You tend to get a lot of sustain, harmonic richness and compression, and often loss of presence in the mids. It clips your guitar’s signal hard in a way that produces a square waveform generally more so than overdrive or distortion. It’s hard to describe what fuzz is without getting technical. Read our full Beetronics Royal Jelly review With three combinable elements (overdrive, fuzz, dry) to sculpt those sounds, it’s a very versatile tone resource. This pedal takes an individual, perhaps unusual, approach to the double-dirt pedal genre, but it can work really well, offering the ability to instantly switch between two hugely or subtly different sounds. Add in Low and High EQ and a knob to blend in your dry guitar sound, and there’s quite a sonic landscape to explore. This means you not only have a massive range of hybrid overdrive/fuzz sounds on offer, but you can also have separate overdrive and fuzz by setting each blend to be totally overdrive or totally fuzz. The pedal offers overdrive and fuzz in parallel, but rather than delivering that with separately footswitchable fuzz and overdrives side by side, it presents them as two adjustable preset blends that you can switch between. The Royal Jelly fuzz pedal is a collaboration with Howard Davis, a circuit designer known for his work with Electro-Harmonix in its hugely creative 1976 to ’81 period. On its own, the Jupiter is a decently modded Big Muff, but it's in the Janus that it really comes into its own. The fuzz side of the pedal is a Walrus Jupiter, a Big Muff based fuzz with switches that allow you to change the bass response and clipping options. We've seen some players put the Janus up on a table, or on a music stand for use live, and obviously if you happen to be a keys player as well, then it could prove useful for that, where you could stick it straight on top of your synth. On the fuzz side, the joystick controls the fuzz level and tone, and on the tremolo side, the joystick controls the depth and rate of the trem.įor studio use or experimentation, the joysticks are surprisingly useful - for getting strange effects when re-amping, for example, or by having a bandmate manipulate the controls as you play. It's a fuzz and a tremolo, with joystick control over some of the parameters of each. Okay, so the Walrus Audio Janus isn't quite a fuzz. Read our full EarthQuaker Devices Colby Fuzz Sound review We like it best with the fuzz maxed and controlled with the guitar volume knob. What you get from this stompbox is a great-sounding late-60s fuzz that's surprisingly versatile in its range - thanks mainly to the tone control, which offers buzzy, ripped-Velcro rasp when cranked to the left, and low-end warmth for fat vocal leads that'll sustain forever, when shifted to the right. This new iteration takes that design, complete with matched NOS Germanium transistors, and packages it in a more practically sized fuzz pedal with extra gain and tone control range, plus all of the expected modern facilities, including standard nine-volt power, true bypass, and so on. A little history: Park was Jim Marshall's alternative company back in the ‘60s and the original Park Fuzz Sound was a branded version of a Tone Bender. The Colby Fuzz is the result of a collaboration between EarthQuaker Devices and Colby Amps. Definitely the best fuzz pedal for you if what something that's punk as hell. The Supersonic Fuzz Gun is true to the same design strategy employed for many of the early DBA circuits, which seems to have been 'throw parts at a breadboard until it sounds cool.' We're also not entirely convinced that the descriptions for the controls on the front plate really describe accurately how they change the sound of the pedal, but in that the SSFG is in good company - the same is true of the Fuzz Factory, after all.Ī large part of the joy of the SSFG is that it's not the sort of thing a larger manufacturer would make it reflects the personality of the creator in that it's unusual and chaotic. In their stable they've got out-there reverbs and delays, flangers and all sorts – but they made their name with this, a velcro-y oscillating fuzz. As you'd expect, they make extreme, experimental, off-the-wall pedals. Death by Audio was founded by Oliver Ackermann, better known perhaps as the guitarist in seminal noise-rockers A Place To Bury Strangers.
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