MM: I use a Fender Jazz Bass Mim and a Music Man HD 130 410 Combo.ĭo you get your signature distortion from the amp or pedals?ĭG: The amp. 
.I play em through an old Fender Bassman head and Bassman 4×12 cab. JP: I use a Gibson Les Paul and a Fender Silverface Twin Reverb.ĭG: Epiphone Casino or a Japanese Jazzmaster (as of recently) depending on the set – we never play the same set… or whichever one doesn’t break on me on the spot. MM: Dunlop’s Fuzz Face Hendrix marked me completely, but then theĮHX’s Russian Big Muff (Black one) changed me in every way. It’s extremely versatile and not so white anymore. Think the smooth fuzz of “Happiness Is A Warm Gun” to the rawness of “Helter Skelter” in a pedal. That pedal is my baby.ĭG: Jake lets me use this pedal he has that’s made by Jext Telez called “ The White Pedal” and it replicates all the overdrive and fuzz sounds found on The White Album supposed to mimic different tones on those old Vox Conquerer amps. I’ve never played a pedal with so much character before, and its big knobs make it easy to adjust with my foot during a show. JP: Death By Audio’s Fuzz War, unquestionably. Was there a specific pedal (or two) that kind of changed your life? I definitely loved the Rat from the beginning. MAURICIO MARTÍNEZ (bass/back vox) : I was like 9, one of my older cousins is really into metal so he used to have a Boss Distortion pedal and a ProCot Rat. My mom just recently sent me a photo of me holding it proudly on Christmas morning, coincidentally… I think I might have been in 6th or 7th grade. JAKE PFLUM (guitar/back vox) : My first pedal was a Boss DS-1 Distortion. How old were you and what did you stomp on?ĭANNY GOMEZ (vox/guitar): Boss DS-2 when I was 13/14, I was listening to a lot of “ In Utero” at the time. Think of it as a psychotic compressor, or maybe more accurately the sound your amp would make if you set fire to it.Tell us about your first time with… a guitar pedal. Screaming octaves, thick fuzz, and the sound of your guitar reaching back from the depths of destruction are at your fingertips. Lower one or the other for smoother attack and release. Blow it out even harder and faster by slamming Gain and Overload opposite one another. The further the Overload control is set to the left, the faster the effect slips into absolute destruction. You choose, to your liking, how much to absolutely destroy your sound. Its Gain and Overload sliders interact to create a wide range of unique sounds in various positions. Harnesses a power amplifier IC to generate its insane sound. (centre negative, 2.1 mm, 5 mA current draw).Horizontal sliders have been recessed to protect them from bending or any accidental movement while playing.Gain – Sliding this control to the right increases gain and distortion.As the control slides to the left it pulverizes the sound more rapidly. When turned all the way up, the pedal will not overload.
Overload sets the ceiling at which the pedal overloads.Master Volume controls the output volume of the effect.Push it to the maximum and your sound will duck completely into the void before it returns, coming back to life with a relentless vengeance. Push it further and starve the circuit until your signal eats itself. You can also push the OVERLOAD slider into blooming, octave nastiness. Want a thick, gnarly fuzz sound? Sure, you can do that, and it’ll sound really, really good. Showing little-to-no respect for what instruments normally sound like, or even what people want them to sound like, we pushed this thing until it sounded fully unhinged. Death By Audio Absolute Destruction Extreme Fuzz/Octave
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