ready to envelop their guitar's signal. Despite some fuzz's already incredible credentials from being on such iconic songs, they weren't without their flaws. Many of these pedals were simple and lacked EQ controls that could really make a great pedal extraordinary - or not so much, due to the manufacturer using every part available, leading to major parts tolerance issues leading to each of the pedals. potentially sounding radically different.
The three-band EQ provides full sculpting capability to dial in the tone you want without the need for magical vintage mojo. The voicing switch can go from a classic, tight response to a dark, muddy, twisting response with a depth like hot magma bubbling just beneath the surface.
The Fuzztration is not a pedal designed to play really "nicely". It's brash, raspy, doomy, fluffy from top to bottom. That's not to say it can't get classic Floyd sounds, but it's not just another classic with a few extra EQ options. It's tough, it's gruff, and it's like an angry lion trying to break out of its cage. When the search for the perfect fuzz leads to a plethora of choices, the end of your Fuzztration comes when everything is packed into one do-it-all fuzz box. Want classic sounds? Finished. How about some scorching doom metal or sludge rock? Yes it does that too
The volume knob is pretty self-explanatory, but it controls the overall output of the Fuzztration. Bass controls the overall bass response of the Fuzztration. Midi is standard, counterclockwise it removes some of the bottom end which guarantees a more burning tone, where taking it clockwise will significantly increase the bottom end , going from a throaty fuzz to a full-on doom machine. The midrange controls the midrange presence of the circuit. The center is quite flat, counterclockwise will dig into the mids and become much more aggressive and cutting, almost distortion-like. Clockwise, mids will be added, which will help combat the scoop that has led to many of those old classic fuzzes getting lost in the mix with the full band. The treble control affects the overall high end and brightness of the circuit and has a huge effect on the overall way the tone of the fuzz is shaped.
Midi is standard, going counterclockwise will produce a much thicker, saturated fuzz sound that sounds like a wall of wool coming from the speakers. Clockwise will increase the brightness, and therefore the throatiness and spit of the fuzz depending on where you have the voicing switch set. The Voicing switch gives you two very different but usable sets of sounds. On the Tight setting, it has a classic, more modern sound that is... well, tighter, less saggy, and acts more like a fuzzy distortion that adds up to a sum well above that magic number of 3.14.
The Open setting is much woolier, darker, saggier and an overall thicker, muddier fuzz sound. The huge Fuzz knob controls the overall amount of fuzzy quality. This pedal is not designed for bright, break-edge sounds, so even all the way counterclockwise it gives a thick spray result that works great for alternative rock and grunge. Turning the fuzz knob clockwise releases a torrent of fuzz, leading to massive sustain combined with some compression, classic velcro sprays and everything in between.
Bypass Switch - Pretty simple, a relay based software switch that will turn the pedal on, it will also turn it off - if you really want it to.
Octave Switch - You may have guessed what this is for... YES! It turns the octave on and off, you can use it alone, it's not just for using it when you're all confused!
Volume – Think of this as the LOUD button. The more you turn it, the stronger you are. We think most guitars will hit the volume unit around 12 o'clock, but yours may be slightly different - find the spot that works for you.
Bass – Straight to noon is unity. From there you can either add low end or remove it. This active control will fatten your sound or, when you bleed it, make your sound as sharp as possible in the mix.
Mids - This is your Fuzztration's secret weapon. Fuzz can get lost in the mix, use it to make sure it comes through...it's all there in the mids!
Treble - High end...find balance with bass and midrange control with this, balance that tone.
FUZZ – It’s a big pimple, that’s where the brutality lives. Turn up the volume, melt some faces, take no prisoners.
Octave Position - You can easily place your octave before or after the main fuzz circuit...you'll be amazed at how different the sound and feedback is...play around with this a lot, it's simply awesome !
Tone Voice - On the left you can tell it's a bit "muffled". On the right there are more diodes, giving more aggression and a lot more "anger". This is the heart of the monster...