A silicon Fuzz Face-inspired scorcher.
Hot silicon Fuzz Face tones with dimension and character. Sturdy build. Better clean tones than many silicon Fuzz Face clones.
Like all silicon Fuzz Faces, lacks dynamic potential relative to germanium versions.
$229
JAM Fuzz Phrase Si
jampedals.com
Everyone has records and artists they indelibly associate with a specific stompbox. But if the subject is the silicon Fuzz Face, my first thought is always of David Gilmour and the Pink Floyd: Live at Pompeii film. What you hear in Live at Pompeii is probably shaped by a little studio sweetening. Even still, the fuzz you hear in “Echoes” and “Careful With That Axe, Eugene”—well, that is how a fuzz blaring through a wall of WEM cabinets in an ancient amphitheater should sound, like the sky shredded by the wail of banshees. I don’t go for sounds of such epic scale much lately, but the sound of Gilmour shaking those Roman columns remains my gold standard for hugeness.
JAM’s Fuzz Phrase Fuzz Face homage is well-known to collectors in its now very expensive and discontinued germanium version, but this silicon variation is a ripper. If you love Gilmour’s sustaining, wailing buzzsaw tone in Pompeii, you’ll dig this big time. But its ’66 acid-punk tones are killer, too, especially if you get resourceful with guitar volume and tone. And while it can’t match its germanium-transistor-equipped equivalent for dynamic response to guitar volume and tone settings or picking intensity, it does not have to operate full-tilt to sound cool. There are plenty of overdriven and near-clean tones you can get without ever touching the pedal itself.
Great Grape! It’s Purple JAM, Man!
Like any Fuzz Face-style stomp worth its fizz, the Fuzz Phrase Si is silly simple. The gain knob generally sounds best at maximum, though mellower settings make clean sounds easier to source. The output volume control ranges to speaker-busting zones. But there’s also a cool internal bias trimmer that can summon thicker or thin and raspy variations on the basic voice, which opens up the possibility of exploring more perverse fuzz textures. The Fuzz Phrase Si’s pedal-to-the-metal tones—with guitar volume and pedal gain wide open—bridge the gap between mid-’60s buzz and more contemporary-sounding silicon fuzzes like the Big Muff. And guitar volume attenuation summons many different personalities from the Fuzz Phrase Si—from vintage garage-psych tones with more note articulation and less sustain (great for sharp, punctuated riffs) as well as thick overdrive sounds.
If you’re curious about Fuzz Face-style circuits because of the dynamic response in germanium versions, the Fuzz Phrase Si performs better in this respect than many other silicon variations, though it won’t match the responsiveness of a good germanium incarnation. For starters, the travel you have to cover with a guitar volume knob to get tones approaching “clean” (a very relative term here) is significantly greater than that required by a good germanium Fuzz Face clone, which will clean up with very slight guitar volume adjustments. This makes precise gain management with guitar controls harder. And in situations where you have to move fast, you may be inclined to just switch the pedal off rather than attempt a dirty-to-clean shift with the guitar volume.
“The best clean-ish tones come via humbuckers and a high-headroom amp with not too much midrange, which makes a PAF-and-black-panel-Fender combination a great fit.”
The best clean-ish tones come via humbuckers and a high-headroom amp with not too much midrange, which makes a PAF-and-black-panel-Fender combination a great fit if you’re out to extract maximum dirty-to-clean range. You don’t need to attenuate your guitar volume as much with the PAF/black-panel tandem, and you can get pretty close to bypassed tone if you reduce picking intensity and/or switch from flatpick to fingers and nails. Single-coil pickups make such maneuvers more difficult. They tend to get thin in a less-than-ideal way before they shake the dirt, and they’re less responsive to the touch dynamics that yield so much range with PAFs. If you’re less interested in thick, clean tones, though, single-coils are a killer match for the Fuzz Phrase Si, yielding Yardbirds-y rasp, quirky lo-fi fuzz, and dirty overdrive that illuminates chord detail without sacrificing attitude. Pompeii tones are readily attainable via a Stratocaster and a high-headroom Fender amp, too, when you maximize guitar volume and pedal gain. And with British-style amps those same sounds turn feral and screaming, evoking Jimi’s nastiest.
The Verdict
Like every JAM pedal I’ve ever touched, the JAM Fuzz Phrase Si is built with care that makes the $229 price palatable. Cheaper silicon Fuzz Face clones may be easy to come by, but I’m hard-pressed to think they’ll last as long or as well as the Greece-made Fuzz Phrase Si. Like any silicon Fuzz Face-inspired design, what you gain in heat, you trade in dynamics. But the Si makes the best of this trade, opening a path to near-clean tones and many in-between gain textures, particularly if you put PAFs and a scooped black-panel Fender amp in the mix. And if streamlining is on your agenda, this fuzz’s combination of simplicity, swagger, and style means paring down pedals and controls doesn’t mean less fun.
