Behringer SF300 Super Fuzz vs Fulltone '69 MkII Fuzz
The Behringer SF300 Super Fuzz and the Fulltone '69 MkII Fuzz are both pedals sharing full, mid-forward. The Behringer SF300 Super Fuzz leans octave and smooth. The Fulltone '69 MkII Fuzz leans dynamic and transparent.
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Blended from circuit-archetype lineage, dynamic feel, tone-signal overlap and tone-vector distance — the tone vector itself is derived from editorial description text, not a measured acoustic signal, so this reflects how similarly the catalog copy describes the two, not a lab measurement. Shown only within a gear class, and only where there's enough evidence to be meaningful.44% — somewhat different
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Genres both listings are associated with.- Rock
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Derived from overlapping tonal signals across both listings.- full
- mid-forward
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Citation/mention fame — how often this gear is cited across artist rigs and gear discussion.$99.99via Reverb
The Behringer SF300 is a fuzz pedal based on the Boss FZ-2 Hyper Fuzz circuit, a JFET-based fuzz design from the mid-1990s known for producing thick, octave-influenced fuzz with three switchable character modes. Mode one delivers a standard smooth fuzz, mode two adds harmonic octave content for a richer and more complex fuzz texture, and mode three produces a high-gain wall-of-fuzz that borders on distortion. The FZ-2 circuit has a stronger bass response than many vintage silicon fuzz designs and remains a cult favourite among shoegaze, grunge, and heavy psych guitarists. The SF300 reproduces the core FZ-2 circuit at budget pricing.
The Fulltone 69 MkII is a germanium Fuzz Face style pedal that recreates the wild, harmonic-rich, full-range tone of late-1960s and early-1970s rock fuzz. Built around a matched pair of hand-selected fat-body germanium transistors at the heart of the classic Fuzz Face sound, it produces a remarkably amp-like overdrive at low to medium gain and a raw, fat, sputtering fuzz when cranked. Beyond a standard Fuzz Face it adds tone-shaping with a Contour control for the mids and an Input control to fine-tune the low end, and from the factory it is set for a smooth, softer, tube-like voice with less compressed fuzz and more midrange. Dynamic and touch sensitive, it cleans up with the guitar volume in classic germanium fashion. It suits blues, classic rock, and psychedelic players chasing vintage fuzz with extra flexibility.
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Genres this gear is documented as being used in.- Grunge
- Shoegaze
- Classic Rock
- Blues
- octave
- smooth
- dynamic
- transparent