What prompts you to look for another fuzz/overdrive?

[Mark Hammer]

Ironically, today's episode of That Pedal Show is pretty much a complement to this thread.

[pinkjimiphoton]

you can never have too many distortion pedals.
#fuzzygoodness

tho i do find it fairly easy to get drastically different circuits to sound fairly similar

hey vern, this new fuzzamajobwhammajamma is TheFuzzToRuleThemAll!!!!

and then ya change one thing and down ya fall into the rabbit hole again, alice...

to me it all comes down to useability. i use different devices to guarantee specific tonal spectrums are available. i combine 2-5 of 'em or more sometimes to emulate other cat's sounds if the gig calls for it.

they gotta kick ass n scream, and need to be responsive like a good tube amp. but i gravitate toward very classic tonalities and tend to use stuff more as an enhancement... most folks would think its just overloaded valves.

distortions are very subjective as to whats proper to each player.

imho no amount is too many

[Fancy Lime]

The formula to calculate how many fuzzes you should have is:

n(c) = n(p) + 1

where
n(c) is the correct number of fuzzes to have and
n(p) is the number of fuzzes you presently have


Andy

[bluebunny]

The formula to calculate how many fuzzes you should have is:

n(c) = n(p) + 1

where
n(c) is the correct number of fuzzes to have and
n(p) is the number of fuzzes you presently have

I love it when you talk maths.  Funnily enough, it's a very similar formula for the number of guitars one should have.  (Something I strive to achieve, btw.  Ask my wife.)

[POTL]

A couple of years ago, I just created everything, any popular distortion pedals, at first I did it without thinking, just copied, not trying to understand how it works. I collected, if not all, almost all of the popular distortion effects (several dozen pedals), at some point I decided to experiment and began to change component by component trying to understand how each works and what it affects. Then I began to read about how these or other active components, filters, restriction, etc. work, this allowed me to fully understand the work of distortion effects and now I do not copy the schemes, but create them myself.
The most complex distortion effect for me is fuzz, especially vintage schemes.
All these non-standard (for me) connections of the stages of amplification in the spirit of fuzz face or fuzzy with an octavera look interesting and there are moments that I have not yet studied.
However, after the release of JHS Cryone, I was inspired by the idea of ​​exploring vintage pre-amplification circuits, in the form of discrete operational amplifiers.