||Download Example 1
through a Fender '60s Stratocaster. Amp: Peavey JSX clean channel with
2X12 Vintage 30 speakers, recorded with Garage Band, Sennheiser MD 735
mic, off center. Touch of Holy Grail Reverb and room ambiance.
The Black Cat OD-Fuzz basically takes the
Black Cat OD-1 and a silicon Fuzz Face and
puts them into one convenient little package.
The button on the left selects the Drive
channel, which is basically the OD-1 sound.
The button on the right unleashes traditional
fuzz. These sounds can work independently
or be combined. The Drive channel has Drive
and Volume knobs, while the Fuzz channel
has Fuzz and Volume knobs. When both
channels are engaged, the Volume knob on
the Drive channel acts as a master volume.
Separate LEDs let you know what’s on or off.
The Drive channel sounds more fuzz-like than
a tight, metal-style distortion or overdrive.
Cork sniffers can debate semantics and the
technical differences between distortion,
fuzz, and overdrive, but the OD-1 is closer to
AC/DC than Symphony X. The Fuzz channel
nails that old-school fuzz sound in the best
way possible. So, essentially, you get two different
types of fuzz tones in one box—and
you get the ability to mix them together.
The Fuzz channel is everything one could
want. I found all the warm, craggy, muscular
Eric Johnson sounds and time traveled back
to Woodstock just in time for the Hendrix
set. It’s one of the most authentic-sounding
fuzz pedals I’ve ever had the pleasure to
play. When you engage both channels, massive
tonal thickness ensues. There can be
mayhem, but the havoc can be easily tamed
and bent to your sonic will. I liked its overall
smoothness and adjustability. And I’m sure
that using a dimed Black Cat OD-Fuzz with
a slightly dirty amp could yield wonderful
things at your next earthy rock gig.
The Final Mojo
fuzz tones are a way of
life for you.
you don’t need the ability to
wreak extreme havoc.
Fuzz tones aren’t for everybody. But for guitarists
who like to live in that world, Black Cat
gets a big thumbs up for making some great-sounding,
reasonably affordable pedals. They
sound expensive, look great, but won’t send
you to the poorhouse. What these pedals have
in common is a lushness, articulation, and sonic
detail that you would assume are available only
to rich, first-call session cats. It’s no wonder
guys like Michael Landau, Trey Anastasio, and
Steve Lukather use Black Cat stomps.