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White widow is a very flexible silicon fuzz. Besides the normal Fuzz, Tone and Level controls, it has two special ones: Pre, that dials an input pre-gain stage and Mid, that controls the filter’s mids, balancing that characteristic silicon fuzz mid-scoop.
White Widow is our silicon fuzz. It is the son of a special version of the Big Muff Pi of the late 70s, the heaviest and weirdest of the Big Muffs, that, two decades later, seduced an entire generation of guitarists who were so fond of the pedals that spent their entire concerts staring at them.
But the child grew, and got its own personality: more dynamic and versatile. There are times it sounds like the angriest of fuzzes. Other times like a heavy distortion. There are times it sounds a bit like a broken preamp. And there are times it sounds like an overdrive. Its sound goes from a classic 70s fuzz, Gilmour style, up to the fuzz walls of 90s alternative rock.
This was made possible because it has two distortion controls: The Pre, which is a pre-gain control at the input and the Fuzz, that controls the gain of the main distortion stage. The combination of these two controls allows an extensive range of sounds: With the fuzz zeroed, the Pre seems like an overdrive control, generating a kind of well behaved sound. When you open the fuzz, the Pre control changes its texture, going from a nice and shameless distortion, up to that brutal fuzz that only silicon transistors are capable of. When you turn all controls to the max, you get a tameless noise-making machine.
The Tone control is very expressive, it goes from shredded trebles to serious full-bodied basses. But the big secret here is the Mid control, which controls the mid frequencies, producing the Big Muffs characteristic mid-scoop, or increasing the mids, so your guitar doesn’t hide amongst other instruments. These two controls are very interactive, you can tune your sound exactly as you please.
Like any good fuzz, it doesn’t lack volume and interacts very well with the volume control on your guitar.