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Day 4 of Stompboxtober brings a chance to win a pedal from TWA: The Chemical-Z! Don’t miss out—enter now and return tomorrow for more!
TWA CHEMICAL-Z
Roy Z signature overdrive pedal designed by TubeScreamer creator Susumu Tamura. Inspired by Maxon OD808, OD808X, and APEX808 circuits, Chemical-Z features the "Magic" IC used in APEX808 for less compression & more even frequency response than a standard 808. Increased output level. Two footswitch-selectable clipping modes - normal & hot.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. Here’s how you can brush up on your bass chops.
Was bass your first instrument, or did you start out on guitar? Some of the world’s best bass players started off as guitar players, sometimes by chance. When Stuart Sutcliffe—originally a guitarist himself—left the Beatles in 1961, bass duties fell to rhythm guitarist Paul McCartney, who fully adopted the role and soon became one of the undeniable bass greats.
Since there are so many more guitarists than bassists—think of it as a supply and demand issue—odds are that if you’re a guitarist, you’ve at least dabbled in bass or have picked up the instrument to fill in or facilitate a home recording.
But there’s a difference between a guitarist who plays bass and one who becomes a bass player. Part of what’s different is how you approach the music, but part of it is attitude.
Many listeners and musicians can tell if a bass player is really a guitarist in disguise. They simply play differently than someone who spends most of their musical time embodying the low end. But if you’re really trying to put down some bass, you don’t want to sound like a bass tourist. Real bassists think differently about the rhythm, the groove, and the harmony happening in each moment.
And who knows … if you, as a guitarist, thoroughly adopt the bassist mindset, you might just find your true calling on the mightiest of instruments. Now, I’m not exactly recruiting, but if you have the interest, the aptitude, and—perhaps most of all—the necessity, here are some ways you can be less like a guitarist who plays bass, and more like a bona fide bass player.
Start by playing fewer notes. Yes, everybody can see that you’ve practiced your scales. But at least until you get locked in rhythmically, use your ears more than your fingers and get a sense of how your bass parts mesh with the other musical elements. You are the glue that holds everything together. Recognize that you’re at the intersection of rhythm and harmony, and you’ll realize foundation beats flash every time.“If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s ‘Everyday People,’ then you too can deliver a repetitive figure when it’s called for.”
Focus on that kick drum. Make sure you’re locked in with the drummer. That doesn’t mean you have to play a note with every kick, but there should be some synchronicity. You and the drummer should be working together to create the rhythmic drive. Laying down a solid bass line is no time for expressive rubato phrasing. Lock it up—and have fun with it.
Don’t sleep on the snare. What does it feel like to leave a perfect hole for the snare drum’s hits on two and four? What if you just leave space for half of them? Try locking the ends of your notes to the snare’s backbeat. This is just one of the ways to create a rhythmic feel together with the drummer, so you produce a pocket that everyone else can groove to.
Relish your newfound harmonic power. Move that major chord root down a third, and now you have a minor 7 chord. Play the fifth under a IV chord and you have a IV/V (“four over five,” which fancy folks sometimes call an 11 chord). The point is to realize that the bottom note defines the harmony. Sting put it like this: “It’s not a C chord until I play a C. You can change harmony very subtly but very effectively as a bass player. That’s one of the great privileges of our role and why I love playing bass. I enjoy the sound of it, I enjoy its harmonic power, and it’s a sort of subtle heroism.”
Embrace the ostinato. If the song calls for playing the same motif over and over, don’t think of it as boring. Think of it as hypnotic, tension-building, relentless, and an exercise in restraint. Countless James Brown songs bear this out, but my current favorite example is the bass line on the Pointer Sisters’ swampy cover of Allen Toussaint “Yes We Can Can,” which was played by Richard Greene of the Hoodoo Rhythm Devils, aka Dexter C. Plates. Think about it: If Larry Graham, one of the baddest bassists there has ever been, could stick to the same note throughout Sly & the Family Stone’s “Everyday People,” then you too can deliver a repetitive figure when it’s called for.
Be supportive. Though you may stretch out from time to time, your main job is to support the song and your fellow musicians. Consider how you can make your bandmates sound better using your phrasing, your dynamics, and note choices. For example, you could gradually raise the energy during guitar solos. Keep that supportive mindset when you’re offstage, too. Some guitarists have an attitude of competitiveness and even scrutiny when checking out other players, but bassists tend to offer mutual support and encouragement. Share those good vibes with enthusiasm.
