I've got a Cannibal Boy on the way, already through customs and an order for an Afro Fuzz (Sept.7th) and a Germanium Boy in the coming weeks, plus his new Dual Pedal he is releasing. Blues' Dad Alex makes them at his shop by hand and the Ducan pedal is mass-produced using ALL silicon transistors instead of germanium trannys and isn't nearly as unique sounding (or full). I'll be sure to give a full report when I get each one.
i once saw on ebay a pedal made by blues' dad called the "slut boost" lol...it was cool lookin, w/ this slutty looking broad on the front w/ her gash and titties blacked out...i wish i bought it now just cause it was cool lookin! i love sluts!
I'm still think something is amiss with the price on these, BUT it does sound great, and is completely silent with exception of when the "sustain" knob is maxed, but even then it is negligable compaired to most pedals and fuzzes I've tried.
Okay, the tone has a huge sweep, but for the most part there is only three settings available through it, all which sound really great, dark and bass heavy, thin and treble heavy and inbetween, and the rest of the sweep of it is sort of subtle version of those three things.
The frequency knob is a different story, it has a wide variety of sounds that don't change the fundimental sound of the fuzz but definately change the emphasis of the mid, bass and treble ranges. Definately useful for solos, honky midrange rhythm and bass heavy leads.
Now for the coolest part, this pedal has the most increadible note seperation and definition of ANY fuzz I have ever used before, even with the sustain maxed 5-note jazz chords (metal fusion ) ring out with increadible clarity. If you are doing a really fuzzy rhythm with complicated chords, you can fool around with the frequency knob until you can hear every note in the chord. Amazing.
As for the overall tone of the fuzz, it comes off as more Tonebender than Fuzzface or Big Muff but flavors of both can be found in it.
All in all... its hard to tell if is worth the money for everyone, but its relative small size (just a smidge wider than a phase 90) massively low back ground noise (literally none to speak of at 95% of the settings), extreme clarity during full saturation and frequency knob which really helps you home your tone in, makes it the best fuzz I own but no more tonefull than some of my others, just more recording and gig friendly due to low noise and tonal options.
P/S This thing has been kicking SERIOUS ass with my 5-String Ibanez bass, keeps the low-end better than a lot of things I've tried and just gets those nasty chuggy industrial and psychedelia fuzz sounds like you wouldn't believe.
These pedals i looked into a while back. They are made by his father to make the guy soke cash. They are :good: pedal: others out there at half the price.BLues is a good plyer. Shades of him show up in my own playing sometims. Well, He is blues. I play funk, blues, guitar instrumental, modern and radio format, classic rock, shred, latin and gypsy fusion, etc. But go for vintage Marshalls .Mainly 1970s JMP MKII NMV's. And I always have my own very trusty 1981 Marshall JCM800 2203 100 watt head with a nON INVASIVE EFFECTS LOOP> The loop was made by Lee Jackson, It is a one of a kind with NO DRILLING>!
GETTING BACK TOYOZUR QUESTION< Stay away from those pedals . your better off buying aqn prginal KLON. I had a kLON which i regret selling if for not only one reason. Its clean boost capacity. Setting it up as a clean boost i brlieve is how it was meant to be setup.
NOT AS A DISTORTION WHICH IS IT SOUNDS AWEFUL. Best thru a half distorted M.V. amp. Iran it thru my 81 JCM800 at full bore volume and loved the one. But i went another dircion with my 800. My 1977 Marshall MKII JMP 100 watt matching half stack with pro1000 wiring sounds thick , rich and creamy. This amp is a Non MASTER FOLUME . Thru thistype of amp I truly do love th Marshall Shredmaster "1st edition ONLY"
(And ist RUN only from 1991 which if you open it actually contains a miniauture version of a Marshall head, well. to a degree.
