Brand: Voodoo Lab
The tone control delivers a wide spectrum of midrange and bass timbres, everything from an extreme gain scooped tone through a raucous, bluesy, prominent mid voicing. The resonance control is a sub-harmonic booster that lets you add an aggressive bottom end not typically found on fuzz pedals. Attack varies the gain from rich and creamy to outrageous.
Named after the NASA rocket that launched the Gemini manned space missions, the Titan II has arrived to blast your tone into the stratosphere!
The Titan II Fuzz Machine is a unique discrete circuit using silicon transistors. Despite only having three control parameters, the Titan II packs a wide array of distinct tones within its cast aluminum shell. At full bore, you will get splatty, nasty fuzz tones; but the wide range Gain control also delivers great low gain tones that start to crossover into overdrive territory. In between these extremes, there exists fuzzy distortion tones as well.
To introduce even more tonal variety, the Titan II cleans up nicely with the volume on your instrument, adding additional levels of fuzz textures and expression. The Tone control offers a complex tonal shift, which really allows the Titan II to cover an incredible range of fuzz tone and texture. The Titan II sounds awesome with standard, bass and baritone guitars, as well as most things you plug into it.
While we do not yet have a Titan II video to share, we have included a fan video of the Secret Mission Prototype version of this pedal below, which offers a taste of the tones of the Titan II Fuzz Machine.
The Titan II is completely hand-soldered and handmade in Portland Oregon to the highest degree of quality possible. These are truly artisan-crafted tone devices, sparing no detail within or without. The Titan II utilizes true-bypass switching via the heaviest duty mechanical footswitch available, while your tone is transferred via quality open-frame Switchcraft jacks. Open one up and you’ll see an unparalleled display of craftsmanship; with immaculate hand-soldered PCB, detailed military-spec wiring, and custom Spaceman heavy-duty battery connector. On top of its cast aluminum enclosure sits a durable, engraved vinyl faceplate and vintage dim-able indicator light. This pedal is truly built to last a lifetime.
The Chrome Edition Titan II features triple-plated "show chrome", custom engraved control knobs, and vintage 1959 Aerospace dim-able indicator. The Copper Edition features double-plated polished copper, custom engraved control knobs, and vintage 1959 Aerospace dim-able indicator.
The Black Edition Titan II features heavy-duty textured powdercoat, custom engraved control knobs, and NOS vintage glass indicator. The Blue Edition features gloss blue powdercoating and vintage aerospace dim-able indicator in yellow, with alternate faceplate detail.
In 1967 the legendary Mike Matthews started experimenting with circuits for the electric guitar, and by early 1969 he had created a circuit that has become one of the most legendary, collected and mythical pedals in the history of guitar effects. With 30+ versions made throughout its almost half a century lifetime, the Big Muff Distortion/Fuzz has personally pioneered the sounds of some of the biggest bands and musical movements in history. The Muffuletta is our tribute to the legend and story of one of the greatest pedals ever invented. Let’s take a look at what makes the Muffuletta the ultimate recreation of this circuit in a way that has never been done before.
The heart of the Muffuletta is the fact that it replicates five (yes five) classic Big Muff circuits from years gone by as well as a new and original JHS version for a total of six Muff models. All executed without any digital signal processing or digital emulation. When you choose a model, you are achieving analog tone that uses real components and values found in the original units. We have selected our favorite classic versions from the pages of history and made them available in one small format pedal that is easy to understand, operate and do what it should do… replicate rare, expensive, mythical and sought after versions of this circuit with ease.
Looking at the pedal, there are four controls: Volume, Tone, Sustain and Mode. The “Volume" control works just like any other volume control allowing you to adjust the overall output of the pedal to your taste. The “Tone” control lets you brighten or darken your overall tone. The “Sustain” control is best understood as a gain or distortion control as it gives more distortion to the circuit. The “Mode” control lets you choose from our six different versions of the Big Muff on the fly. Looking at the “Mode” control you will see six icons around the lower 50% of the knob. Let's take a look at each mode and why they made the cut to be in the ultimate Big Muff tribute.
JHS - "2015" The JHS Muff is a JHS original take on the classic circuit. You will find this version more powerful, less compressed with a more haunting mid range. It is also the best for bass guitar.
73 Rams Head - “1973-1977 V2” The 73 Rams Head gets its name for the strange little elfin looking face that appears on the lower right corner of the pedal. Over the years people nicknamed this unit based on the fact that is looks somewhat like a lamb or animal. It is best known for having a scooped mid range, less gain and being overall darker. Famous users include David Gilmour (main Pink Floyd recordings), Ernie Isley (Eisly Brothers), and J. Mascis (Dinosaur Jr.)
The Triangle - “1969-1970 V1” The Triangle Muff gets its name from the triangle arrangement of the knobs on the original unit. It is best known for having more low-end response and being more articulate. Famous users include Santana, David Gilmour's Pete Cornish made pedal boards, John Lennon, Kevin Shields (My Bloody Valentine), and possibly Jimi Hendrix.
The Pi - “1977-1978 V3” The Pi Muff gets its name from the instantly recognizable red Pi symbol on the top. This is not to be confused with the later redesigned NYC version released much later in 2000. It is best known for a more aggressive sound. Famous users include Frank Zappa, Billy Corgan (Smashing Pumpkins), Jack White, The Edge (U2), Beck, and Pete Townsend (The Who).
The Russian - "1999-2009 V8” The Russian Muff gets its name from the “Made in Russia” text found on the back. It is best known for having less clarity and less low end. Famous users include Dan Auerbach (Black Keys), Chris Wolstenholme (Muse), and Robin Finck (Nine Inch Nails).
The Civil War - “1991-1993 V7” The Civil War Muff gets its name from the old style Civil War era font found on the enclosure as well as the navy and grey colors found on many. It is best known for having more mid range, brighter overall tone and less gain. Famous users include Thurston Moore (Sonic Youth), John Fogerty, Jeff Tweedy (Wilco), Mike Mills and Peter Buck (REM).
The Big Muff has an amazing history and has been used by some of the most influential guitarists ever. Never before has there been a single pedal that gives you all these different eras of it’s tone. We are convinced that the Muffuletta can fit in anyone's rig who loves dirt, distortion and fuzz, and we think it will be hard for you to disagree once you plug it in and play.
Made with love by our very own Caleb Barton, these sound awesome and you should buy one!
From Bridge City Sound:
Do you like beards? So do we. Being from the Pacific NW, we need our beards. We also need fuzz. You can’t have a beard without a fuzz pedal. That might sound ridiculous….but…
We don’t think so….
The FUZZ was born out of our many, many attempts to understand the nature of this wonderful effect that so many enjoy. We started with 4 gain stages, some weird parts from Russia and an IDEA for a unique tone stack that is actually useful. We arrived at the FUZZ, and we love it.
The tone stack gives you the ability to sweep from dark, deep bassy mud to bright, chimey and very articulate tones and everything in between. It is actually VERY similar to the tone stack in our MORRISON amp. With the addition of gain and volume controls, your options are limitless.
Try one, try two. Chain them all together. Turn them on at once. It’s fun, like music should be.