Fractal Audio DRIVE models: Master Fuzz (based on Gibson’s Maestro Fuzz-Tone FZ-1A)

yek

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Master Fuzz: based on Gibson’s Maestro Fuzz-Tone FZ-1A

Fuzz was one of the first “transistorized” guitar effects. Transistors amplify the signal and when they clip, distortion is generated. When the clipping is hard instead of gradual, the distortion is harsh and buzzy, named “fuzz”. The tone of fuzz depends greatly on the type of transistor used: germanium, silicon etc. (available as Clip Types in the Drive block). Common opinion is that germanium transistors sound warmer/rounder, while silicon ones have more gain and are harsher.

If you want to read more about the origin of fuzz and guitar effects in general, I recommend Analog Man’s Guide to Vintage Effects, written by Tom Hughes (For Musicians Only), a joy to read.​

In real life fuzz pedals can pose players for challenges:
  • Germanium transistors are unreliable. The later silicon ones are more consistent but many players prefer the sound of germanium.
  • Many fuzzes rely heavily on a direct connection to the guitar’s pickups. Put a buffered pedal or a Wah inbetween and you’ll often lose your beloved fuzz tone.
  • Guitar pickups and the guitar’s volume also matter. Which is the beauty of fuzz.
This is important to us too:

Cliff:
"The Fuzz in the Axe-Fx reacts as though there is a buffer in front of it (because there is). It's a limitation inherent to all modeling products. I modeled it using a nominal source resistance. I forget what I used for the source resistance but it was probably around 100K ohms. To really simulate it you would need a controller to simulate the changing output impedance of the guitar.”

The USA-made ’62 Maestro Fuzz-Tone (made by Gibson) was the first fuzz pedal. The idea for the pedal was born when musicians wanted a way to reproduce the sound of a broken console transformer. It became famous after being used in Satisfaction by The Rolling Stones. The Fuzz-Tone led to the development of the Tone Bender and other fuzzes. Pete Townsend’s Fuzz-Tone sold for an astonishing $12.000.

The Maestro brand became part of Moog in the 70s.

Wikipedia:
“The Maestro FZ-1 Fuzz-Tone was the first fuzz distortion device to become widely available on the market for electric guitars and basses, although there had been other prototype devices made. It was designed and manufactured by Gibson. The Maestro FZ-1 (along with its almost identical update the FZ-1a) achieved a peak of popularity in the 1960s. The device was used by Keith Richards in the Rolling Stones' 1965 hit "Satisfaction" and became a favorite of many garage rock and psychedelic acts of the time. Gibson re-issued the FZ-1a in the 1990s, but later discontinued the model.

The Maestro FZ-1 sported a three germanium transistor circuit with RCA 2N270 devices, powered by two 1.5-volt batteries, and a lead cable to connect it to an instrument (bass as it was originally intended, or guitar). Germanium devices are temperature sensitive, and the effect responds to the incoming signal's amplitude (volume) consistently. Upon release, Gibson/Maestro made a demonstration disc available, featuring sound samples of the different settings of the pedal and guitar combination, emphasising the "brass-like" quality of certain tones. The circuit made its way into the body of Gibson's EB-0F "fuzz basses" (circa 1964). Before the Rolling Stones' hit, Fuzz Tone's sales were abysmal. In late 1965, when the original units sold out, the circuit was revised, using 2N2614 or 2N2613 transistors, with pertinent biasing network, powered by a single, 1.5-volt battery. The model was re-designated as the FZ-1a, keeping the same wedge shaped enclosure as the FZ-1. In 1968, an updated model with a different look and sound was introduced, with a circuit designed by Robert Moog using a 9 volt power supply and alternatively 2 or 4 silicon transistors, and labelled the Maestro FZ-1B. It went through 3 circuit revisions. In the 1970s Maestro came out with the The FZ-1S Super-Fuzz, which had a distinctly different look and sound than previous models.”

Back then the idea behind fuzz boxes included emulating instruments like violin, trumpet, cello and organ. Some compare the sound of the riff in “(Can’t Get No) Satisfaction” to that of a trombone. Check out the video at the bottom of this write-up!

Fractal Audio modeled the pedal into the “Master Fuzz” model. Its Clip Type is Germanium and High Cut is 4999 Hz.

The Maestro is a simple pedal with just two knobs, located at the side of the pedal:
  • Volume: controls the output level (model: Level control)
  • Attack: sets the amount of fuzz (model: Drive control).
Of course the Drive block allows us to adjust far more things: Slew, Mix, Low Cut, High Cut and other parameters are available to us. Bias in particular is a lot of fun to experiment with. But that's beyond the scope of this thread (see manual and wiki).

