The Alter-Destiny is a Hybrid muff circuit with control over low end "Girth", mid range and overall high vs low tonality. Features a two-way high mid boost switch that cuts though a mix unlike typical muff circuits. Versatile tonal control from big bass and flat mids along with any amount of treble/bass you desire, variable to lean and articulate with cutting mid range. Cleans up a good bit with the guitar's volume control and lower the lower Fuzz settings retain treble and bite.
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The Foxey Lady is Based on the 1969 Pre Big Muff circuit with an added midrange knob.
Basically a refined big muff sound with a tighter more defined bottom end and a distortion like growl, a faster attack and the ability to cut through a mix due to the variable mid knob. Scooped mid sounds are on tap as well.
The tone and mid knobs are interactive and give a lot of tonal variation.
Lower gain settings are possible with the same presence as high gain settings! Fuzz, Tone, Mid, Level.
Overdrive and fuzz meet up with an unconventional set of tone controls.
Mids, bass and treble are adjustable with only two knobs for a thick muscular sound which can be dialed back to a scooped mid or to a treble boosted fuzz or overdrive sound for cutting through dark amps or complement multi pedal setups.
The missing link!
Strong fuzz with a scooped midrange on one side of the
Body knob and strong midrange on the other side. A wild ride! Full control of fuzz, texture and the "body" of the tone. Fuzz for fuzz lovers.
A cross between the Maestro Fz-1 and elements of the Shin Ei Fy-2. Basically sounds like a silicon Tone Bender MK1 with the ability to pan between a lower grainy type fuzz and a big, cutting Tone Bender type fuzz.
There are in-between sounds as well. The fuzz knob is a blend between one and two transistor circuits in series.
"The pedal has a lot of sustain and very vintage tones, when the "texture" is dimed I find the pedal to be exactly like an MKI tone bender. A very woody, beautiful tone. However, I find the pedal to have the sustain of an MKII tonebender!" - Adam Mahler
A Smooth and round sounding fuzz/overdrive/distortion with plenty of gain and sustain.
A good combination of high and low gain with a fuzz element.
The LN stays articulate and works well on the neck pickup without the flubby bass of vintage fuzzes.
Wide gain range for heavier high gain rock and variable down to lower gain settings for mellower classic rock sounds.
Cleans up very well with the guitars volume without switching the pedal off for rhythm work.
Rough yet sustaining fuzz.
The Body knob controls the amount of girth
to the tone. Counter clockwise rolls off the
low end for 60's style fuzz. With the Body Knob rolled
up it's full and mean.
A Resonant bandpass filter/frequency boost with control over Mix, Level and Frequency. From clean un affected signal to fully frequency boost. Adding some clean signal into the mix allows you definition with chords. With the mix set to max allows a very strong peaking effect such as a strong wah or filter effect... Great before a fuzz for a strong or mild wah type effect or feeding an amp or pedal for a stronger midrange or high end. The toggle switch selects between two different modes. A full mode and a thinner mode which dials in the amount of peaked frequency. When used with chords you can cop those small amp and hollow "honk" tones.
This is a "Deluxe" version of the Scarab with more control over "feel" and adjustments in bias.
This version adds in a couple knobs over the 3 knob version.
Read the Scarab description below for the main attributes.
Tonebender type circuits vary depending on the bias of the 3rd transistor. Gritty gated tones on one end of the dial, sustaining lead tones in the middle and sweet lower gain tones at the other end of the rotation. Bias affects tone and gain.
The low end at the input of the circuit affects fuzz amount and saturation. The feel of the pedal can be adjusted from a saturated slower responding "fat fuzz" to a snappy, fast responding, slightly less gain fuzz that has the feel of a distortion or overdrive. This helps dial in a single coil to be fat or a humbucker to clear up a bit and be more sensitive to dynamic picking.
Smooth silicon transistor (loosely based on the "Fuzz Face" ) fuzz with a variable input EQ "fatness" to tune in how much bass you like.
The variable input EQ helps dial in how the fuzz responds to your picking and the amount of fuzz vs overdrive.
Set to the most bass heavy side gets the most fuzz as well as a compressed and slower attack.
Set to the thinner side has a fast and more articulate picking attack with clearer definition or dynamics.
Cleans up well with the fuzz knob and has a lot of level on tap for driving an amps input harder.
A very 6T's inspired fuzz with a slightly compressed feel that pumps and blooms depending on your picking strength and chord complexity.
The Fuzz knob blends through a range of gain and texture combinations.
The middle settings of the Texture knob are softer in the mid range for semi scooped thick sound. A wild ride for sure!
Sort of a combination of the Orpheum, Mosrite Fuzzrite and Superfuzz tones + a gritty mild fuzz at low gain settings.
Based on the Univox Squarewave. Added are controls for fuzz amount, diode clipping amount (germanium and silicon switchable) and a toggle switch to take the diodes out of the circuit altogether.
Expands greatly on the original.
Smooth sine wave amp type tremolo that dials up to a square choppy pulse. Speed, Depth, Level and speed "Range" switch.
Muff variant made by Honer in the Mid 70's.
Sweet, non-boomy muff tones with clarity and
a larger range of lower gain tones that don't get dull
as the gain is dialed back. Wide range Tone control with
a few sweet spots and useable throughout the tone knob's range. No mud at the full bass setting and still sweet at the high end.
A refined big muff with a continuously variable midrange from flat to scooped.
The Tone knob sweet spot has been widened so the useful range is not confined to the 11 o'clock to 1 o'clock area.
Tri/Ram switch toggles between the cutting, tighter low end of the "Ram's head" and the looser bassier and creamy "Triangle" Big Muff.
The lower gain range has been tweaked for brighter and more useable lower gain fuzz and overdrive.
With the Fuzz knob turned down, high end is preserved and not dull.
A variable vintage type garage fuzz not unlike the Univox Super Fuzz in sound although they share no relation in circuit. The wildcat gets that bold "wall of sound". The Fuzz knob blends through several shades of fuzz from a gravely overdrive to a saturated compressed and sustaining fuzz.
The in-between settings of the Fuzz knob blend through octave down overtones and subtle fuzz textures.
The fuzz knob alters the fuzz as well as the tone of the pedal. Plenty of level boost available!
Early fuzz boxes were designed to emulate the sounds of the saxophone.
The Zippy will allow you to channel your inner Coltrane with very reedy fuzz tones. Saxy and sexy.
At lower settings a nice musical razor blade fuzz sizzle.
Turn it up and it becomes an increasingly sharper toothed saw blade fuzz. It snarls. It spits. It goes from fat and thick to thin and cutting without losing it's signature top end sizzle and low end rumble.
The body control (bass cut) makes it easy to dial in just the right amount of beef. Zipper fuzz tones bloom and softly decay.
Silicon Tone Bender Mk-I variation. The tone control varies from a mid focused MK-1 type sound to a growly, snarling and edgey tone. The treble content is not altered. Both sides of the tone control are seemingly different pedals. The Zonk has a tight and cutting response, does no gate or sputter.