Filetercaps, c.c,s the works. I DO NOT AND STRESS DO NOT USE THE EQ from the pedal setting the EQ unity (strght uo only) and running the gain and level only to achieve "THE TONE"! Also have a 1991 "FIRST RUN SERIAL #" 1991 Marshall Bues Breaker and run it next to the SHredmaster for to varying tones.
THese pedals are designed for NMV amps only IMHO. THru a master volume amp I dont like the tone at all. and using the eq again i dont like it .; I USE 100% the amps tone. go ORGANICfirst setting one piece up from the amp to the cab to theguitar to the pickups to the pedals to the wiring in your guitars if its vintage . and so on. For pedal I own THe 1991-2 1st run of the Shred and BLues. These pedals are now SKYROCKETING FOR THOSE WHO UNDERSTAND THERI POWER> For those who are quick to dismiss them . Good for them. iT leaves more for me! I own a few of them actually and plan on buying another BluesBreaker pedal very soon (looking now!) for the M.V 81 JCM800 i use an Analogman BOSS OD1 3403d 16 prong 1977 pedal with push.pull clipping. also for back up I hunted down an Analogman MAXON SD9 with chip and interior mods . this pedal sounds a little more fuzzy and heavy round the notes. the BOSS OD 1 with Analgoman mods is the best sounding pedal I have ever heard , agai if used correctly!
1977 MARSHALL JMP MKII "HOME TAG" 100 watt mint amp all orig. with 100% NOS POWER AND PREAMP TUBES.
1981 MARSHALL JCM800 2203 100 watt head with a Non Invasive fx loop that is a one off. you can emai lif int. No DRILLING AT ALL. 0 % percent . And I can reversse it anytime. But it is awesome . Leee admitted afterword he would have charged twicethe labor for the ext. hours building .the only one like it ;>) I have runa TC ELECTRONICS G FORCE WITH A LOT OF SUCCESS THRU IT. Got tired of digital this and that so I am either shutting her down for a bt or a WET/DRY due to AB/Ying my two Marshalls OR running another Visual Sound H2O Delay/Chorus. Which I admit is Analog Voiced and digital circuited, the BBD chips in theCHORUS are LUSH!!
1977 MARSHALL BLACKBACK CAQB G12M25 spkrs w. PRO1000 wire
2001 BOGNER Vintage 30(pre Chnse const)
1973 Les Paul Custom Black Bty with WCR COIL DARKBURSTS in both neck and bridge. ( IRECOMMENDTHEM VERY HIGHLY !!)\\
2001 PRS Singlecut with PRS #7s with the BIRd inlays non ten but a geaorgeous top anyway. great guitar . I use it a lot.
#2 2001 PRS Singlecut with PRS #6s ( nocover) only diff. with birds and topflame maple as the other .
TAK TAN 15C ACSTC/elctrc SOLD and i wish I had not . I eas a one in twenty playing wise. ( iwork at a music store and this guitar had action like... im gonna cry.
Anyway. I have also many effects . wah wahs, the distortions, overdrives, delays, e=reverb pedals , om and on,
FURMAN POWER REGULATRCLN power is a must, would you run a 1969 Marshall thru a wall circuit ina warehouse, you are nuts if so!
FURMAN PS-45 floorboard pedals and has a power conditioner , 8 loops,8 9v adaptors, & 8 multi volt plugins.
OVER EVERYTHING , BYA POWER REGULATOR> FURMAN MAKE THE BEST UNLESS you want to spend $5,000.00!
An electric , acoustic thru my store, a=2 sets of SIEMENS EL34 quads with Mesa labels for my Marshallls all N.O.S. of course early 80s. I dont trust 1950s tubes! Maybe im dumb but i found a great combination. I want a pt to pt Marshall and will have one whether repro or original. Probably original and save up. ilike the 1969 or 1972 evn more. thick but biting with a searing treble tone. awesome . gain theshred gives it a true MArshall tone.
Good luck on your pedal
I would buy a TImmy over the other / look into the early Marshall blues breaker you may be surprisede. depeneds what you play