Strictly FUZZ

urQuill

g.f.a.
Silver Supporting Member
Messages
3,154
Hey there!

Moon Wolf is my tribute to the Wyllie Moonrock!

...

Feel free to DM me with any more questions about them!!!

I could hardly believe the first clip - your Moon Wolf is reacting just like the Moonrock I have, with the same unique harmonics and/or overtones or whatever they might be. There's a way the notes fade through the Moonrock which seems to me quite unlike any other octave fuzz, and the way the fuzz settles as the input is reduced from the guitar is unique as well - in my experience, which is not that extensive I'll admit. But as you roll your guitar back, your Moon Wolf does the very same beautiful weird things my Moonrock does.

I did exchange a few emails with Master Wyllie back in the early oughts and he mentioned that he worked on the Moonrock for six years. That is not the least of the reasons why, for some, it's a very special thing.

I've had a Rising Sun and a Fuzzmite; still have the Moonrock and an Ozo, which I also love. I gave the Fuzzmite away in thanks to a fellow who'd done me a big favour, thinking I'd just order another one ... but I was too slow. There is no piece of musical gear I miss more.

But, the Moon Wolf ... others (as I'm sure you know) have tried to clone the Moonrock before, and I think one person was able to do it but others just couldn't ... I wonder, is there anything surprising in that circuit? I'm not trying to get you to reveal the results of your studies; I guess it's more of a rhetorical question.

I listened through all the clips - there's some really nice atonal playing in certain clips, which works beautifully with the strange overtones - and in each case, it's just incredible to me, the sounds are exactly like what my Moonrock makes.

I think you did not demonstrate the middle setting very much, which on mine drops the octave harmonic and is a beautifully grainy straight-ahead-until-you-hit-the-twist fuzz, and I didn't catch any examples of the swell setting, either. I don't doubt that those work the same as on the original.

What you've built is really great. I love it.
 

johnetone

Silver Supporting Member
Messages
4,094
I think you did not demonstrate the middle setting very much, which on mine drops the octave harmonic and is a beautifully grainy straight-ahead-until-you-hit-the-twist fuzz, and I didn't catch any examples of the swell setting, either. I don't doubt that those work the same as on the original.
This was the most surprising part about Moonrock for me. The base fuzz is hella nice and just sounds great for riffing and stoner stuff. I love it!

The swell feature is ridiculous and I liken it to the Mattoverse Airtrash in sound if not exactly in function. It's just insanely ****ed sounding and folds over like crazy. fuzz omelet.
 

songtalk

Member
Messages
3,530
I could hardly believe the first clip - your Moon Wolf is reacting just like the Moonrock I have, with the same unique harmonics and/or overtones or whatever they might be. There's a way the notes fade through the Moonrock which seems to me quite unlike any other octave fuzz, and the way the fuzz settles as the input is reduced from the guitar is unique as well - in my experience, which is not that extensive I'll admit. But as you roll your guitar back, your Moon Wolf does the very same beautiful weird things my Moonrock does.

I did exchange a few emails with Master Wyllie back in the early oughts and he mentioned that he worked on the Moonrock for six years. That is not the least of the reasons why, for some, it's a very special thing.

I've had a Rising Sun and a Fuzzmite; still have the Moonrock and an Ozo, which I also love. I gave the Fuzzmite away in thanks to a fellow who'd done me a big favour, thinking I'd just order another one ... but I was too slow. There is no piece of musical gear I miss more.

But, the Moon Wolf ... others (as I'm sure you know) have tried to clone the Moonrock before, and I think one person was able to do it but others just couldn't ... I wonder, is there anything surprising in that circuit? I'm not trying to get you to reveal the results of your studies; I guess it's more of a rhetorical question.

I listened through all the clips - there's some really nice atonal playing in certain clips, which works beautifully with the strange overtones - and in each case, it's just incredible to me, the sounds are exactly like what my Moonrock makes.

I think you did not demonstrate the middle setting very much, which on mine drops the octave harmonic and is a beautifully grainy straight-ahead-until-you-hit-the-twist fuzz, and I didn't catch any examples of the swell setting, either. I don't doubt that those work the same as on the original.

What you've built is really great. I love it.


If you browse my Instagram page, there are many, many examples of Moon Wolves where I use it in the swell configuration. And I believe if you go to the right on that little panel embedded here by swiping over on your phone you should be able to get to a swell clip in there (I think :p).... but it does the swell!

I do confess, I am not typically much of a middle position person so it doesn't really end up in my clips a lot. But if you ever want me to make you a clip using the middle position, I'm happy to do so!

Thanks for all the kind words and analysis - I actually do value criticism and opinions, if for no other reason than understanding how people perceive things a little better.

Glenn was a friend and a person I look up to and deeply respect and it is a great honor to keep his dream and the sounds of the Moon Rock alive.

I miss him and wish he was still here. Keep FUZZIN'!!!!
 
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943
Probably not what everyone wants from an octave fuzz but they can be somewhat delicate and winsome.
This was done with a Danelectro French Toast. I owned an original Foxx Tone Machine for many years but had to sell it in a time of need. I picked up the French Toast to fill the hole left by the Foxx. I am no longer needy but have not found it necessary to find another original Tone Machine.

 




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