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So here's a really basic question: Why is the presence of three band fully tweakable EQ with dedicated knobs (not multiposition switches) for each: bass, mid and treble not way more common on fuzz pedals?

Its usually a single tone stack knob or no tone knobs at all.

This has been a very frustrating aspect of fuzz love for me.

Depends on the fuzz? I know the Graphic fuzz has a fricken 6 band eq. Tweak city. There's probably a technical aspect that someone could shed light on easier than me. My guess would probably be ether to costly to mass produce or something weird tech wise. Like I said though, I'm pretty naive when it comes to this stuff. I just know what I like and go for it.

I suspect it's more of a historical/traditional thing (and economic), rather than simply technical. I'm speculating; I don't know about technical things.

You can always add a dedicated EQ pedal after your fuzz boxes. Stone Deaf PDF-1 works really well for me - great way to shape your fuzz sounds.

That^.
And BAXANDALL or GTFO.

Some EQs that are lows and highs only, for instance, are quite interactive (Mantra, Monarch, anything by BAT).
So don't discredit the simplicity of some designs. Builders put a lot of thought into design when it comes to this shit. I think the guys who are killing it are pulling off a lot with as little as they can.
Look at Darren with the Ape Blaster. That thing has one knob and a switch and its as interactive as an octopus in a hot tub full of large breasted women.
Don't forget, you can do a lot with your guitar controls and fuzzes as well.

Yeah, it's great to do that, especially if the eq can also add some gain and / or volume.
The other way around (eq / boost -> fuzz / drive) can be amazing as well.
I've had some really cool results with a Kill Kill Filter and a Pure Boost (RC Booster).

Iommic Pope wrote:That^.
And BAXANDALL or GTFO.

Some EQs that are lows and highs only, for instance, are quite interactive (Mantra, Monarch, anything by BAT).
So don't discredit the simplicity of some designs. Builders put a lot of thought into design when it comes to this shit. I think the guys who are killing it are pulling off a lot with as little as they can.
Look at Darren with the Ape Blaster. That thing has one knob and a switch and its as interactive as an octopus in a hot tub full of large breasted women.
Don't forget, you can do a lot with your guitar controls and fuzzes as well.

I've wondered this before when I first got into fuzz but I ultimately realized that if a pedal has a ton of knobs on it, I usually end up tweaking it endlessly and never settling on anything and booting it off my board and into the spam thread. A Baxandall eq is very flexible and has tons of tonal options in those two knobs.

Iommic Pope wrote:... the Ape Blaster. That thing has one knob and a switch and its as interactive as an octopus in a hot tub full of large breasted women.

I want all of that.

A parametric EQ--even a one band one--can open shit up. I use that a lot recording. Playing live, it's not like I'll be changing EQ settings during a show so I'd rather have a pedal already voiced where I want it, with a basic tone control to adjust for pickups/amps. I do wish dual-ganged pots were more popular. A tone knob that effects the treble and midrange inversely is a very handy thing to have.

Because "good" fuzz is so subjective i look at them different tools for different jobs. Sometimes you need a multitool, sometimes you need a sledgehammer. different builders value modularity or focus more

Good question. In some cases, it's pretty much not necessary since a good tone knob can get you a lot of the way there, and is way more simple to implement, I'd imagine.

That said, the 3 band EQ on the Magic Meter is pretty awesome.

At one point I was using only fuzzes and fuzzy overdrives for dirt. I would get stuck every now and again wanting more tweakability EQ wise. Eventually I picked up a distortion pedal and realized I needed that extra clarity for certain tasks. Not saying thats the case here, but personally I came to the conclusion that my ideal tone was a glassy washed out distortion. Then I use fuzz for the fun parts.

Anywho, I may be wrong in saying this but i feel like fuzzes are strongly voiced and EQ'd by how the signal is being clipped, what and how many transistors/diodes, etc. EQing a fuzz is like EQing a compressed audio file... if you aren't getting what you're looking for it probably means you need a different fuzz.

friendship wrote:A parametric EQ--even a one band one--can open shit up.

I've wondered this as well. That maxon is exactly the benefit of eq fuzz. I've been thinking about an eq bypass looper.

Shoot, a Super Fuzz with a para is hard to resist