Getting the volume of effects (fuzz mainly) predictable

[peter gates]

Is there a predictable way to ensure that a fuzz pedal delivers the required volume when playing in a band situation? often I find that even though the settings seem alright before playing, with other instruments (loud rock band) the results can be unpredictable, often the fuzz is too quiet.
 

Example: Maybe it’s because I have had to use the guitar volume to get a bit more volume and so the fuzz needs to go up but obviously it’s tricky to adjust that while playing.
 

I understand there are 3 variables Amp, guitar and fuzz volume. Is there a guaranteed approach/way of setting the volumes? Or is  there some sort of ‘regulator’ pedal which could be used? 

Edited January 29, 2023 by peter gates
Typo

[ezbass]

 

It's the perception that distorted is loud, at least this what I have suffered from in the past. Add to that, playing in your personal practise space, is very different to playing with a band in bigger rooms. What's probably happening is the fuzz is compressing your signal somewhat and possibly adding some harmonics that are matching what's going on with the other instruments. If your fuzz has any kind of EQ, try adding treble. Although it might sound like a wasp in a jam jar soloed, in the mix it might be just the job. Another route is to have a dry/wet mix so that you maintain some of you 'clean' tone.

Edited January 29, 2023 by ezbass

[Dad3353]

On 29/01/2023 at 13:38, peter gates said:

Is there a predictable way to ensure that a fuzz pedal delivers the required volume when playing in a band situation?...

 

Typically, during the sound check before a concert, the guitar level in the mix will be set my the sound engineer at the desk. Whilst it's the guitarists turn, he will ask for the 'normal' guitar level, and then the 'Fx' level, and may ask for an adjustment of the balance between the two. It there's no engineer, or if there's no guitar through the PA, it's up to the guitarist (and the band as a whole...) to sort out the relevant levels before the concert. There is no absolute rule, but, in general, fuzz, distortion, overdrive etc need not be so loud as one might imagine. Basically one would aim at having the perceived 'loudness' pretty much equal between clean and fuzz. Once the levels are set for the band, for the venue and for the song, it shouldn't need tweaking at all. If there's a lot of boosting going on for some songs, a second pedal, after the fuzz, to be able to 'up' the level a little might be a Good Idea. If there's even more going on, a programmable Fx becomes useful, and learning how to 'tap-dance' for switching between patches does the job. As you see, there's no 'silver bullet'; start with the simple way (get the levels about equal...) and work up from there by experience, listening to recordings of your rehearsal, for instance. 
Hope this helps... 

 

Douglas

Edited September 8, 2023 by Dad3353

[peter gates]

14 hours ago, Dad3353 said:

 

Typically, during the sound check before a concert, the guitar level in the mix will be set my the sound engineer at the desk. Whilst it's the guitarists turn, he will ask for the 'normal' guitar level, and then the 'Fx' level, and may ask for an adjustment of the balance between the two. It there's no engineer, or if there's no guitar through the PA, it's up to the guitarist (and the band as a whole...) to sort out the relevant levels before the concert. There is no absolute rule, but, in general, fuzz, distortion, overdrive etc need not be so loud as one might imagine. Basically one would aim at having the perceived 'loudness' pretty much equal between clean and fuzz. Once the levels are set for the band, for the venue and for the song, it shouldn't need tweaking at all. If there's a lot of boosting going on for some songs, a second pedal, after the fuzz, to be able to 'up' the level a little might be a Good Idea. If there's even more going on, a programmable Fx becomes useful, and learning how to 'tap-dance' for switching between patches does the job. AsS you see, there's no 'silver bullet'; start with the simple way (get the levels about equal...) and work up from there by experience, listening to recordings of your rehearsal, for instance. 
Hope this helps... 

 

Douglas

Thanks Douglas, I will work with all that and see where I get, very helpful

 

Peter