Well its 1969 OK…
Well maybe not ay, but with a sexy D*A*M FUZZrong to hand it can be 1969 or 1970 any freaking night you want it to be! If you didn’t know, though I’m sure you did otherwise you wouldn’t be reading this, the FUZZrong is our little celebration of the original 1966 Mosrite Fuzzrite that was cleverly designed by Mr. Ed Sanner. It’s a cool tool for sure. A very expressive and unique sound fuzz box indeed.
My geekiness with the original Fuzzrite kinda stops there. I dig the early ones big time, they sound God damn awesome but my need to make this pedal is very different than to that say of the Tone Bender MKII. The MKII’s I am obsessed with the very nature of there being. The Fuzzrite got in my head because I somehow convinced myself that Ron Asheton, the Stooges...just saying that in case you live under a rock, used one on the 1st Stooges LP. Now, I never seen a picture with him using one, never read an interview where he mentioned one either. Its one of those internet rumours that kinda spread like a disease. A few folks threw the Fuzzrite thing around and a few other folk think the same thing and then it kinda sticks. Ron did mention the use of the Fuzz Face in at least one interview, though that was in reference to using one on bass in 1967, and a few photo's exist where he is using a Vox Tone Bender and also what appears to be a Marshall Supa Fuzz. A Vox Tone Bender pretty much does the job of nailing Ron's fuzz tone for the most part on those first two records. Maybe its just a unhealthy fixation I had for too long but I can't shake the the fact that the 1st record just stinks of a Fuzzrite.
Fuzz sounds in 3-Dimensions
I guess the main factors that get me thinking this is the 3 dimensional thing going on certain tracks, I Wanna Be Your Dog and to a lesser extend No Fun. The tones are fuzzy but not overly saturated in the lower registers. Its like the fuzz is a bleed through, if that makes sense. Could just be the Vox with the volume backed off and some use of desk EQ, that works pretty well for the most part, but the Fuzzrite does this perfectly when you max the Depth control, so you have full fuzz and treble, and then inch back to just above noon. You get or appear to get some of your clean tone lurking around beneath that gritty fuzz sound. The other thing that gets me is the almost synth or horn like tone of some of Ron's solos, Ann and I Wanna Be Your Dog for example. Could be a Vox into a dead clean amp or even straight to desk. Again this all rolls pretty well with that pedal too. But again it just strikes me of how the Fuzzrite behaves at varying positions on the Depth control. I get way closer to that razor edge freak out lead break ending to Ann with a Fuzzrite circuit running with the depth at full treble than I do with the Vox.
Either way and whatever it was, the Stooges were responsible for me making this pedal. Whether Ron used a Fuzzrite back in the day or not don't really matter. Ron Asheton was fucking cool, the Stooges are fucking cool and so is this pedal, ha!
The FUZZrong features two controls, one for output volume and one for the depth of the tone. Maximum volume is achieved by turning the Volume dial to the left, minimum volume to the right. The Depth control not only adjusts treble and bass tones but also adjusts the intensity of fuzz tone produced. Move the dial to the left for treble & more fuzz and over to the right for maximum bass & less fuzz.
FUZZrong page sound clips written and performed by Philip James Johnston.
Copyright 2011 Pinstripedclips
Click below to play.