| Mixing Distortion Pedals NEW: Mix Muff SubZombie SupraZombie/ModZ |
SubZombie
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| SOUND SAMPLES |
| Basic samples by me into a totally clean solid-state power amp (NEW / better recording): | |||||||
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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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| This text is here to make the table work right. blah blah blah. yadda yadda yadda. | ![]() |
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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) |
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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) |
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| 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) |
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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) |
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| 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 |
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... MORE ...
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PURCHASE !!!! out of stock ... I currently on a summer break, production to resume early Sept '08. I do have 1 circuit board ready for housing, expressions of interest welcome. (8/14/08) |
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.
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. |
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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. |
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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). |
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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.