
A Sehat Effectors Blown Face, atop a Marshall head and amidst other brand-name variations of the classic Fuzz Face.
While our columnist started out averse to the classic distortion pedal, they soon dove deep into its circuits to invent their own take.
It’s undeniable—the Fuzz Face is the most popular fuzz pedal in music history. Although it wasn’t the first fuzz ever created, nearly every stompbox manufacturer has attempted to replicate its circuitry. Furthermore, almost every guitarist has, at some point, incorporated it on their pedalboard. The question arises: Why? Is it due to its distinctive enclosure shape? Or, the eternal cliché question: Is it simply because Jimi Hendrix used it?
Well, I admit—I’m not even a Hendrix fan! My dad used to play his songs when I was a kid, but that’s precisely why I rebelled against it, countering Hendrix with Circle Jerks and Rancid! As a guitarist, I avoided the Fuzz Face for almost two decades. However, everything changed when I met Keket, my partner at Sehat Effectors. I found that he listened to Hendrix and music I’d never heard of before. Strangely enough, we still had something in common: Neither of us liked the Fuzz Face! For the first time, I’d met a guitarist who found inspiration in Hendrix’s songs, but didn’t like that pedal. And yet, there’s an expectation of me, as an effects-pedal builder, to offer my customers a version of the hallowed stomp. So, here, I’ll share my spiritual journey as a pedal builder lost in the endless labyrinth of the Fuzz Face.
In the process of creating our pedal that we came to call the Blown Face, I experimented with all sorts of variants of transistors and technology—from the highly sought-after germanium NKT275 version, to different types of germanium and silicon transistors from various series; then delving into the SMD/SMT versions that many dislike. I even took on digital emulations. In this journey, my main issue with the Fuzz Face was that its volume, at least with my simple setup, is too low for my liking (remember, I’m a fan of Circle Jerks!). This issue is even more pronounced when considering my band’s context, which also leans towards that same musical style. My ears have become accustomed to heavy and loud distortion, especially as a musician who frequently plays small gigs.
When I finally did develop the Blown Face into something loud and explosive, that still wasn’t enough. I wanted to replicate the original Fuzz Face enclosure, which, of course, I wanted to make my own using the sand-casting method. I also brought in features like the bias knob and a toggle switch that lets me turn it into a Tone Bender MkII, since, fundamentally, the Fuzz Face is descended from the Tone Bender Mk1.5. By adding a transistor to the input stage, it instantly becomes a MkII.
“Why is Stevie Ray Vaughan great? Because he’s heavily influenced by Jimi Hendrix, but still manages to find his own style.”
So, what is the point? Well, I’m not a purist! I’m not trying to sound wise here. As a builder, I simply believe that being yourself isn’t a bad thing. Even though, we’re quite sure there are pedal builders out there who better understand and are far more inspired by the Fuzz Face than Sehat Effectors—legends like Analog Man with their iconic Sun Face, and other big names like Dunlop, MXR, Fulltone, Wren and Cuff, JAM Pedals…. They’re all great almost by definition at this point. Why is Jimi Hendrix great? Because he’s Jimi Hendrix! But, at the same time, why is Stevie Ray Vaughan great? Because he’s heavily influenced by Jimi Hendrix, and still manages to find his own style. This kind of analogy will always go on.
In diving into my Fuzz Face journey, my objective was simple: to see where the labyrinth would lead. Fuzz Face is a temporal anomaly. In an era where guitar-effects technology is advancing rapidly and has even reached sophisticated digital emulation, the pedal has managed to carve out its own unique, lasting existence. In my opinion, it should have been included in the Voyager Golden Record, sailing through a universe that is believed to have no end and is continuously expanding. Eventually, it might reach another Jimi Hendrix, who’s billions of light years away from our beloved Third Stone From the Sun. Or, perhaps it could land in the hands of an extraterrestrial being in a galaxy we haven’t yet named. Though, that extraterrestrial being might pick it up and say, “Why is this thing coming to me?”
