The flexible Fuzz Face-inspired stompbox sports a pair of BC183 transistors and a voltage variable knob that supplies power between 5 and 15VDC for a diverse range of consistent fuzz tones
(Image credit: SolidGoldFX)
It may not be attending NAMM 2022, but SolidGoldFX has arrested our attention by unveiling the new-and-improved If 6 Was 9 MkII.
Arriving 10 years after the flagship fuzz pedal, the next gen iteration of the unit aims to tap into the multi-faceted tones of the Dallas Arbiter Fuzz Face, and does so by introducing a range of features appropriate for the modern age.
According to SoldGoldFX, improving the original was no mean feat – but it’s a feat the company looks to have achieved, thanks to two new control knobs and a vastly expanded sound palette.
At the heart of the new unit are two BC183 transistors, which aim to strike a balance between the mushy compression of germanium and the brash sound of silicon.
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(Image credit: SolidGoldFX)
(Image credit: SolidGoldFX)
(Image credit: SolidGoldFX)
In operation, the If 6 was 9 MKII features five control knobs – Volume, Bias, Fuzz, Volts and Saturate – and a sole toggle switch, as well as a soft-touch true bypass footswitch.
The Body toggle switch is in charge of choosing between tight and thick fuzz voices, while the variable Voltage knob supplies power between 5 to 15VDC internally. It’s this, according to the brand, that provides the secret sauce.
Whereas the original Fuzz Face’s tone was dependent on voltage and battery life – Eric Johnson famously kept a box full of drained batteries, after all – the If 6 Was 9 MkII promises to provide a range of consistent fuzz tones by giving you total control over the voltage.
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As such, the revamped unit is said to be suitable for “any shade of fuzz," from “gated and sputtery” to smooth and dynamic.
“No need for a box full of questionable batteries anymore,” says the brand. “Just set the knob to your preferred supply voltage and get as much fuzzy compression or meaty breakup as you desire consistently, every time.”
Elsewhere, Volume is, unsurprisingly, tasked with taming overall output, and sits alongside Bias – which helps to move between a wealth of fuzz tones – and Fuzz. A final Saturation knob, which wasn’t found on the original, trims the circuit’s input for a tighter cleanup and signal chain integration.
Matt is a Senior Staff Writer, writing for Guitar World, Guitarist and Total Guitar. He has a Masters in the guitar, a degree in history, and has spent the last 16 years playing everything from blues and jazz to indie and pop. When he’s not combining his passion for writing and music during his day job, Matt records for a number of UK-based bands and songwriters as a session musician.
