Megafuzz embraces ZOIA’s digital nature, reveling in feedback loops, oscillations, and wild modulation.
**WARNING**: This patch uses feedback loops; there are some precautions placed to limit their effect, but I cannot guarantee they will be effective in every circumstance.
On the control page, audio paths are designated by WHITE buttons (mutate, delay, drone) and stompswitches (fuzz — LEFT FOOTSWITCH, octave fuzz — MIDDLE FOOTSWITCH).
The regular FUZZ voice is joined by an OCTAVE fuzz (derived from an audio multiply). Each can be used separately, or you can mix them together.
Both voices can also be fed back into themselves using two paths.
One places a DELAY line in the feedback path. Depending on the settings, this can produce stutters, comb filtering, pitch shifting (when modulated — try the expression pedal option). It can also get overloaded, producing sputtering gates and dying battery sounds.
The other passes through a bandpass filter, to create a DRONE oscillation. The frequency of the drone can be changed (try matching it to your key) and it can be modulated.
The octave voice also has its own feedback path, called MUTATE. (But since the octave fuzz feeds back into other paths, it can affect these, and vice versa.) Mutation introduces new overtones and comb filtering.
There is a GATE to control all the mayhem, but since it is derived from a VCA, I decided to add more control over the attack/release, allowing for swells and other effects.
There are also two controls for shaping the sound: COLOR uses a Big Muff EQ section. TONE is a slightly resonant low-pass filter. Each of these can be modulated.
The modulation section features five SOURCES (UI buttons along the right side) — square wave, random, a variable slope (looped envelope), envelope follower, and expression pedal.
Modulation can be assigned to any of four destinations — delay time, drone frequency, color, and tone — using the YELLOW pushbuttons.
Depth can be set for each modulation destination, with positive depths moving toward higher values and negative depths moving toward lower ones.
By removing the gate, you can use the patch as a drone synth, too, playing between the drone feedback loop and the delay feedback loop, with the color and tone controls available.
The signal path is mono, from the left input to the left output.