Certainly there is some fuzz quality when dialed back, but it simply sounds edgier like a Fender Bassman amp being pushed to the limits. As you dial back the Fuzz level it takes on more of a distorted or over-driven sound, which makes it less fuzz-like and, consequently, more diverse.
#Bias amp 2 back sabbath full
However, even up full you get a nice grain and edge, while not being a smooth as more modern-day fuzzes (which is why this is a ‘Vintage’ Fuzz). When you turn the Fuzz level all the way up, the tone becomes more saturated and smoother. The Vintage Fuzz II allows you to dial into somewhat smooth tones to thick and heavy tones. Used with a clean amp or very carefully and sparingly with a high-gain amp, there is a ton of tonal options available, particularly as you adjust your guitar’s volume knob. This is one of the best fuzz pedals I have tried that actually mimics that early fuzz tone and is unlike many of the ‘modern’ fuzz pedals out there. The Fuzz knob on its own makes it sound great, and anywhere from a heavy breakup to a grainy sizzle (with a heavy sound that easily enters the feedback zone), but you can really makes some awesome tone changes in the attack and aggression by adjusting the Bias knob.
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I also hear quite clearly some Black Sabbath in the mix. Denis (the designer of the Vintage Fuzz II) refers to this pedal as a Tone Bender, powered with three Germanium Russian NOS MP 41 transistors to help you attain the tones of Led Zeppelin, The Who and The Rolling Stones. When doing so, I found it best to ease off on the amp’s gain and then add in the Vintage Fuzz II at only quarter way on the Fuzz level for a huge sound.ĭeveloped by Doc Music Station (France), Vintage Fuzz II (MP 41 MK 2 model) produces that classic hard-hitting fuzz tone at a fair price of 159 Euro. It sounds awesome on a clean amp channel (with a hint of gain), but works very well and adds a new dimension to a high-gain channel’s tone. You can put the Fuzz level up high and get that famous vintage fuzz tone, but as you ease off on the guitar’s volume it sounds more crunchy and distorted… and without losing too much overall volume in the process. What makes the Vintage Fuzz II so useful is that it cleans up so nicely when you dial back your guitar’s volume. And once you crank out some heavy riffs you can hear the emergence of early Black Sabbath and dark Metal. As you turn back (reduce) the Fuzz level it produces a more distorted and thicker quality, which is even more obvious as you adjust the Bias level for a more stabbing or bubbling effect to the tone’s quality.
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With the Fuzz level up full you do not get that thin searing sizzle you hear from some more modern-day counterparts, but a slight breaking up quality that places the Vintage Fuzz II into the category of part fuzz, part distortion and part overdrive. There we have it, you have now got the Geezer Butler, original Black Sabbath sound and tone from the new Laney Digbeth DB500H and Black Country Customs Blackheath Bass Distortion Pedal.An outstanding job replicating that classic 1960s and into the 1970s heavy, thick fuzz sound, you can’t go wrong with the Vintage Fuzz II. For this, we recommend the Black Country Customs Blackheath Distortion Pedal. Now you have the head tone sorted, you need to get your pedal working just right.
#Bias amp 2 back sabbath how to
Step forth the mighty Digbeth range of amplifiers, our flagship bass range has a plethora of options and in this blog, you will find how to get the perfect ‘original’ Geezer Butler tone, but not needing to run an LA100BL at 10 across the panel…
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The main reason for such rigs in the late 60’s and through the 1970’s was more for the lack of presence and power that P.A Systems provided, so having a backline that could push the sound without the need to go through such a system was really integral to a loud rock and roll gig. These days, having 100 watts of ‘Class A’ pure valve power isn’t as imperative as you may believe. His playing style and unique technique was developed from his love of jazz and pop music, but with the style and power that Black Sabbath were playing, he found himself playing harder and harder, almost literally attacking the bass with quite a level of ferocity. For more information about that, you can check the history section of the Laney website (it’s quite the story, despite our bias!).īack to Geezer. The ‘BL’ side of things is quite important, and it shows that bass came first, (quite literally in our case) as our founder Lyndon Laney was a bass player who made the first Laney amp out of necessity. It was an industrial sound, created by two music icons, Tony Iommi on guitar and Geezer Butler on bass.īoth players used the same amp at the time, a Laney LA100BL head, so-called because ‘LA’ (Laney) ‘100’ (100 watts) and ‘BL’ (Bass or Lead).
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The first Black Sabbath album was released on 13 th February 1970 and it set the bar for a new sound. Black Sabbath invented heavy metal, that is a FACT.