Strictly FUZZ

Discussion in 'Effects, Pedals, Strings & Things' started by chrismellotron, May 30, 2013.

  1. fitzo

    fitzo Greybeard Silver Supporting Member

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    Thank you, kind sirs. I'm glad to read they are adequate for posting here and I won't have to mess with my never-used interface that came with Studio One, select/purchase mic(s), and then figure out how to use it all. I'll do a little research and pick up one of these easy solutions. Then will come the hard part, with my head.
    Thanks, again!
     
    Last edited: Jun 23, 2019
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  2. shikawkee

    shikawkee The One True King

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    Like Lauri said just experiment with placement. It'll be fine.

    Heck, I recorded a vocal/guitar track for a tribute record today live in my flat in London with a Sony hand held. Sent it to the compilation producer and he was pleased with it. A little tweaking in post (EQ, comp, etc.) and you're good.
     
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  3. splatt

    splatt david torn / splattercell Gold Supporting Member

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    a buncha good folks mentioned experimenting with placement, which is great! remember that height, distance & angle-of-incidence to the source are all elements of “placement”.

    add to which:
    try experimenting with your volume in the room, esp. if there might be broad dynamics in play.
    my ha’penny’s worth, lol.
    it will be fine!
     
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  4. fitzo

    fitzo Greybeard Silver Supporting Member

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    Thanks, Ed! Thanks, David! I will revisit your advice once I obtain a device.

    Time for the old dog to learn a new trick.
     
    Last edited: Jun 23, 2019
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  5. jimijimmyjeffy

    jimijimmyjeffy Member

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    Interesting idea. Though I've not tried, compressors should be good tools before lots of fuzzes, as sometimes an interesting effect only occurs at a certain signal level, which can be targeted and preserved via compression.
     
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  6. 3waytie4last

    3waytie4last Unfluencer Gold Supporting Member

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    I don’t have a clip, but C-E does a good demo...

     
  7. Seance

    Seance Member

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    @shikawkee and @splatt gave excellent advice. All I can add (from my perspective) is... get what you
    can easily afford. Don't let economics put undue pressure on your experiments with mic placement, or
    volume in the room, or which room that you choose to record in, or whether or not you hit "record",
    or whether or not you keep, refine, EQ and mix what you have recorded.

    In the past the expense of tape (or rolls of film) exerted a certain pressure. But limitations can cause
    you to let go of expectations. In that case the expense of the tape/film could also exert a pressure
    against the internal critical voice (if you've already "invested" in recording the moment, why be so
    quick to erase it?). The digital analog <ahem!> is the exact opposite. You can just record with little
    "expense" and it takes very little for the internal critical voice to overwhelm you and lead you to
    push that DELETE button. Digital delete leaves no trace. But maybe that will liberate you?

    So you could just pick up a single-track, cassette tape recorder and create "decent enough" clips.

    If your object and aim is to acquire "decent enough" recording equipment... that's the easy part.
    Then it comes down to experimenting, learning, asking for advice (there's lots in this thread about
    mic placement and distance from amplifier, etc.), and enjoying the process. If you get into "the zone"
    while you play then you will be engaging enough of your heart and head to keep the "critical voice"
    in check so that your "reactions" will all be in the moment and held within the spectrum of helpful frequencies.

    Listening is critical (in all senses of the word). You judge whether the sound is pleasing or not.
    You apply vibrato to a note that seems to be sitting too still on the auditory canvas. But
    there is a difference between openness and that "inner critical voice". When the notes come in
    you assess them in order to make your next move.

    Each new note is a decision to stop playing the last... but that doesn't mean the new note is better/worse.
    It's possible for intention and serendipity to achieve equilibrium and thereby allow instinct, improvisation,
    and your store of musical references to all come together in the moment. The trick is getting comfortable
    enough so that you can allow the recorder to just be there recording while you ignore it and engage with
    everything else.

    Good luck!
     
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  8. fitzo

    fitzo Greybeard Silver Supporting Member

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    Thanks for all that advice, @Seance. I will re-read it numerous times in the coming days. Appreciate it!
     
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  9. Flatscan

    Flatscan Supporting Member

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    The below clip of Splatt's new fuzz sounds great (I agree that CE makes great demos) AND it has a Splat button:



    :munch
     
  10. splatt

    splatt david torn / splattercell Gold Supporting Member

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    generally, i don’t enjoy compression before fuzz; i really like the way my fuzzes feel under my fingers.
    but tbh, i only rarely use compression behind a fuzz, either, for the same reason..... though my compressor is usually dialed for clean & cleanish tones at lower volumes (and being hit with a lower volume input), so.....
     
