Mixing Distortion Pedals  NEW: Mix Muff   SubZombie   SupraZombie/ModZ  About, Repair

SubZombie   fuzztone // mixing distortion

Basic distortions, synth-fuzz, brain-eating fuzz, splatty overdrives ... and a continuous range of variation between all modes. This pedal brings a new level of control over the texture of the distortion. Subzombie contains three distortion generators. All sounds are a mix of these three different levels of distortion. The middle level of distortion is reversed in polarity (antiphase), subtracting from the higher and lower levels of distortion, so that the differences between the distortions can be emphasized and the common signal can be eliminated. Thus, radical, turbulent fuzz sounds can be produced using natural-sounding distortions as a base. Dynamically responsive and touch sensitive, lower gains produce a tonal expansion. Middle gains can produce a "vocal" tonal peak. Higher gains can compress as usual, but also can be unusually dynamic, except in reverse: "swell" effects, getting louder and more present when you play softer/single notes/turn down, or even a cleaner sound coming through when you play harder.... Excellent sounds are produced through a clean amp, but this device can also cut through with its own character when other distortion is used, and be used very interactively. Powerful bass response makes it good for bass and other instruments as well as guitar. Switching is True Bypass with LED indicator. Three more LEDs indicate the three levels of distortion. NEW! plus version $159 $149                                                                                                           standard version $139 Reviews: Harmony Central Effects Database More comments on this forum thread QUOTEZ: "I am totally blown away by this pedal, it's just so freaking, wide ranged!?!" ... "I've scared people with it." ... "IT SING" ... "Jeez Bill, This is one sick ass dirt box, I'm officially Zombified!" ... "WHAT A SUPERB JOB OF ENGINEERING & TONE!!!"

Basic samples by me into a totally clean solid-state power amp (NEW / better recording):
	Low Gain Fuzz MIX is set in the lower gain fuzz range with antiphase effect between D1(+D3) and D2. HI messes with that mix in the high end, and TONE is near flat. (0:43, 850 KB)
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Mixey Distortion MIX is set to emphasize the lowest gain distortion (D1) with HI taking its edge off, but there is still some of D3 mixed in, which due to its higher gain can be heard seperately at times. A scooped TONE emphasizes this. (0:45, 900 KB)
	Metally Distortion MIX is in the +D2 range, emphasizing the middle gain distortion, but towards a fuzz for aggression. HI is less sensistive, but this setting adds something. Highest gain but not the dirtiest. TONE is just bright of Contour. (1:00, 1.2 MB)
Muff-ish Fuzz-Distortion MIX is towards the highest gain, triple-cascaded distortion (D3) with enough antiphase D2 for more fuzz. HI reduces D1 further. TONE adds a little bass, and look how low VOLUME is set here. (0:43, 850 KB)
	Playing Dynamics Demo (Fuzz) This fuzz is extemely controllable just by playing louder and quieter .... The higher-gain fuzz range of MIX deemphasizes D1, due to it getting lower volume and having lower gain. HI set to cut D1 some puts a bit more fuzz on the high end, and TONE is near flat. (1:32, 1.8 MB)
	ig	Equipment for above samples: Ibanez RG-550 w/ bridge humbucker > Subzombie > Boss buffer > Realistic EQ set for good clean sound (Marshall-Fender-ish) > Peavey CS-800 power amp (one channel) > 2x12 w/ Celestion V30. Old EV and AKG mics > Porta2 > Realistic A/D > (SPDIF) > PC. 160 kb/s stereo MP3
... MORE ... Basic samples by me, Bill Spencer: Subzombie+ #001 through a Line 6 Spider III solid-state halfstack: line6spider3clean_highgain using red clean amp model, slight ambient effects, basic and zombie highgain sounds (3:57, 3.7 MB) line6spider3insane_leadboost using Insane amp model ("Soil" preset), then with pedal for extra insanity (2:05, 1.9 MB) Tube amp samples: subz-cleanampbits1.mp3 (655 KB) -- clean old prototype 15W tube amp, Cele V30s (2x12), a few different sounds (edited, but all amp settings same). subz-dirtypreamp1.mp3 (179 KB) -- Subzombie into same amp, preamp distortion, switching off and on. Other: subz-fender15sc_mid2x.mp3 (1.5 MB, 128 kbps mono)) -- Fender Frontman amp (8" speaker, sharp as nails), sweep thru some spots on the mix control, mid-low gain, simulated single coil bridge (far) position. Direct injected samples (no amp): humb-subz-DI.mp3 .. SC-subz-DI.mp3 .. superbuzz sounds, or you could input to your amp. => all Ibanez RG-550 guitar w/bridge humbucker. ck3 rips in the sample found here (opens in new page). Ben Baird says "Gives you the extra umph without drasticly altering your tone" ... "This pedal Rocks, I replaced my Fulltone fat boost with this" (also prev. used a Rat in that role). Clips from new CDs: Ben solo: Ain't No Saint ... here the Subzombie is on the cleaner guitar (slide Telecaster, clean Fender amps), not the thicker lead that comes in with the verse. With The Divine Affected: In the Now - used for the more distorted rythm that comes in a few seconds into the clip and the lead. => 128 Kbps Stereo MP3s, ~1 MB each (use "Save Target As" to download instead of just play it) Leo Vandenbergh jams on his Jackson RR V and Sub through Marshall Jubilee clean channel: leo1comp1.mp3 (2 MB excerpt) ... (wah and the delays are before the Subzombie here, because it's the same as when he just uses the amp distortion.) Goth band Bella Morte used Subzombie to make their new album. It is REALLY subtle, since it is on a second amp (SS Vox vs. Mesa), just a bit more modern, rectified or something. The difference could be explained otherwise, but compare the new tracks (the titles start with a number) with the older ones. Samples on their site (music page ... dialup: let it load, select song, let load more).

