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Given the hundreds of dollars those originals now fetch, many fuzz-cult devotees have given up the Craigslist and eBay runaround and turned to boutique gear for their fuzz fixes. For some such characters, the Caroline Guitar Company may have the answer. With some help from the Kickstarter.

The knobs are placed perfectly for quick foot-control during a gig— tight, but not too tight, and right up at the top of the pedal.

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No space is wasted in accommodating the 9V battery, 3DPT true-bypass setup, jacks, and circuit board. Amber Waves of Gain With both knobs at high noon, a Stratocaster plugged into its input, and a watt Bassman stocked with four Celestion Vintage 30s at the other end of the line, the Olympia growls with grungy lead tones.

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Background noise, however, is virtually— and most impressively—nonexistent. Power chords at these settings had the Bassman positively booming and burning figuratively, of course. At this level, the Olympia delivers whiplash lead tones with a heap of bass presence, a sweet, sharp high end, and a responsiveness that coaxed nuances from both sides of the spectrum, depending on picking intensity.

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With a Les Paul driving the works, you can delve further into woolly regions like those on Sabbath Bloody Sabbath. Cons: may not have enough hair for fans of extreme muff and Fuzz Face tones. Ease of Use:. Company carolineguitar.

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Against a fuzz-saturated bass and a second overdriven guitar, the Olympia cut without the aid of a separate overdrive. And with the gain raised near full mast, you can achieve the opulent, round, and raging sound of a Sovtek-built Big Muff without giving up any clarity. The Verdict Searching for the right fuzz can lead to a lot of pedals that do one thing really well. But the Olympia provides both authentic Muff and Fuzz Face tones.

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The fact that Caroline Guitar Co. The Vox V Bulldog is almost a dead ringer for a Mosrite, but plugging in reveals a mellower sound that is less Ventures and more … Pinky Perky and the Beakles? I mention this all the time, but I have a real fascination with old music catalogs and print media.

The other day, as I was perusing all my catalogs and magazines, I came across my grungy Vox catalog from The Beatles were on the cover! On 6, the print re: "Vox: It's what's happening to the world's top beat groups.

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But then there are some pretty obscure bands that I'd never heard of. Like, have you ever heard of Pinky Perky and the Beakles? Or how about Millie and the Embers? The Anzaks?

The Black Sheep? The Palace Guard? The Guillotines?

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Naming some of these bands would make for a great drinking game. Also, there on 6 was one of my favorite old Vox guitars: the V Bulldog!

The Bulldog was a straight-ahead rock 'n' roll offering from a time when Vox axes were mostly odd-shaped think Phantom or Mark VI teardrop and outfitted with increasingly complex controls and electronics. The Bulldog simply had three pickups, a 3-way switch, a single volume knob, and two tone controls. Borrowing heavily from the Mosrite Ventures guitar, the Bulldog sports a similar carved top, a side jack, a zero fret, a large aluminum nut, and a vibrato that feels like a combination of a Mosrite and a Bigsby.

There are all sorts of chrome accents, and, typical for the time, the Bulldog came equipped with a bridge mute, which you can press down on the strings in lieu of palm muting. Sunburst was the only finish option.

The fretboard is a lovely ebony slab with tiny fret dots, and the neck—which doesn't feel exactly like a Mosrite—plays fast.

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I also really dig the hetock, which is like an offset V that blends well with the large Vox logo. The biggest difference between the Bulldog and the Ventures model is its sound. The old Mosrite guitars had some rather aggressive pickups and the Bulldog pickups are a bit sedate in comparison. I think that's why I eventually sold mine.


For me, it was kind of limited in the tone department. But still, it has a place in semi-clean surf music. In a way, these guitars were almost "overbuilt," because they used high quality woods and components, like a truss rod with their "Double-T" channel de that is rugged and works well. You know how it feels when you hold a guitar and it's a real, robust, reliable instrument?

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That's how the Bulldog feels. I suppose Vox guitars were never really that popular in the U. But guess what? The original Mosrite was a dollar cheaper than the Vox copy.

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Crazy, huh? The Vox Bulldog faded from the lineup shortly after its initial release. In subsequent years, it sort of morphed into the V Invader, which retained the Mosrite shape but became much more complex, with features like a built-in tuner and effects such as boosters, percussion, and wah. That Mosrite, I could argue, was one of the most influential electric guitar des ever.

It inspired guitar builders from all over the world, and the amount of Mosrite copies made back in the day was really something.

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But rather than argue, I'm going to research some of the old bands in the Vox catalog. I wonder where Millie and the Embers are now. You've tried a zillion pedals, guitars, and amps … it's time you tried flats. Just don't make the same mistake I did!

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A few years back I somehow got it into my head that I should try flatwound strings. There are all sorts of theories about so-and-so playing them on old rock 'n' roll records, classic country albums, and surf-rock gems. But I wasn't chasing the sound of any particular genre or player.

I'd been playing for a long while, and simply thought I might as well see what flats are all about. So I picked up a set from one of guitardom's most ubiquitous brands, slapped 'em on my Jazzmaster, and … couldn't get the sumbitches off fast enough. My guitar sounded so dead I wouldn't have been surprised to look down and see grime and gunk weighing them down like power lines after a Midwestern ice storm. Considering the brand's stellar reputation, I thought it pretty rational to conclude flatwounds simply aren't my thing. But as I've hinted at elsewhererecently I've been experimenting with how to get the most … I don't know— Gretsch-i-ness?

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To put a finer point on it, I've been trying to get a woodier, more Scotty Moore-eque sound out of it. Something akin to the thumping resonance on the intro riff to Elvis' "Don't Be Cruel.

But something along those lines has been my mental reference point. Somewhere along my subsequent guitar-dork path—post-disappointing-flatwound experience of yore—I'd read in multiple places that you shouldn't judge the flatwound experience without trying a set from the brands aficionados swear by: Pyramid and Thomastik-Infeld.

Compared to what most of us are used to spending on strings, both are kind of crazy expensive. But I figured one time wouldn't hurt, especially if it got me closer to Scotty's "Cruel" tones.

Plus, over and over again, other players crowed about how Thomastiks and Pyramids last quite a bit longer than other strings, which would make the switch less painful on the pocketbook if I wanted to continue using them. So I took a chance and ordered a set of Thomastik Jazz Swing sets.

If it turned out like my first flatwound fling, I might as well just flush 30 bucks straight down the crapper. I thought about returning them once they arrived in the mail a couple of days later.

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And even as I wound the upscale-looking red ends through my Gretsch's Gotohs, I had a sinking feeling. What the hell am I doing? Thankfully, the less-paranoid part of my brain won out, because within seconds of plugging in, my ears were grinning.

That woodiness was there, along with a purer, stronger fundamental tone—but also with lovely detail and life.

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I could evoke fretless-like lines if I wanted … but fuzz freak-outs had a new, seething-under-the-surface ferocity, too. Will I end up putting Thomastiks on more of my guitars?

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It's too early to tell, but I can tell you I am sooooo glad I took a chance on these. It's opened a whole new world of sounds for my own music—none of which is slavishly traditional or old-fashioned or even in a single genre "box. Just make sure you don't dismiss it without trying the pricier stuff—in fact, you probably ought to just skip right to it. Happy tone hunting! Rig Rundowns.

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