StewMac Sun Fuzz Pedal Kit
nspired by Analogman's Sun Face, our version finally gives you the control and tone shaping you've always wanted from the original Fuzz Face circuit. If you love Hendrix, Clapton, or Gilmour—this fuzz must be on your board.
The Fuzz Face is one of the foundational tones for electric guitar. However, the originals can be hard to control and don't play nice with many pickups and amps—even temperature can completely change the tone! Following Analogman's lead, we've swapped the germanium transistor for a silicon BC-108, giving the pedal a brighter tone, more gain, and enhanced touch sensitivity.
The most versatile fuzz you've ever tried
With simple controls for volume, fuzz, and tone it's easy to dial in just a touch of fuzz for chunky chords or max it out for super saturation and sustain. Want to go deep? You can further tailor the sound with the internal clean and bias controls for infinite tone tweaking. And it sounds great with humbuckers, single-coils, and P-90s—this fuzz can do it all.
Designed with the beginning pedal builder in mind
No need to wait months for Analogman or try your luck on the used market—this is an easy pedal to build.
We include everything you need:
- 32 page step-by-step instructions written for the first time builder
- Top quality, high tolerance components from resistors to switches
- Road-worthy rugged metal enclosure with all holes pre-drilled
- Bare or powder coated white finish
- 3PDT breakout board for low noise
- Internal trim pots for tone shaping
- Input, output, and power jacks rear mounted for easy cable routing
- True bypass
- Custom printed labels
Metal Gems is an exclusive collection of 100 high-gain Tone Models, meticulously captured to deliver both classic and contemporary metal tones, giving users instant access to 4 legendary amps: a Diezel Herbert, Bogner Uberschall, Soldano SLO-100 and a Peavey 5150.
The essence of these high-gain jewels has been preserved in stunning high-definition using IK's cutting-edge AI Machine Modeling Technology in conjunction with a sonically perfect environment to produce the incredible guitar tones available today.
Collection Overview
- 100 Tone Models based on legendary high-gain amps including with and without cab
- A Premium Tone Model collection for use across the entire TONEX ecosystem
- Compatible with all TONEX versions including the free TONEX CS and TONEX App
- Captured at a professional studio with ideal acoustics and the perfect gear
- Created using cutting-edge AI Machine Modeling technology with advanced training
- All Tone Models can easily be loaded to TONEX Pedal and used for live performance
The Featured Models
Diezel Herbert
The Diezel Herbert is a 180-watt fire breather that can go from dynamic cleans to ultra-tight distortion. 30 Tone Models deliver that Diezel signature definition and tightness perfect for modern and classic metal tones. The collection includes all 3 distinctly voiced channels captured with different cabs, mics and outboard gear.
Bogner Uberschall
The Bogner Uberschall is a renowned high-gain guitar amp prized for its all-tube distortion and clear string separation. 25 Tone Models deliver searing lead and rhythm tones with tight and powerful bass, ideal for players of extended-range and drop-tuned guitars. The collection includes clean and high-gain Tone Models using multiple stomps to tighten and drive the amp into brutal territory.
Soldano SLO-100
The SLO-100 redefined high-gain amplification in 1987 as one of the first amp heads to feature powerful harmonics and impeccable gain, sustain and responsiveness. 25 Tone Models feature clean, drive and high-gain tones with several using a TS-9 and Furman PQ-3, captured with a variety of settings, speakers and other outboard gear to achieve a wide range of tones for hard rock to modern metal.
Peavey 5150 Block Letter
The Peavey 5150 is one of history's most iconic high-gain amps, instantly recognizable on any stage. Renowned for its bloom and juicy harmonic saturation, the 5150 was quickly adopted by many top metal guitar players. 20 Tone Models feature a variety of captures including some with stomps and with 6 different cabs to deliver a wide range of skull-crushing, gig-ready tones.
A New Tuner for TONEX Pedal
The release of Metal Gems coincides with a free firmware update for TONEX Pedal featuring a game-changing chromatic tuner. The new tuner inside TONEX Pedal can replace any tuner currently used with its easy-to-read display, selectable reference frequency and three operating modes: Mute, Thru, and Off.
To update to firmware 1.2.3, connect TONEX Pedal to a Mac or PC with an internet connection and launch TONEX. Navigate to the librarian section and select "Update Firmware." Once complete, the pedal will restart automatically with the new firmware installed and the tuner ready.
This update and future improvements represent IK’s commitment to ongoing TONEX hardware improvements, software refinements and additional Tone Models.
Metal Gems Signature Collection is available now to purchase via ToneNET and within any version of TONEX for Mac/PC for $/€49.99.* For a limited time, Metal Gems is included free with new purchases of TONEX Pedal and TONEX MAX.
For more information, please visit ikmultimedia.com.