And finally, give and take criticism with ease. This one’s for all musicians: Humility and a sense of helpfulness can go a long way. Ideally, everyone should be working toward the common goal of what’s good for the song. As the bass player, you might find yourself leading the way.Fuchs Audio introduces the ODH Hybrid amp, featuring a True High Voltage all-tube preamp and Ice Power module for high-powered tones in a compact size. With D-Style overdrive, Spin reverb, and versatile controls, the ODH offers exceptional tone shaping and flexibility at an affordable price point.
Fuchs Audio has introduced their latest amp the ODH © Hybrid. Assembled in USA.
Featuring an ODS-style all-tube preamp, operating at True High Voltage into a fan-cooled Ice power module, the ODH brings high-powered clean and overdrive tones to an extremely compact size and a truly affordable price point.
Like the Fuchs ODS amps, the ODH clean preamp features 3-position brite switch, amid-boost switch, an EQ switch, high, mid and low controls. The clean preamp drives theoverdrive section in D-Style fashion. The OD channel has an input gain and outputmaster with an overdrive tone control. This ensures perfect tuning of both the clean andoverdrive channels. A unique tube limiter circuit controls the Ice Power module input.Any signal clipping is (intentionally) non-linear so it responds just like a real tube amp.
The ODH includes a two-way footswitch for channels and gain boost. A 30-second mute timer ensures the tubes are warmed up before the power amp goes live. The ODH features our lush and warm Spin reverb. A subsonic filter eliminates out-of-band low frequencies which would normally waste amplifier power, which assures tons of clean headroom. The amp also features Accent and Depth controls, allowing contouring of the high and low response of the power amp section, to match speakers, cabinets andenvironments. The ODH features a front panel fully buffered series effects loop and aline out jack, allowing for home recording or feeding a slave amp. A three-position muteswitch mutes the amp, the line out or mute neither.
Built on the same solid steel chassis platform as the Fuchs FB series bass amps, the amps feature a steel chassis and aluminum front and rear panels, Alpha potentiometers, ceramic tube sockets, high-grade circuit boards and Neutrik jacks. The ICE power amp is 150 watts into 8 ohms and 300 watts into 4 ohms, and nearly 500 watts into 2.65 ohms (4 and8 ohms in parallel) and operates on universal AC voltage, so it’s fully globallycompatible. The chassis is fan-cooled to ensure hours of cool operation under any circumstances. The all-tube preamp uses dual-selected 12AX7 tubes and a 6AL5 limiter tube.
MAP: $ 1,299
For more information, please visit fuchsaudiotechnology.com.
Jackson Guitars announces its first female signature artist model, the Pro Series Signature Diamond Rowe guitar.
“I‘m so excited about this new venture with the Jackson family. This is a historic collaboration - as I am the first female in the history of Jackson with a signature guitar and the first female African American signature Jackson artist. I feel so honored to have now joined such an elite group of players that are a part of this club. Many who have inspired me along this journey to get here. It’s truly humbling.” says Diamond.
Diamond Rowe is the co-founder and lead guitarist for the metal/hard rock band Tetrarch. Since co-founding the band in high school, Tetrarch has become one of the most talked about up-and-coming bands in the world - with several press outlets such as Metal Hammer, Kerrang, Revolver, Guitar World and many others boldly naming Diamond Rowe the world’s next guitar hero. Tetrarch has connected with many fans while performing on some of the world's biggest stages garnering spots alongside several of the heavy music world’s biggest names such as Guns N’ Roses, Slipknot, Lamb of God, Disturbed, Avenged Sevenfold, Sevendust, Rob Zombie, Trivium, and many many others. The Jackson Pro Series Signature Diamond Rowe DR12MG EVTN6 is based on Jackson’s single-cut Monarkh platform and is a premium guitar designed for progressive metal players seeking precision and accuracy.
Crafted in partnership with Diamond, this model boasts a 25.5 “ scale, Monarkh-styled nyatoh body draped with a gorgeous poplar burl top, three-piece nyatoh set-neck with graphite reinforcement, and 12˝ radius bound ebony fingerboard with 24 jumbo frets. The black chrome-covered active EMG® 81/85 humbucking bridge and neck pickups, three-way toggle switch, single volume control, and tone control provide a range of tonal options. The Evertune® bridge ensures excellent tuning stability, while the Dark Rose finish with a new custom 3+3 color-matched Jackson headstock and black hardware looks simply stunning.
To showcase the Pro Plus Signature Diamond Rowe DR12MG EVTN6, Diamond shares her journey as a guitarist, delving into the inspiration behind her unique design specifications and the influential artists who shaped her sound within a captivating demo video. This video prominently features powerful performances of Tetrarch’s latest release, “Live Not Fantasize,” and “I’m Not Right” showcasing the DR12MG EVTN6’s unparalleled tonal versatility and performance capabilities.
MSRP $1699.99
For more information, please visit jacksonguitars.com.