Fredric Effects

A classically voiced fuzz that combines two complete circuits in parallel.

We waited a good while before bringing out our version of the classic Fuzz Face circuit. After all, this is one of the most widely cloned pedals, the basis for many boutique fuzzes. What new could Fredric Effects bring to this effect? The answer is versatility and tweakability.


By combining TWO complete circuits run in parallel - a negative ground Silicon transistor FF and a positive ground Germanium transistor FF - with a switch to choose between them and individual bias controls for each circuit. So you could have a smooth sustainy Germanium fuzz, then flick to a gated and splatty Silicon fuzz or vice versa. Running these positive and negative ground circuits simultaneously is made possible by use of a voltage converter. Each Germanium transistor in the DuoFace is measured by hand to be in the correct gain and leakage range for a great sounding Germanium fuzz!

For more information:
Frederic Effects


Flexible filtering options and a vicious fuzz distinguish the Tool bass master’s signature fuzz-wah.

Great quality filters that sound good independently or combined. Retains low end through the filter spectrum. Ability to control wah and switch on fuzz simultaneously. Very solid construction.

Fairly heavy. A bit expensive.

$299

Dunlop JCT95 Justin Chancellor Cry Baby Wah
jimdunlop.com

4.5
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Options for self-expression through pedals are almost endless these days. It’s almost hard to imagine a sonic void that can’t be filled by a single pedal or some combination of them. But when I told bass-playing colleagues about the new Dunlop Justin Chancellor Cry Baby—which combines wah and fuzz tuned specifically for bass—the reaction was universal curiosity and marvel. It seems Dunlop is scratching an itch bass players have been feeling for quite some time.

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Intermediate

Beginner

  • Develop a better sense of subdivisions.
  • Understand how to play "over the bar line."
  • Learn to target chord tones in a 12-bar blues.
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Playing in the pocket is the most important thing in music. Just think about how we talk about great music: It's "grooving" or "swinging" or "rocking." Nobody ever says, "I really enjoyed their use of inverted suspended triads," or "their application of large-interval pentatonic sequences was fascinating." So, whether you're playing live or recording, time is everyone's responsibility, and you must develop your ability to play in the pocket.

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