- When Exactly Did "Boutique Pedals" Become a Thing? ›
- The Stompbox-Builder’s Secret Weapon ›
- Killer Pedals Under $100 ›
- Free the Fuzz: More Than Just Guitar Effects - Premier Guitar ›
Do you overuse vibrato? Could you survive without it?
Vibrato is a powerful tool, but it should be used intentionally. Different players have different styles—B.B. King’s shake, Clapton’s subtle touch—but the key is control. Tom Butwin suggests a few exercises to build awareness, tone, and touch.
The goal? Find a balance—don’t overdo it, but don’t avoid it completely. Try it out and see how it changes your playing!
The author dials in one of his 20-watt Sonzera amps, with an extension cabinet.
Knowing how guitar amplifiers were developed and have evolved is important to understanding why they sound the way they do when you’re plugged in.
Let’s talk about guitar amp history. I think it’s important for guitar players to have a general overview of amplifiers, so the sound makes more sense when they plug in. As far as I can figure out, guitar amps originally came from radios—although I’ve never had the opportunity to interview the inventors of the original amps. Early tube amps looked like radio boxes, and once there was an AM signal, it needed to be amplified through a speaker so you could hear it. I’m reasonably certain that other people know more about this than I do.
For me, the story of guitar amps picks up with early Fenders and Marshalls. If you look at the schematics, amplifier input, and tone control layout of an early tweed Fender Bassman, it’s clear that’s where the original Marshall JTM45 amps came from. Also, I’ve heard secondhand that the early Marshall cabinets were 8x12s, and the roadies requested that Marshall cut them in half so they became 4x12s. Similarly, 8x10 SVT cabinets were cut in half to make the now-industry-standard 4x10 bass cabinets. Our amp designer Doug Sewell and I understand that, for the early Fender amps we love, the design directed the guitar signal into half a tube, into a tone stack, into another half a tube, and the reverb would join it with another half a tube, and then there would be a phase splitter and output tubes and a transformer. (All 12AX7 tubes are really two tubes in one, so when I say a half-tube, I’m saying we’re using only the first half.) The tone stack and layout of these amps is an industry standard and have a beautiful, clean way of removing low midrange to clear up the sound of the guitar. I believe all but the first Marshalls came from a high-powered tweed Twin preamp (which was a 80-watt combo amp) and a Bassman power amp. The schematic was a little different. It was one half-tube into a full-tube cathode follower, into a more midrange-y tone stack, into the phase splitter and power tubes and output transformer. Both of these circuits have different kinds of sounds. What’s interesting is Marshall kept modifying their amps for less bass, more high midrange and treble, and more gain. In addition, master volume controls started being added by Fender and Marshall around 1976. The goal was to give more gain at less volume. Understanding these circuits has been a lifelong event for Doug and me.
Then, another designer came along by the name of Alexander Dumble. He modified the tone stack in Fender amps so you could get more bass and a different kind of midrange. Then, after the preamp, he put in a distortion circuit in a switchable in and out “loop.” In this arrangement, the distortion was like putting a distortion pedal in a loop after the tone controls. In a Fender amp, most of the distortion comes from the output section, so turning the tone controls changes the sound of the guitar, not the distortion. In a Marshall, the distortion comes before the tone controls, so when you turn the tone controls, the distortion changes. The way these amps compress and add harmonics as you turn up the gain is the game. All of these designs have real merit and are the basis of our modern tube–and then modeling—amplifiers.
Everything in these amps makes a difference. The circuits, the capacitor values and types, the resistor values and types, the power and output transformers, and the power supplies—including all those capacitor values and capacitor manufacturers.
I give you this truncated, general history to let you know that the amp business is just as complicated as the guitar business. I didn’t even mention the speakers or speaker cabinets and the artform behind those. But what’s most important is: When you plug into the amp, do you like it? And how much do you like it? Most guitar players have not played through a real Dumble or even a real blackface Deluxe Reverb or a 1966 Marshall plexi head. In a way, you’re trusting the amp designers to understand all the highly complex variations from this history, and then make a product that you love playing through. It’s daunting, but I love it. There is a complicated, deep, and rich history that has influenced and shaped how amps are made today.
