Though available as options, there is no 9V input or LED indicator. It needs to be right there anyway, as the input impedance is truly crucial to it’s timbre in your rig.
As far as dynamics it’s akin to having the fuzz wired directly to your output jack. It still has some degree of responsiveness from the volume control. There isn’t much more to it than this: Awesome fuzz that is set it and forget it…as far as the pedal goes. No need to take notes for live use…Just crank ’em! If you back the Fuzz control back ever so slightly, it can take away some of the brash bravado silicon trannies tend to exhibit when set close to maximum, but still retain the chaotic nature of the Fuzz Face. The AnalogMan is an example of simplicity itself with only Volume and Fuzz controls (labeled “V” and “F”.) As with any vintage fuzz face, generally, the closer you can get the controls to maximum the better off you are.
Let’s take a look at the totally different approaches they have in using the same transistor. Both are considered titans in the world of boutique fuzz, and rightfully so.
For fuzz fanatics an often used transistor is the BC109, and is at the Heart of both contenders in today’s fuzz face-off: the AnalogMan SunFace BC109 and Skreddy Lunar Module Deluxe. Biting, screaming, controlled fuzz that is the diametrically opposed flavour of it’s Germanium counterpart.
It’s on so many of your favourite tracks. Or have they? Do gear hounds still seek out simple two knob fuzz boxes, or do they prefer the options afforded by more up to date circuits? Vintage fuzz is being used by many modern players… Can both be valid in today’s market of strong opinions of what a fuzz “should” be? Little has changed since then in that regard, but the needs and wants of players certainly have. AnalogMike (Mike Piera) and Marc Ahlfs are both well know in today’s large circle of fuzz builders but it wasn’t long ago when that circle was a lot smaller, and these two circuit hounds were the go-tos for vintage styled effects.
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