frigid midget wrote:As far as the FZ-2 goes...I.actually think it has Bee Baa pedrigree, instead of Superfuzz. The "real" superfuzz clones I tried, sounded closer to my vintage Ibanez Standard fuzz. The Wattson one comes to mind. It's a close as they come, both in terms of tones as in aesthetics. The FZ-2 is way more agressive than an FY-2, more buzz, in a good kinda way. More sustain, sounds more agressive and menacing. Powerful eq, a stupid loud boost mode,...Cuts through a mix like a battle axe through a fresh corpse.
The FZ2 sounds different from a traditional superfuzz because of the infrastructure around the fuzz circuit. The buffers and EQ will change the tone even if they are set 'flat.' Boss also made a number of changes to the octave generation circuit to make it less intense than a vintage pedal. This also helps with consistency between pedals when you manufacture in large quantities.
But in terms of what an FZ2 is it is very much a superfuzz with extra circuitry wrapped around it to make it more controllable.
Fucking Dungeon Master is so sick. Only got to rip on it for a few minutes yesterday but wow, a total fucking trip. Very wide range with the EQ and sounds killer..... KILLER with my bass - always hard to gauge if a pedal will mesh with an active 6 string. So glad for the smaller enclosure as well, and the really wonderful jack placement..... can’t wait to grind with this over the weekend!!
Finally, I got this today, a Zed Venarossa The Ground Licker.
Super cool take on the superfuzz, never heard one with such clarity and definition up to now.
Flood control is basically a bass control: first half you get some very nice standard and vintage tones, from noon upwards this one becomes a doom/sludge/drone beast!
John Matrix wrote:How well does the Dungeon Master handle non-powerchord chords? The byoc superfuzz clone I have muds up chords pretty bad with lots of clashing overtones and such.
Depending on how far back you roll the fuzz, anywhere from "not great" to "very poorly."
A bias control wont necessarily emphasize the octave depending on where in the circuit it is. With modern parts a typical superfuzz build will have very strong octave and massive overtones. Some originals had a balance trimpot because part tolerances weren't great but when I build my stuff every transistor that comes out of the bag measures within a few percentage points of the next and that makes the full wave rectifier super consistent. You can get maybe a bit more clang from a Foxx Tone Machine or even a Brassmaster but its a slightly different texture and of course no mid scoop if you're looking for that sound.
