Anyone use a fuzz pedal for worship?

Discussion in 'Worship Service Players' started by Jag-tele, Oct 26, 2014.

  1. Jag-tele

    Jag-tele TDPRI Member

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    Looking at adding either a crazy fuzz like a fulltone soul bender or a more 'conventional' semi-fuzz like a rat to my board. Just to add another dimension. Any thoughts? What do you use and for what?
    I appreciate the feedback!
     
  2. bawdyli'lmonkey

    bawdyli'lmonkey Tele-Holic

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    if you check out precisepraise.org, there are a few big name guys using fuzz. Fuzz Factory is (or was) on a Jesus Culture board and a Desperation Band board. A couple Hillsong guys are or were using a Cusack scruzz which could be tubescreamer or fuzz or a blend.

    When I used fuzz its for some Stellar Kart stuff or maybe some early 3rd Day like Sing A Song. Its just a basic cool cat v2 fuzz, but its not so bad. I would prefer a fulltone 69 mkii or Mad Professor Fire Red Fuzz. Its surprising that more P&W bands don't incorporate fuzz. As long as its been around its kind of like mashed potatos and mac and cheese, comfort tones for multiple generations. But I guess that's not a contemporary attitude. :D

    Go for it!!
     
  3. CapnCrunch

    CapnCrunch Friend of Leo's

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    One of the problems (as i see it) is that too many contemporary christian guitar players believe they have to ask permission to use gear that is different than what the guy from Hillsong live plays etc. etc. Fuzz is a cool tool. If you can incorporate it, forget about it being "distracting" or whether one of the big CCM artists is using it, and just use it.

    I was watching a youtube video the other day by Pete Thorn and decided I've got to get a Deja Vibe. Pete is a monster player, and could make anything sound good, but honestly I just don't hear enough vibe, phase, or fuzz in modern worship.
     
  4. rhoydotp

    rhoydotp Tele-Holic

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    Depends on the songs. I use to have one in my board when we used to play more contemporary songs. Now we would have one or two out of five. So I just don't use it anymore. I used to use it for leads and some smooth power chord distortion.
     
  5. themandolinguy

    themandolinguy Tele-Meister

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    Exactly!
     
  6. Thinlineggman

    Thinlineggman Tele-Afflicted

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    I used an Electro-Harmonix Bass Big Muff with my telecaster for a while. Worked well on the blended setting for adding some light grit and booty to the chords.

    It got replaced with a Fulltone OCD, but I could go back to the Big Muff with no issues. I might actually use it next week instead of the OCD just for kicks.

    I say go for it. It'll either work for you well, or not so well. Only one way to find out.
     
  7. Jag-tele

    Jag-tele TDPRI Member

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    This +1000! Many of the current music leaders have become way too obsessed with the perfect mix of pre-packaged, 'studio' mixes of things. Thanks for all the responses. Y'all have convinced me to go get the nastiest, rudest fuzz I can find and rock it proudly!
     
  8. CapnCrunch

    CapnCrunch Friend of Leo's

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    Amen Brother! Rock it. In whatever you do, be a leader. I like fuzz, and I like distortion. My favorite is a boost into an overdrive into a muff style distortion. That is one of the recipes perfected by David Gilmour, and to my ear, it can't really be improved upon, especially if you can run it into a Hiwatt and a rotary speaker cabinet.:D The Skreddy Screwdriver is a boost into an OD into a Distortion in one box, and it can totally do that recognizable Gilmour style tone, or you can tweak it to do a nasty Muff/fuzz type tone. It has survived numerous iterations of my board, and I can't see it coming off any time soon.
     
  9. DannyStereo

    DannyStereo Poster Extraordinaire

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    I'm gonna use a Muff this weekend for my leads. We're doing 'How He Loves' and I'm gonna get some sweet sustain on that lead.

    I'm running a Muff>EP Booster (Always on, treble boost on)>Timmy>Zendrive.

    The Muff and Zendrive are on loan to me from a friend. But I've been slamming the Muff into my Timmy and it sounds AWESOME! :cool:

    Cap, you're running the OD Before the Fuzz? I'm kinda liking it after the Muff!
     
  10. DannyStereo

    DannyStereo Poster Extraordinaire

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    I'm always trying to push the band with new combinations of sounds. Delay where you would not normally have it. NO delay where you normally would. Trem + Modulated Reverb. Straight rocking overdrive. Experiment!

    If you have access to lead worship for a youth group, even better. I've been doing that quite a bit lately and I gotta say, it's a freeing experience. Those kids won't analyze every song choice, lyric, how 'throne room' your worship was, etc. They're there to rock out and spend time with God. Couldn't be more awesome.
     
    Last edited: Oct 31, 2014
  11. CapnCrunch

    CapnCrunch Friend of Leo's

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    I've tried a couple different ways, but I've settled on OD into Distortion. I wouldn't call the Muff a true fuzz. It has some of the same elements, but it's not a fuzz, it's more of a distortion (at least that's my opinion;)). My current set up is OD into Distortion into compressor into boost. With this set up, I can significantly boost my signal for leads because the boost is not compressed. In terms of the chain and what I think sounds best, I like the boost into the OD into the distortion. You can really put the OD and distortion over the top by hitting them up front with the boost, and this would be my setup if I had two boosts (unfortunately I don't).