Lenny Kravitz’s lead-guitar maestro shares how his scorching hit solo came together.
Hold onto your hats—Shred With Shifty is back! This time, Chris Shiflett sits down with fellow west coaster Craig Ross, who calls in from Madrid equipped with a lawsuit-era Ibanez 2393. The two buddies kick things off commiserating over an increasingly common tragedy for guitarists: losing precious gear in natural disasters. The takeaway? Don’t leave your gear in storage! Take it on the road!
Ross started out in the Los Angeles band Broken Homes, influenced by Chuck Berry, Buddy Holly, and the Beatles, but his big break came when he auditioned for Lenny Kravitz. Kravitz phoned him up the next day to tell him to be at rehearsal that evening. In 1993, they cut one of their biggest hits ever, “Are You Gonna Go My Way?” Ross explains that it came together from a loose, improvisatory jam in the studio—testament to the magic that can be found off-leash during studio time.
Ross recalls his rig for recording the solo, which consisted of just two items: Kravitz’s goldtop Les Paul and a tiny Gibson combo. (No fuzz or drive pedals, sorry Chris.) As Ross remembers, he was going for a Cream-era Clapton sound with the solo, which jumps between pentatonic and pentatonic major scales.
Tune in to learn how he frets and plays the song’s blistering lead bits, plus learn about what amps Ross is leaning on these days.
If you’re able to help, here are some charities aimed at assisting musicians affected by the fires in L.A:
https://guitarcenterfoundation.org
https://www.cciarts.org/relief.html
https://www.musiciansfoundation.org
https://fireaidla.org
https://www.musicares.org
https://www.sweetrelief.org
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editor: Addison Sauvan
Graphic Design: Megan Pralle
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Tobias bass guitars, beloved by bass players for nearly half a century, are back with the all-new Tobias Original Collection.
Built for unrivaled articulation, low-end punch, and exceptional ergonomics, the all-new Tobias Original Collection comprises an array of six four and five-string bass models all offered in both right and left-handed orientations. The Tobias range features Classic, Killer B, and Growler models, and each is equipped with high-quality hardware from Babicz and Gotoh, active electronics from Bartolini, and the iconic Tobias asymmetrical neck design. Crafted from the finest tonewoods, Tobias Original Collection bass guitars are now available worldwide on Gibson.com, at the Gibson Garage locations, and at authorized Gibson dealers.
The bass world has been clamoring for the return of the authentic, high-end Tobias basses, and now, Tobias has returned. Combining the look and tone of the finest exotic tonewoods, such as quilted maple, royal paulownia, purpleheart, sapele, walnut, ebony, and wenge, with the feel of the famous Tobias Asym asymmetrical neck and the eye-catching shapes of the perfectly balanced contoured bodies, Tobias basses are attractive in look and exceptional in playing feel. However, their sonic versatility is what makes them so well suited to the needs of modern bassists. The superior tone from the exotic hardwoods, premium hardware, and active Bartolini® pickups and preamps results in basses with the tonal flexibility that today’s players require. Don’t settle for less than a bass that delivers everything you want and need –the look, the feel, and the sound, Tobias.
“I’m thrilled to release Tobias basses, emphasizing the use of exotic woods, ergonomics, and authenticity to the original Tobias basses,” says Aljon Go, Product Development Manager for Tobias, Epiphone, and Kramer. “This revival is a dream come true, blending modern craftsmanship with the timeless essence of Tobias.”
“It’s amazing to see this icon of the bass world return,” adds Andrew Ladner, Brand Manager for Epiphone and Kramer. “These models are truly a bass player’s bass, and true to the DNA that makes Tobias world-class—the ace up the sleeve of bass players around the globe since 1978. Today’s players can find that unique voice and feel that only Tobias can offer.”
For more information, please visit gibson.com.