FUZZ

[nova express]

hi

is there someone who know the "math " behind FUZZ distorsion ?
I would like to recreate it with modular and flexor. To me it's more like a kind of wave shaping than an overdrive thing . But I don't know how ..
also I would like to re-create de zvex MACHINE
"It generates the distortion of the wave in the sloped part of the cycle, instead of the peaks and valleys like all other distorters and fuzzes. In other words, it distorts when your guitar string is in the middle of vibrating "

thanks

[dawman]

You need to contact tgstgs at G.O.S.T. and get a demo of the Saw Wavecutter.
It is exactly what you are looking for.
I use 2 x B2003's to get the sound I wanted for Deep Purple/ John Lord tones. To avoid using the CmWr distortion I send 1 x B2003 into the Saw plug, and then send the audio to the audio in of the second B2003.
As for doing this in Modular there's a module called the Puslifyer that might be of use.
Look under effects/distortion/pulsifier.........

Here's Saw....
http://soundcloud.com/jimmyvee/scope-b2 ... nic-bundle

[nova express]

nice playing and nice rendition of john lord sound ! great !

it remember me some Tarkus sounds .

did you try to put the b2003 in Dynatube ? . I believe than Emerson and lord put their hammond on 4Xmarshall amp !!!!
i've just bought dynatube and it sound fantastic on guitar ! just unbelievable ! i've dont try it on b2003 yet ..

your first b2003 is without leslie then sent to saw wavecutter and then to the second b2003 in for the leslie effect . right ?

[dawman]

I use Mojo instead of Dynatube, but the amp models won't make the difference in the way I need the extra distortion.
Lord ran his distortion boost from a Marshall head into the Leslie Pre Amp.
Therefore running the B2003 into an amp model and adding distortion to an already active doppler effect ( Leslie ) won't work.
To get the buzz through the B2003's rotary I needed drawbar tones of the 16' and 5 1/3' from B2003 Numbero Uno. Then to Saw, then mono in to B2003 Numbero Dos.

You can see the diagram below where 3 x Creamware Synths and a B2003 are mixed into a Modular Mixer I made.
This is because I mix and layer the 3 synths, and when I press a single button on my KS88, it then loads presets to all 3 synths, plus the Modular Mixer so each type of sound I need can be accessed in realtime instantly like a large Rompler.
A certain preset for the Grunge B3 allows routing out of the back of the Modular IV Mixer from output 7 ( mono ) into the second B2003 for when I need the ELP, Yes, Floyd and Lord stuff.

I have 2 weeks left of this Classic Rock All Star band thing, and I retire to a new life of weekend gigs, and commissions on sales of high end IEM's.
6 nights a week for years.............time for break.
If the money sucks, I can always put together another band. I have done this for years, it's easy money. Like taking candy from a baby.......

FWIW, having all 3 x synths on the same MIDI Channel gives me the best sounds of each synth and the Minimax, Prodyssey and Profit 5 sound really good in the new converters of the XITE-1. Lots of guys see my hardware analogs, which are both mono, and always comment on nice the analog synths sound. They are referring to the polyphonic passages which are all Creamware synths. I tell them what synths they are and they ask how much............
I always say buy a used card and I will help you, they never do. They are happy sounding thin and exactly like the same guy next door who uses NI Komplete..........

[nova express]

I love layering my synth ! even the analog one .
thanks a lot for your input . now I just want to raise money to buy the xite and integrate it in my live rig !!!

[nova express]

finally i manage to do something very interresting with diode , inverter and frequency multiplicator modules on modular .
it's incredible the things you can do with the modular !!

[dawman]

Dude.......why didn't you tell me you gigged live..?
I used the cards for years and then got the XBox.
If you ever have any questions, feel free to ask away.
You'll find Modular is an incredible work around for just about every live scenario you can imagine.

Happy Gigs 2U...

[ChrisWerner]

............
I always say buy a used card and I will help you, they never do. They are happy sounding thin and exactly like the same guy next door who uses NI Komplete..........

NI things are fine but need a special post-treatment

As for the fuzz, I won't come up with pure maths as math is not my forte but I'll try to share what I've learnt about them..

Fuzz distortion is made through transistors mostly without any diode, distortion effects uses ICs and diodes.
When you look at a sine that is fuzzed, you can notice that the sine becomes more and more a square wave.
That will result that fuzz adds uneven-numbered multiples to your root. <-Many highs
To shape the highs LowPass filters are used after the heavy distortion.

At this point, it would be interesting to use a square waveshaper on your signal and shape it with some LPFs on different freqs.
Do it in modular, setup multi lfos for the cutoff on the filters and to the amount of the waveshaper, finally mix the filtered fuzz to the original signal again.
That could end in a modular fuzz box designer. Hallelujah modular.

[nova express]

ok ! thanks for your input chris !

[jksuperstar]

I think the basic overdrive is from clipping really. Take an input that's a sine wave. If you put it through a limiter, you'll see the top & bottom get flat as you increase the gain before the limiter, basically the sine wants to be bigger (in magnitude) than the limiter allows. If you add some DC bias, or shift the input signal by ADDING or subtracting a constant, you'll see more clipping on the positive than on the negative.

So an input gain, and bias (constant) are two basic knobs/parameters to this type of overdrive/distortion.

Then you can replace the limiter with a compressor with very high compression ratios, and you can start controlling how hard the clipping kicks in.

Then, if you add some feedback from the output of the compressor back into the input gain (use a small mixer), you can either send things into screechville, or invert the feedback signal and get things a little more mellow. This helps make the clipped part of the output signal not so flat, but have a bit more harmonics still. Add bias to this feedback, and you can control some of the even/odd harmonics that are added. Add a variable delay to the feedback, and you can build in a little comb filtering, to also help control harmonics.

As the Zvex quote says...what I described effects the peaks & valleys, like most overdrive based distortions do. The feedback effects everything though. If you have an oscilloscope device or plug-in, that helps you see whats going on, so when you are after a particular effect, you can learn how to break the problem down into steps you can accomplish easily with modular, or whatever tool you are using.

[dawman]

Ladies & Gentlemen................JKSupa Brotha' Man.
That is an excellent tip, and replacing the Limiter with a Compressor is a perfect way to fine tune it.
I actually use software Compressors for Limiting since I don't need Brickwall stuff.

Thanks CHief.
I hope to see more of your excellent ideas...