Behringer UM300 Heavy Metal Distortion vs Univox Super-Fuzz
The Behringer UM300 Heavy Metal Distortion and the Univox Super-Fuzz are both pedals sharing bright, compressed, sustaining. The Behringer UM300 Heavy Metal Distortion leans mid-forward and high gain. The Univox Super-Fuzz leans full and saturated. Current prices: $28.90 vs $599.
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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.37% — somewhat different
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Genres both listings are associated with.- Hard Rock
- Rock
- Metal
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Derived from overlapping tonal signals across both listings.- bright
- compressed
- sustaining
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Citation/mention fame — how often this gear is cited across artist rigs and gear discussion.$28.90via Reverb
$599via Reverb
The Behringer UM300 is a high-gain distortion pedal based on the Boss MT-2 Metal Zone circuit, one of the most widely used high-gain guitar pedals in rock and metal history. The MT-2 topology uses a parametric-style dual-band EQ section that provides extreme tonal shaping, from aggressive mid scoop to pronounced mid presence. The Ultra Metal voicing reaches into extreme metal distortion territory with long, compressed sustain. Suited for metal rhythm guitar, hard rock, and heavy alternative styles. The UM300 reproduces the MT-2 circuit character at reduced cost, sharing the high-gain versatility that made the Metal Zone a studio staple across multiple decades.
The Univox Super-Fuzz is a vintage fuzz pedal made from 1968 into the late 1970s, prized for a thick, raw, octave-laced fuzz unlike any other. Its full-wave rectifier circuit adds an upper octave and a hint of lower octave, producing heavy compression and a mild ring-modulator edge, while a two-position tone switch scoops the mids for a fat, almost bassy voice or a brighter cutting setting. It delivers a saturated, buzzsaw sustain heard on classic recordings, and is closely associated with Pete Townshend and The Who as well as early heavy rock. Best suited to aggressive rhythm and singing lead lines in rock and proto-metal.
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Genres this gear is documented as being used in.- Alternative Rock
- mid-forward
- high gain
- crunchy
- full
- saturated