    Last edited: Jun 23, 2019
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  11. splatt

    splatt david torn / splattercell Gold Supporting Member

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    there’s at least one other demo which shows a different range of this beasty.
    !!!
     
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  12. Peps

    Peps Fuzzonaut / Fuzzombie / Fuzz Magisterium Bishop Gold Supporting Member

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    Put down the fuzz for weekend (really diggin the swarm), and decided to enjoy the nectar of the gods on the boat

    Does this count as fuzz? He is Dexter and loves fuzz.

    Now is time to chill and try to find something good to watch.

    Any recommendations? Thrillers are favorites, but anything good is welcomed. Last night wenwatched “Us” and it was pretty good.

    Anyhow, strictly fuzz so here we go.... Here is a gut pic of my Mk1.5 super electric. Beautiful Mullard OC81s silver jackets. It totally rips.

    And I’m itching for a Zonk
     
    Last edited: Jun 23, 2019
  13. tedm

    tedm Gold Supporting Member

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    Here's another clip with the BA Low Volt, rhythm is gtr to Screamin Blues to Echorec to dual microverbs in reverse serial, to ditto looper.

    Solo is same, but Low Volt is switched in between verb1 and verb2, and verbs are switched from reverse to lowest gate setting.

     
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  14. urQuill

    urQuill Supporting Member

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    can always tell when you love a pedal, tedm. Beautiful.
     
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  15. Lauri Vennonen

    Lauri Vennonen Member

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    Great track, really emotional and cinematic.
     
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  16. Peps

    Peps Fuzzonaut / Fuzzombie / Fuzz Magisterium Bishop Gold Supporting Member

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    I recently sold my Super Electric Mk1.5, and while testing it, I noticed how perfect and beautiful the tone is when cranked. It has the right amount of that big bottom that the fuzz face is known for, and that mkII growl. It was hard finding one that I really like because they all had too much of the Fuzz Face flavor, but I decided to let it go cause I wasn't using at all (and the biggest reason to that is because I forgot how good itsounded... That being said, I'm hunting for the right Mk1.5, and for a Rangemaster as well (currently using Keeley Java, MJM, Throbak, Geekdaddy and Naga Viper). I want to try a new Rangemaster, something that I can keep and replace my current lineup. Any recommendations? For both circuits, I have Arcane and Blackstrap on the list, any experience with those? Who else do you recommend? Gracias y Fuzz on!
     
    Last edited: Jun 24, 2019
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  17. Echoplexi

    Echoplexi Silver Supporting Member

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    I have a mk 1.5 Sunlion, kills two birds with one stone, mullards on both sides. Have you considered Analogman? His Beano Boost is a killer rangemaster.
     
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  18. Custom Deluxe

    Custom Deluxe Member

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    Not sure if he's still building, but I have a Lumpy's/Electrik Magic (I think that's what he goes by now) MK1.5 Italian TB w/ bias. It sounds so killer and I got it used for $100 shipped.

    It has all the right parts and the build quality is as good as those costing 5X's as much.
     
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  19. Peps

    Peps Fuzzonaut / Fuzzombie / Fuzz Magisterium Bishop Gold Supporting Member

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    I had a sunlion few years ago that I quite enjoyed. I also had a non OC version of the Beano and it didn't get a long with my amp, it was too compressed. Is there a specific configuration that takes the lead? I would consider another sunlion but I definitely need the rangemaster as a standalone pedal.

    Tommy makes great stuff but I'm not sure how is he doing with new orders. I'm definitely keeping an eye in the used market. Now that you mentioned it, I think I remember seeing that pedal listed for sale, I just didn't need a Mk1.5 at the time. Killer stuff, cheers :aok
     
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  20. PlexiFuzz

    PlexiFuzz I know karate. Voodoo, too. Silver Supporting Member

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    I've had a ton of treble boosters. My current Blackstrap is the be all, end all for me. Matt's ears and builds are at the top of the heap (as you know).



    I also had, at the same time, an Arcane Analog Rangebender (OC44 Rangemaster on one side and OC75 Mk.1.5 on the other). It, too, was killer. I sold it because I really liked the bias adjustment on the Blackstrap treble booster, and I also realized the FF/Mk1.5 pedals just aren't my thing. But I wouldn't hesitate for a second to go back to AA for a new build.

    And finally, overlapping with the two, I had a new Sunlion. I dug the Beano side quite a bit, but for me, having the Range control on a knob vs. a 3-way toggle is really important.

    Not sure what I'm saying exactly ... I guess I'm saying get the Blackstrap. And make sure to talk to him about exactly what you want (honky/not honky, etc.).
     

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