Index  

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. 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, such as "swell" effects, or getting louder when you play softer or turn down, or even a cleaner sound coming through when you play harder. It can be used as mild transparent boost, a pleasant "mixey" distortion, through many ways to harden, expand, metallize or industrialize the tone, or for overdriving a good amplifier for a gated, high gain sound with crazy yet controllable feedback. It can sound great through a clean amp and this allows hearing every nuance, but also no other device unlocks more possibilities when used for "stacking" dirt.

Switching is True Bypass with LED indicator. Three more LEDs indicate the three levels of distortion.

By packing its few controls full of monstrous, unusual and useful tones, Subzombie combines flexibility and tweakability with a speed and simplicity of selecting sounds that gives it true power.


NEW! "F" version with Filter and "hybrid" graphics

The Filter type of tone control (best known in the Rat pedals) is a treble cut variable in frequency rather than level. Compared to a typical treble cut control, the minimum (~no effect) and maximum (treble kill extending down into the upper mids) settings could be the same, but in-between the Filter has only smooths treble with minimal effect on the midrange, a most complementary function.
 

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!!!"

NEW: VIDEO AVAILABLE!

http://www.youtube.com/watch?v=NXPguiIIWes Strat into Fender. Playing by John F. Hyperactive knob twisting by me, and the camera's Auto-Level makes all the Volume adjustment moot ;).

SOUND SAMPLES

"F" VERSION
SE-4F Solid State_1.mp3 using the RP155 Fender Twin model into a power amp and V30s. Ibanez. Me.
SE-4F Tube_1.mp3 into my tube amp with some reverb and a hint of chorus

MP3s for play in your player. Note may play in your browser with Quicktime but may be extra hiss for reasons unknown. If you prefer an embedded player there are a few samples on myspace.

MORE clips here
Features:
* True Bypass. Short handwired signal path in bypass.
* Effect engaged: input impedance 666K ohm. Output 7K ohm max.
* Low noise ("hiss"). All analog.
* Good battery life.
* Bright LED indicator with filtered switching.
* Bass response not limited to guitar range -- useful for bass. Bandwidth slightly controlled at high gain settings.
* Components, construction and design for excellent audio quality.
* Standard AC adapter plug.
* 4.7" x 3.7" x 1.4" (120 x 94 x 37 mm) cast aluminum enclosure.

GUTS:

(4 knob version) Switchcraft jacks, fullsize Alpha potentiometers. Double sided circuit board with plated-through holes and 53 components ... this is not a box with a half dozen components that costs $200!! Gold contact sockets, metal film resistors.

 

PURCHASE !!!!

4 knob versions $139
5 knob versions $149

Send all inquiries to
Ordering Information

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. It changes the mixing effect in the high frequencies but by then changing the MIX the bass can be the part that is different, and fuzz effects can be shifted through the midrange or into the treble. It can produce some ordinary tone control function such as boosting or cutting highs, but is different in its effect on distortion dynamics. For example, it can make the treble stronger and cleaner at the same time, while an ordinary treble boost does the opposite.

This 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. Both the standard and Filter versions include 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.

FILTER (5-knob VERSION ONLY) is a form of Tone control (see above).

Owner's Manual

Tech Notes: 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 "foldback" waveform. Adding a third distortion source would allow a "double-foldback" 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 effects 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. Even with this and other simplifications, it can emphasize 1 distortion, 2 distortions inphase or inverted, or all 3 with double-inversion. 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).

 

ARCHIVE


"Stick Figure" SE-4B


                                                                                                          original standard versions


Plus version w/ special green handcolored text
and bright aluminum knobs

Copyright 2006-2010 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.