Operation

The MIX control provides 5 ranges of sounds. Three of them produce mixed distortion sounds where one of the distortion components dominate in sound over the other two. Fuzz is produced over two ranges in-between where the the in-phase components (D1+D3) can be continuously varied against the out of phase one (D2). The left sweep slightly emphasizes the lower distortion D1 while the right side strongly emphasizes the higher distortion D3. In each fuzz range, note the Gate point where cancellation is strongest for clean signals, and the Zombie point where cancellation is strongest when distortion is maximum.

The HI BLEND control cuts highs of one of distortions D1 or D3. The actual effect depends on the position of the MIX control and is interactive to it. The overall effect can be to boost or cut highs, or produce a midrange notch, combined with effects on the distortion and dynamic aspects of the blending. For example, it can make the treble stronger and cleaner at the same time, while an ordinary treble boost brings out the dirt with the treble.

The BLEND section can set various thresholds for the dynamic variation of the sound, but the GAIN control sets the ratio of input level to this. It is centered on where the three distortions are most different and provide a "vocal" emphasis. Lower gain settings shift this emphasis into the attack of notes, and high settings go "over" the dynamic threshold into either complete turbulence or smoothness with a "swell" effect on sustained notes.

VOLUME is used to match the volume to the bypassed sound and compensate for changes in volume due to the other controls. The standard version includes an autotone feature that enhances bass and is set up by an internal trimpot. The fuzzier, brighter, but quieter sounds get the most bass when adjusted to match levels.

TONE (PLUS VERSION ONLY) provides several voicings useful in combination with the various fuzz sounds. These include bypass (0), variable bass enhancement (B) with thicker lower mids, mid shift (M) towards upper mids, contour (C) with deep bass, mid and lower treble rise with smoothed upper treble, and finally transitioning, as the treble smoothing is pushed off the top of the audio range, into a scoop with reduced lower mids (T). These settings are usually kept somewhat subtle via the internal trimpot for usability and to limit volume loss.

Owner's Manual

MIX YOUR OWN DISTORTION For all their controls, most distortion units provide no substantial control over their actual distortion response. There is pre-distortion control (gain, sometimes EQ) and post-distortion control (volume, EQ) but this should not be confused with changing the sound of the distortion section itself -- the nonlinear transfer function. There are exceptions, but so far these tend to be limited ... mostly, players get different distortion responses by using different devices such as fuzz and overdrive. Subzombie's method of distortion variation is to use mixing, including antiphase mixing. This allows control of how distorted or fuzzy the sound is seperate of gain and sustain. Also this can be easily varied with frequency. Some of the results sound "blended" while other mixes produce a new sound with little hint of its constituent parts.
The example to the right shows graphically how this works. "A" is the positive portion of a distorted wave. "B" is more distorted (more gain) and inverted (upside down). "C" shows how these add together, forming a harsher, more complex waveform. This still only hints at the sonic possibilities. Note that you can produce some distortion mixing by combining normal distortion pedals with your own mixing device (etc.). However, this would be more complicated and the strong filtering in most distortions limits the interaction effect. Instead, this device handles the parallel paths internally, allowing distortion mixing effects while masquerading as an ordinary distortion pedal. The possible combinations of distortion types and controls in this type of effect are endless, so it is desirable to provide a coherent matched set of functions. In the case of SubZombie, my "zombie fuzz" distortion configuration of 3 different distortions of the same type, but at differing gains and in cascade, is combined with a simplified 2-knob mixing arrangement to provide easy access to a very intriguing subset of the possible sounds.
The distortion elements themselves use assymetrical LED pairs for a gradual onset of distortion and a mix of harmonics. The second and third stage only add a small amount of gain each (2.2 X). The middle level of distortion (D2) is preset to antiphase, relative to the lower (D1) and higher (D3) distortion sources, which simplifies both mixing possibilities and the needed circuitry (all mixing is passive). The resulting sounds can have characteristics of ordinary distortion, fuzz, gated fuzz, dying amp, envelope follower/auto-wah/synth, "turbo" or "warp", ring modulator, and more. Since even these more tortured sounds are produced by cancellation between otherwise natural-acting distortions, some of the less desirable aspects of these other kinds of effects can be avoided and natural guitar properties tend to make their way through. Also, response is always instantaneous. Altering the frequency response of one distortion source relative to the others causes a change in distortion characteristic with frequency as well as a conventional tone control effect (i.e., a nonlinear filter).

Copyright 2006-2008 Bill Spencer/Spencer Amps [tm]. See also Intellectual Property Statement . Guest clips are copyright the creators and are used with permission. Other trademarks are property their respective companies.