Personal note:
The Fuzz-Tone and its model Master Fuzz require an acquired taste. Personally its tone reminds me how really bad a fuzz can sound. *ducks under table*

About CPU:
  • Fractal Audio's Drive models take up varying amounts of CPU. The Master Fuzz requires a lot.
  • When a Drive block is engaged, CPU percentage will rise during playing, because CPU usage is "amplitude dependent".












Link to the list of published threads
 
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Find other information yek :)

The year was 1962, Gibson, at the request of many rock guitarists, tried to please them with a new portable guitar and small size effect, created to emulate the sound of the era tube amp into saturation, but also operating at low volume .
Fortunately it was very developed the technology of the new "Transistors Germanium", therefore it was built this pedal that works as a preamplifier, but sent in saturation (fuzzbox, that is, literally translated from English, "fuzz box", noted then that in English "Fuzz" means ripple, that is, change the wave, and unlike other models, and attempts at distortion released in those days, chased a square wave that made the classic "soft" tone), all obtained because the circuit contained a "Amplifier "and a" Clipping "circuit. The name chosen was "Fuzz Tone", the FZ-1 model, and the prototype was called FZ-1a, but the main difference between the two was in power, the FZ-first model was powered at 1.5 V DC with a stack "Torch" model, and the model, then put on the market in 1963, FZ-1 was powered by 3 V DC via the series of two batteries type "1/2 Torch" (the current Stilo and the AAA were to come) ; the circuit was virtually identical, however utilizing the transistors 2N270, in number of 3, for the FZ-1 model, and instead, always transistors 3, but 2N2613 or 2N2614 for the FZ-1a model, while the passive electronic components were practically the same for both and they both had the posito pole grounded power.


Correva l'anno 1962, Gibson, su richiesta di molti chitarristi rock, cercò di accontentarli con un nuovo effetto per chitarra portatile e di ridotte dimensioni, nato per emulare il suono degli amplificatori valvolari dell'epoca in saturazione, ma funzionante anche a basso volume. Fortunatamente si era molto sviluppata la tecnologia dei nuovi "Transistors al Germanio", pertanto fu costruito questo pedale funzionante come un preamplificatore, ma mandato in saturazione ( fuzzbox,cioè tradotto letteralmente dall'inglese, "contenitore di lanugine", notare poi che in inglese "Fuzz" significa increspare, cioè modificare l'onda, e diversamente da altri modelli e tentativi di distorsori ad esso contemporanei, cacciava un'onda quadra che rendeva il classico tono "Soft" ), tutto ciò ottenuto perchè il circuito conteneva un "Amplificatore" ed un circuito di "Clipping". Il nome scelto fu "Fuzz Tone", il modello FZ-1, ed il prototipo fu chiamato FZ-1a, ma la differenza sostanziale fra i due era nell'alimentazione, il modello FZ-1a era alimentato ad 1,5 Vcc con una pila modello "Torcia", mentre il modello, messo poi in commercio nel 1963, FZ-1 era alimentato con 3 Vcc mediante la serie di due pile tipo "1/2 Torcia " ( le attuali Stilo e Ministilo erano di la da venire ); il circuito era praticamente identico, però utilizzante i transistor 2N270, in numero di 3, per il modello FZ-1, ed invece, sempre 3 transistors, ma 2N2613 oppure 2N2614 per i modello FZ-1a, mentre i componenti elettronici passivi erano praticamente gli stessi per entrambi ed avevano entrambi il polo posito dell'alimentazione a massa.

Maestro_Fuzz.JPG




published May 19, 2012, from Accordo.it
thanks to Mr.BASS
https://www.accordo.it/article.do?id=65820
 
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I love that demonstration record! It shows how far we've come (and how much marketing 'spin' was around in 1962....) :)

Here are some of those early examples of the use of fuzz (prior to the Maestro):

Howling Wolf - How Many More Years from 1951


Johnny Burnette - Train Kept A Rollin' from 1956
(Listen to the 1:00 mark onwards)


Don't Worry - Marty Robbins from 1961
(Listen to the 1:30 mark onwards. Not the kind of recording on which you would expect to hear a fuzz....)


Grady Martin - The Fuzz from 1961
(This one supposedly gave the effect its name)
 
I'm under the table with Yek on this one. This pedal sounds like Rosanne Barr singing while scratching her nails on the chalkboard - naked. Kill me, kill me now.
 
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