This is the Real Fuzz Factory
This is what I’ve building the last couple days, variations of the Torn’s Peaker and Soda Miser. There was actually a few boxes of TP’s on the stand a few minutes earlier, but they got moved. It’s been real nice getting a chance to build for someone else, it’s given me a different view on design and construction aesthetics. plus it’s made me more consistent about certain things. Not that I’m sloppy by a long shot, but everyone has a different view about what they want things to look like, and my way ain’t the only way.
I really like this particular graphic!!
This was last weeks output: Disaster Fuzz, Bit-Legend of Fuzz, Electric Brown (nice OD with a fuzzy edge) and the ungodly Noise Floor.
MillerAmpwerks 
Love he logo of the xray vision cat. Who comes up with these?
Also, thanks for the advice over the phone about the preamp tubes in my Vibro Champ. It was indeed a bad preamp tube causing the crackling. Would love to hear more about your current experiments with tone. I have a 2/10 repro of the 59 Super. It’s good as far as headroom, and also good with the right pedal but in many cases too loud. One of the best sounding small amps I’ve owned was an older tweed Harvard. For recording with the right guitar, it was hard to beat. Two newer and under appreciated small, contemporary amps are the Laney Cub 10 and Trace Elliot Velocette.
Devi herself, does all the artwork. She has a background in graphic design and a restless mind. I particularly like her “gothic” series – Hyperion/War Horse etc. She felt she was getting a little dark with those, so is brightening them up a little bit. Make them a bit more cheery. Of course I went thru a period of digging HR Geiger too, so go figure. Of course the play on words with some of her offerings like the “Torns Peaker” (torn speaker – it took me awhile to get that one, I kept thinking about David Torn and some connection there).
I agree with you about the Laney amps, I think that whole series styled after the AC30’s was cool, but never saw anyone playing them. Trace also makes some nice offerings. There really is a different personality/mindset that goes with amps of varying power. I found for myself I had to slowly work into more powerful amps and I play different with lower powered (5 watt SE types) than with my supped up Bassman.
I don’t know what kind of speakers your running with the Super, but that might be an area to play with. If it has higher powered ceramics of course, it won’t break up as fast. But it kind of depends what your after. The other thing a real vintage Super had was undersized output transformers, to limit low freq and saturate quicker, along with P10R Jensens which would break up faster than say P10Q (like Weber’s 10A125). When ever I hear clips of real Tweed Supers, they seem to grind much sooner than mine ever do. But that seems to be the thing that gigging players like, is that it holds together at a higher volume to cut on stage. I’m tempted to make a version that is more like a vintage one as an alternative to my “Hi Headroom” version.