The White Widow is our silicon fuzz. He is the son of a special version of the Big Muff Pi of the late 70s, the heaviest and weirdest of Big Muffs, who, 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 a sinister fuzz. Other times like a heavy distortion. There are times it sounds a bit like a damaged pre-amp. And there are times it sounds like an overdrive. Its tone goes from a classic fuzz, 70’s style, Gilmourish style, until the fuzz walls of the alternative rock of the 90s.  

This was made possible because it has two distortion controls: The Pre, which is a pre-gain input and the Fuzz, that controls the gain of the main level of the fuzz pedal. 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 the fuzz texture, through a strong shameless distortion, until you get a brutal fuzz that only silicon fuzz is capable of. When you turn all controls to the maximum level, you get an indomitable noise-making machine.  

The Tone control is very expressive, it pulls the sound to a torn treble or for a serious full-bodied one. But the big secret here is the Mid control, which controls the average, producing the Big Muffs characteristic mid-scoop, or increasing the average, so your tone gets more visible amongst other instruments. These two controls are very interactive, you can spice up your sound exactly as you want.  

Like any good fuzz, it doesn’t lack volume and interacts very well with the volume control on your guitar.