Der Big Fuzz ist eine Muff-Schaltung, die grundlegend neu abgestimmt wurde, um den Klang, die Spielbarkeit und die Vielseitigkeit des Pedals zu verbessern. Dies ist eine moderne Fuzz-Verzerrung mit einem satten Sound und höherer Verstärkung und Sustain als die klassischen russischen Muff-Versionen, die ich herstelle.

The Big Fuzz is a muff circuit, which has been critically re-tuned to improve the tone, playability, and versatility of the pedal. This is a modern fuzz-distortion, with a big sound and higher gain and sustain than the classic Russian version muffs which I make.

Demo by intheblues 

Demo by Captain CHerry

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Review by Stompbox Steals

Review by delicious audio

Review by The Gear Page

Big Fuzz

This pedal is the classic ratty fuzz/distortion. This is a sound of the '80s and '90s, with some Dazatronyx tweaks. This is achieved by a two-stage distortion of first overdriving the metal can 308 amplifier into fuzz, and then recovering some shape by further compressing the signal using hard-clipping silicon diodes.

The HAIR control dials the mid/high drive saturation. Turning this completely to the right achieves the classic metallic ratty distortion. Turning this left achieves a full, flattened response. This is a variable version of the popular reutz mod.

In the (optional) germanium mode, the silicon chip fuzz character gets removed. Germanium transistors and germanium diodes are used to achieve a rounded and organic overdrive-distortion with tight definition. While this adds interesting versatility, the stock silicon mode is still my favourite setting.

Demo by TheSuperFunAwesomeHappyTimePedalShow

Demo by Brett Kingman

Review by TDPRI

Rad Distortion

Der Dreistellungsschalter schaltet zwischen Verstärkermodellen mit unterschiedlicher Verstärkung und Sättigung im unteren Frequenzbereich um. Dies wird durch einen bipolaren Siliziumtransistor-Vorverstärker erreicht, wobei die sekundäre Verzerrung durch J201-Feldeffekttransistoren erzeugt wird.

Diese Schaltung ist der Ort, an dem ich gelandet bin, nachdem ich gebeten wurde, Pedale ähnlich dem Lovepedal Les Lius zu bauen, das im Grunde eine Electra-Verzerrungsschaltung aus den 70ern ist.

The three-position switch toggles between amp models of varying gain and bottom-end saturation. This is achieved by a bipolar silicon transistor preamp, with secondary distortion created by J201 field effect transistors.

This circuit is where I have landed from requests to build a pedals similar to the Lovepedal Les Lius, which is fundamentally a '70s Electra Distortion circuit.

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Tweedsville

After a decade of development, I've created this completely unique circuit as my ideal tremolo. This is easily my favourite effect circuit.

By shining a fading light against a photo-sensitive device, this tremolo uses all analog photo-coupling to restrict and fluctuate the output volume. There is automatic perceived volume compensation for the full sweep of the controls.

This is a stereo variation of my smaller mono Optical Tremolo. It can take a stereo input, or split a mono guitar input between stereo channels. The PAN switch changes the oscillator of each channel to be out of sync - so one comes up in volume while the other drops. This creates a strange swirling effect. All original analog circuitry and true bypass mechanical switching.

Demo by  TheSuperFunAwesomeHappyTimePedalShow

Demo by intheblues

Stereo Panning Optical Tremolo

My tremolos are easily my favourite circuits, and have occupied more of my design time than anything else. This was my first unique effect circuit design from scratch, which I started in high school. Development took over a decade before I was happy with the way that it sounded and functioned.

By shining a fluctuating light against a photo-sensitive field, this tremolo uses all-analog photocoupling to restrict and modulate the output volume. Careful waveform construction, with non-linear shaping, creates an organic and lively volume fluttering, far divorced from sounding like a basic electronic waveform function. The square wave is similarly processed, so as not to sound like a computerised chop.

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