    I'd definitely encourage you to try them in different orders and see what you like. I don't know if there is one "right" way. I do think there is some logic in having the signal go from lowest gain to highest gain, and I do know from practice that when you get the boost set right, and the OD set right, and dump it into the distortion, (and get your compression right too:))you can achieve something very close to those liquid, violin like tones that David Gilmour is famous for.

    As far as true fuzzes are concerned, you typically see them first in the chain because they tend to be really sensitive to input impedance, and they usually don't play well with pedals (especially buffered pedals) up stream from them. One notable exception is the Boss fuzz.

    Anyway, try out the different orders, and see what sounds best with your gear. Report back when you have it figured out.:D
     
  12. DannyStereo

    DannyStereo Poster Extraordinaire

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    I have an EP booster hitting the Timmy's front end and a Fatboost on the other side of ODs for volume boost.

    I think so far I really am digging the Muff first in line!
     
  13. CapnCrunch

    CapnCrunch Friend of Leo's

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    I've got an EP Pre, which I run most of the time simply at unity gain. When I need a boost I turn up the gain and use it for a boost. Great EchoPlex pre amp especially with delay and OD. I find the Timmy a little on the too bright side with most amps, but it sounds great with the EP Pre in front of it. The Timmy should be sold with a Clinch EP boost IMO. The Clinch makes a good OD (Timmy) a great OD. The Clinch also sounds fabulous with Marshall flavored distortions.
     
  14. DannyStereo

    DannyStereo Poster Extraordinaire

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    I like a bright tone, so the timmy works for me!

    Man, we need to get a Washington state TDPRI jam going.
     
  15. soundchaser59

    soundchaser59 Tele-Holic

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    DOUBLE EXACTLY! God didn't give you the talent so you could copy everybody else. Find your own sound and then let God show you where you should fit in. And never forget that the first opportunity you get you should try turning your amp up all the way and see if you can get the sound you are after without any OD or distortion pedals. THere is nothing like cranking an amp and letting it do its job, and then realizing that maybe you don't need all those fancy pedals after all. Every player should experience that feeling at least once.....
     
  16. DannyStereo

    DannyStereo Poster Extraordinaire

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    I am just a fan of Master Dimed/Gain Low. It's a combo that gives me the base sound I want.

    My ODs are really set to high gain either. More just to change the feel/EQ of the sound... Except for that Muff. That's just absurd amounts of gain, even with the sustain knob low like I have it ;)
     
  17. CapnCrunch

    CapnCrunch Friend of Leo's

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    Before we moved, and started going to a new church, I played at a church where we did absolutely no CCM (as in anything you would recognize from popular Christian artists on any radio station. Our band had a style that was like AC/DC meets the Black Crowes, meets Johnny Cash. We did all originals or original arrangements of old Hymns. My setup was a LesPaul or a Tele into my Tuner, into a point to point hand wired copy of a Dallas Rangemaster Treble booster into a 65Amps London with the amp volume maxed. That was it.

    It's hard to describe how a non-master volume amp works to young folks who have never played one. The church I attend now does lots of CCM covers, and I don't get a chance to use my amps the way I really like to. There is nothing like an Old school NMV Fender, Marshall or Vox cranked. I love being able to control the amount of OD with just my guitar volume knob. And I'm with you Soundchaser, no OD pedal can come remotely close to the sound you can get out of a cranked NMV tube amp.
     
  18. DannyStereo

    DannyStereo Poster Extraordinaire

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    Not to derail the thread, Cap, but my Vox amps have master volumes. I keep them all the way up... Does that 'defeat' them in a sense?
     
  19. CapnCrunch

    CapnCrunch Friend of Leo's

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    You keep the Master all the way up, and the gain low, or both gain and master all the way up? There is a fair amount of emotion involved in the discussion of amps. Purists and folks searching for the "Holy Grail" tone, tend to automatically dismiss amps that have a master volume. To some degree I understand why they do. On the other hand, if you can't realistically run your NMV amp at the level where the magic happens, are you better off with a MV amp? In my experience, I think you probably are because your band mates might kill you otherwise;).

    If you ever get the chance to plug into an early 60's AC 30 or a mid 60's JTM45, or Blackface Super Reverb, crank them up, and turn your guitar volume down, and see what the hype is about. The cleans (and they won't be completely clean) are fat and huge. The high end is attenuated slightly just like every recording you've ever heard. When you turn your guitar up, or just pick harder, the distortion just increases and volume stays pretty close to the same. Even at full distortion, you can play full chords, and you won't have any funky dissonance between strings.

    I don't know that I would say a master volume defeats anything. I know that if I couldn't place my cab in the amp room under the stage and crank up my amp, I would not be able to play my NMV amps the way I like to. In that case, I would almost certainly have at least one MV amp.

    Edit: Think I misunderstood your question. Having the master all the way up, probably does not take the master out of the circuit. I'm not familiar with the Vox MV circuit, however.
     
  20. DannyStereo

    DannyStereo Poster Extraordinaire

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    Thanks cap! That makes a lot of sense.

    I can only hope I get to plug into one of those someday!!
     
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