“Correct Leakage Numbers”

peccary

Well-known member
Most fuzz that has the fuzz sound is scooped in the mids. Unless your playing in a dou or using the right gear in a trio, I find fuzz doesn't work well if you want to be heard in the mix. I find the adding a mids knob to a fuzz makes it easier to cut thru but changes the tone of the fuzz in an unpleasant way. It takes away all the fuzz character and turns it into an overdrive on steroids.

I tried to use a Bass Big Muff in a live setting a couple of times. I might as well have just unplugged, it just dropped right out. Sounded good at home, though!
 

thewintersoldier

Well-known member
I tried to use a Bass Big Muff in a live setting a couple of times. I might as well have just unplugged, it just dropped right out. Sounded good at home, though!
This is the problem with fuzz. Sounds awesome alone at home or when your doing corrective EQing in a daw but live shit just disappears. Also why I don't understand the love of full frequency boosts and drives. Everything turns to mush and gets lost in a mix. Then all the mod threads to cut bass lol
 

peccary

Well-known member
This is the problem with fuzz. Sounds awesome alone at home or when your doing corrective EQing in a daw but live shit just disappears. Also why I don't understand the love of full frequency boosts and drives. Everything turns to mush and gets lost in a mix. Then all the mod threads to cut bass lol
I've been preaching the church of the Vario Boost to everyone who plays guitar or bass. It's one of the most useful pedals a person can have, IMO.
 

HamishR

Well-known member
I tried to use a Bass Big Muff in a live setting a couple of times. I might as well have just unplugged, it just dropped right out. Sounded good at home, though!
This is why Skreddy adds a flat or pushed mids switch to so many of his Muffs. They work. When making a Skreddy fuzz I generally leave the switch off and just build the version with more mids.

The Marshall Supa Fuzz was made for Marshall by Sola Tone. It uses bigger caps and has a huge sound, not unlike a Big Muff. But it has plenty of mids, so should be heard.

This all relates to why I love Gretsch guitars so much. For a long time I would turn up to rehearsal with my Tele or Strat all dialled in with whatever new Fender amp I had and use the onboard dirt on the Fender amp. (This was a long time ago - think Rivera-era Fender amps) And my sound would be soooo thin in the band context. So I would try a 335 or something and my sound would be all mids and no cut. Tiny little sound, even though at home it sounded like Angus Young.

Then one day I took a '64 Gretsch 6120. At home it sounded a bit rough but in the band all of a sudden I had this broad, expansive tone which sat beautifully in the mix but still sounded huge. It cut though like a Fender but retained the body of the sound - heavenly!

Ever since I have used Gretsches. I still have some wonderful Gibsons but for gigs it's usually a Gretsch. Sometimes a Gibson with P90s.
 

Big Monk

Well-known member
The Marshall Supa Fuzz was made for Marshall by Sola Tone. It uses bigger caps and has a huge sound, not unlike a Big Muff. But it has plenty of mids, so should be heard.

What's interesting about the Supafuzz is that when it was produced by Sola Sound, it was just a re-branded MK II. Same circuit.

When Sola Sound ended the contract to produced them for Marshall, Marshall took over production in-house. That's when the 10 uf Input and Emitter caps came in. Interestingly enough though, they also removed the treble bleed cap at some point. However, it seems there was a period where they were still built with the treble bleed cap.

I've breadboarded both many, many times. The 10 uf/0.01 uf combo has a lot of "Ass" (for lack of a better term) and it should considering the treble rolloff at the input from the 0.01 uf. The 10uf/no treble bleed combo is interesting because it is actually a little brighter than the stock MK II but also just a touch fatter because of the bigger input and emitter caps.
 
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HamishR

Well-known member
What's interesting about the Supafuzz is that when it was produced by Sola Sound, it was just a re-branded MK II. Same circuit.

When Sola Sound ended the contract to produced them for Marshall, Marshall took over production in-house. That's when the 10 uf Input and Emitter caps came in. Interestingly enough though, they also removed the treble bleed cap at some point. However, it seems there was a period where they were still built with the treble bleed cap.

I've breadboarded both many, many times. The 10 uf/0.01 uf combo has a lot of "Ass" (for lack of a better term) and it should considering the treble rolloff at the input from the 0.01 uf. The 10uf/no treble bleed combo is interesting because it is actually a little brighter than the stock MK II but also just a touch fatter because of the bigger input and emitter caps.
Well I'd never heard that! All I know is that I like the Marshall version a lot more than the original TB. This place is a wealth of information.
 

Big Monk

Well-known member
This is the problem with fuzz. Sounds awesome alone at home or when your doing corrective EQing in a daw but live shit just disappears. Also why I don't understand the love of full frequency boosts and drives. Everything turns to mush and gets lost in a mix. Then all the mod threads to cut bass lol

I goofed around a little bit after modifying my Ge Fuzz Face yesterday with a low gain Side 1 of my Paragon Mini and my Vick Audio Overdriver into the Fuzz Face.

The Vick Audio Overdriver was nice because it retained that transistor fuzz feeling and let me kind of turn the Fuzz Face into a MK II with a single stomp.
 

thewintersoldier

Well-known member
I goofed around a little bit after modifying my Ge Fuzz Face yesterday with a low gain Side 1 of my Paragon Mini and my Vick Audio Overdriver into the Fuzz Face.

The Vick Audio Overdriver was nice because it retained that transistor fuzz feeling and let me kind of turn the Fuzz Face into a MK II with a single stomp.
Push the fuzz face with a range master. Make sure to have a spare set of pants
 
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