IK Multimedia TONEX Pedal Amplifier/Cabinet/Pedal Modeler with Z-Tone Active Direct Box
The $499 Indonesia-built PRS SE CE 24 Standard Satin does not have the advantage of a flame-maple top to give an upscale aura, like its bolt-on cousin the SE CE 24, but doesn’t need it. Because it takes about a minute of playing the SE CE 24 Standard Satin to feel and hear that it’s guided by the same playability-first design philosophies that make top-shelf PRS instruments coveted. There’s a lot of classic PRS essence in the SE CE 24 Standard Satin, and at 500 bucks in the year 2024, that is no mean feat.
The Best Deal Yet? PRS SE CE 24 Demo
Stirring Up Trouble
One really cool thing about a satin finish PRS is that, rather than compelling you to don kid gloves, it invites you play it hard, like a battered old Les Paul Jr. or Telecaster might. Like those guitars, the SE CE 24 Standard Satin is an elemental instrument. There is little in the way of bells and whistles to distract you from picking. Instead, the straight-ahead nature of the design tends to reinforce the sense of how well-made the SE CE 24 Standard Satin is.
Even with the $499 price in mind, I will surprise exactly no one by mentioning that this PRS is, more or less, flawlessly put together. Look all you want—you won’t find anything misaligned, sloppily cut, or improperly glued anywhere. The bolt-on maple neck sits snugly in its pocket and the fretwork is every bit as nice as what you see on guitars much further up the food chain. There’s no fret buzz, and yet the action is low and slinky. The guitar rings like it’s a living thing, too. Strum a first-position E chord and you’ll feel the resonance in your ribs.
When you examine the SE CE 24 Standard Satin at even closer range, you find details that charm and impress. Where an expensive U.S.-built PRS wouldn’t leave the factory with anything other than a perfectly bookmatched mahogany body, the SE CE 24 Standard Satin’s all-mahogany body is made up of at least three sections which look fairly asymmetric in size. The grain looks pretty different at the joins, too. But that does nothing to detract from the pervading sense of craft. In fact, it heightens the SE CE 24 Standard Satin’s all-business, proletarian essence—a nice thing to see in a guitar from a brand which, historically, is associated with fancy appointments.
Other construction details leave you appreciative of PRS’ commitment to advancing electric guitar design rather than being bound to tradition. The PRS Patented Tremolo vibrato system is as smooth as molasses and stable even under vicious handling (a specialty of mine). Among guitars in this price class, I’ve grown to expect vibratos that fly wildly out of tune if you sneeze, with arms that constantly flop and dangle out of reach. Even on this import version of the system, the ridiculously simple solution of a non-threaded arm that sits in a plastic sleeve works without fail. You can situate it at various heights and swing it into any position that feels comfortable, and it will stay there. It’s a fix for the inexpensive vibrato blues that many manufacturers would be wise to study. The dark-hued rosewood fretboard, too, seems luxurious for a $500 guitar. Most guitars in this price zone pivoted to paler Indian Laurel for fretboards some time ago.
Rowdy, Raw, and Refined
I instinctively get apprehensive when I see uncovered humbuckers in an affordable guitar. Something about encountering decades worth of ghastly, harsh, thin, and nasty entry-level humbuckers will do that to you. The 85/15 “S” pickups in our review guitar go a long way toward alleviating this paranoia. In humbucker mode, the bridge pickup is balanced. There is a midrange bump that can lend just a touch of harmonic clutter and some stridency when you play chords at full volume. But lead lines sing with a heated energy that has a nice touch of silkiness around the edges. Volume and tone attenuation are effective cures, too, if the midrange is too hot for your taste. That midrange emphasis is less flattering in the neck pickup, at least when you play big rock chords. But melodic fingerpicking and a dynamic touch summon a sweet side, and, as with the bridge pickup, single notes from the 1st through 3rd strings in particular have a satisfying, ringing presence that is not at all harsh. Combined pickup tones are especially nice. They’re springy, airy, and at times have an almost-Stratocaster-but-fatter ring.
Speaking of Stratocaster tones, there’s more than a little taste of Straty-ness in the split-coil voices. In the bridge position, the fundamental split-coil tone rings a lot like a hot Strat pickup, but with less bite and muscle than a Telecaster bridge. The neck pickup comes off as a bit rowdy and exhibits more overdrive characteristics than a Strat neck pickup, but is very responsive to a nudge to the volume control if you want clear, less-driven tones. The middle position in split-coil mode, which combines the centermost coils of the two pickups, is the most interesting twist on the instrument’s inner Stratocaster spirit. It generates a thick and muscular but clear and snappy version of a Strat’s out-of-phase tones. That’s not a sound I use a lot, but I love the PRS’s take on that tonality. Each split-coil position, by the way, exhibits very little volume loss when compared to humbucker mode.
The Verdict
We probably sound like a busted record at this point—going on about how PRS tends to overachieve in the affordable price category. But, hey, don’t look at us. It’s PRS’s fault. And until they start building junk we’ll keep on raving. The careful construction, useful and flexible coil-splitting capacity, reliable, smart vibrato, and all-around stability make this instrument an uncommon value. And you could very easily spend a lot more money and fail to get a guitar that does as much, and does it as well, as this straight-ahead, no-frills machine.
