Audiority Doomagorgon [WiN]

• Product: Doomagorgon
• Developer: Audiority
• Version: 1.0.0
• Format: VST3, AAX
• Requirements: Windows 7 or later
• Source: audiority.com/shop/doomagorgon

Doomagorgon is a dual-channel fuzz and distortion plugin built from two specific hardware circuits: the Univox SuperFuzz channel of the Boss FZ-2 (full-wave rectification octave fuzz) and the Boss HM-2 Heavy Metal (three-gyrator chainsaw distortion). The two channels run simultaneously and blend through a single BLEND control — they are not A/B mode switches. A shared DRIVE and TIGHT control set the gain and bass response across both channels simultaneously before the BLEND determines their ratio in the output. Two circuit-modifying switches — FILTH MOD for the fuzz channel and RAT MOD for the chainsaw channel — alter the fundamental clipping and EQ character of each independently. The search intent this answers is “Boss HM-2 and SuperFuzz plugin” and “chainsaw distortion fuzz plugin for doom and death metal.”

Key Takeaway

Doomagorgon runs in sessions where the guitar or bass tone is being built from the interaction of two specific hardware circuit characters rather than from a single gain stage. The BLEND control sets the ratio between the SuperFuzz’s upper octave content and the HM-2’s gyrator-boosted chainsaw density — at center it combines both; at either extreme it isolates one. The shared DRIVE and TIGHT controls mean neither channel can be gain-staged independently, which limits precision tonal surgery between the two. Producers after a general-purpose metal distortion with flexible channel separation work outside what the shared gain architecture provides.

The SuperFuzz Channel — Full-Wave Rectification, Upper Octave, Mid Scoop

The FZ-2 / SuperFuzz circuit uses full-wave rectification to generate harmonic content — the rectification process inverts the negative half of the waveform, doubling the frequency and producing an upper octave above the fundamental. This is not an octave synthesizer generating a separate pitched signal alongside the dry tone; it is an artifact of the rectification process itself, meaning the octave appears at the same amplitude envelope as the clipped signal and cannot be dialed out without changing the fundamental clipping character. On bass guitar, this mechanism adds a high-harmonic presence that cuts through dense arrangements without EQ.

The SuperFuzz operates in two tone modes inherited from the hardware — flat profile and mid-scooped profile. In the flat position, the fuzz sits forward in the frequency range; in the scooped mode, the mid content pulls back and the sound widens. The FILTH MOD switch doubles the distortion amount and increases the mid scoop beyond the hardware’s native scooped setting, pushing the octave fuzz into territory the original FZ-2 does not cover. At high DRIVE settings with FILTH MOD engaged, the rectification-generated octave becomes dominant and the fundamental note sits underneath it — a useful character for layered wall-of-sound arrangements but a liability for playing contexts requiring clear pitch definition.

The full-wave rectification mechanism compresses the signal heavily as a byproduct of the octave generation process — the SuperFuzz channel has less dynamic range than the HM-2 channel at equivalent DRIVE settings. That compression behavior makes the fuzz channel sit consistently in a dense arrangement without level riding, but reduces the pick-attack variation that makes a single-note lead line read distinctly against a rhythm guitar bed.

The Chainsaw Channel — Three Gyrators at 86 Hz, 958 Hz, and 1278 Hz

The HM-2 circuit runs three gyrator EQ circuits — transistorized inductor simulations that produce console-style boost/cut — centered at 86.79 Hz (Low), 958.47 Hz, and 1278.6 Hz (the High band using two simultaneous gyrators). With all controls maxed, the three gyrators simultaneously boost those center frequencies by approximately 10 dB each, creating two strong peaks at sub-100 Hz and near-1 kHz with a scoop at 200–300 Hz between them. That mid scoop is the defining character of the Swedish death metal chainsaw tone — the frequency range that would otherwise produce mud in a downtuned, high-gain context is structurally removed by the gyrator arrangement, producing a tight, spatially contained distortion that coexists with other instruments without requiring post-EQ.

The TIGHT control across both channels adjusts bass response — left produces a fuller, thicker character; right produces a tighter, more modern character. On the chainsaw channel, pulling TIGHT clockwise reduces the sub-100 Hz weight that the gyrator boost would otherwise over-emphasize at high DRIVE settings, which matters for bass guitar applications where the HM-2 character is wanted without the associated low-frequency density.

The RAT MOD switch changes the chainsaw channel’s clipping topology from its default overdrive character to a hard-clipping asymmetric distortion circuit modeled after the ProCo RAT. Default mode produces a smoother, overdrive-adjacent distortion with sustain; RAT MOD engages harder asymmetric clipping that increases the odd-harmonic content and changes the attack transient behavior at the clipping stage. With RAT MOD active the chainsaw channel produces a denser, more compressed character with less of the original HM-2’s top-end rasp and more of the RAT’s mid-forward grind — a tonal combination with no direct hardware equivalent.

BLEND, DRIVE, and TIGHT — Shared Architecture Across Both Channels

The BLEND control sets the ratio between the fuzz and chainsaw channel outputs after both channels have processed the input signal. At full left the output is entirely the SuperFuzz character; at full right it is entirely the chainsaw character; at center both channels contribute equally. This means the fuzz and chainsaw circuits are always running simultaneously on the input signal — BLEND selects how much of each appears at the output, not whether each channel is active. Pulling BLEND toward one channel does not reduce the processing load of the other.

DRIVE sets the gain input feeding both channels. Increasing DRIVE simultaneously pushes both the rectification-distortion depth of the fuzz channel and the gyrator-boosted saturation of the chainsaw channel — there is no way to overdrive the chainsaw channel without equally overdriving the fuzz channel. At low DRIVE settings the fuzz channel’s octave generation is less prominent and the chainsaw channel remains in the crunch-to-mid-gain range; at high DRIVE settings both circuits operate at saturation simultaneously regardless of BLEND position. The global DRIVE architecture makes independent channel gain control unavailable without external gain staging before the plugin.

HQ mode engages oversampling to reduce aliasing artifacts that appear at high saturation on the fuzz channel, where the rectification process generates high-frequency harmonic content that aliases at standard sample rates. At 44.1 kHz without HQ, the aliasing is audible as an inharmonic texture on the fuzz channel at maximum DRIVE — engaging HQ removes it at the cost of increased CPU load.

Transposer, Noise Gate, Pre/Post Gain, and Mix

The TUNE control transposes the input signal by up to ±12 semitones before the distortion stage. Tuning down increases the fundamental frequency feeding the rectification circuit in the fuzz channel, which shifts the generated upper octave downward accordingly — a guitar tuned down two semitones via the TUNE control produces fuzz and chainsaw tones at that lowered pitch without retuning the instrument. The transposer operates even with the distortion bypassed, functioning as a global pitch shifter in the signal chain.

The GATE control sets noise gate sensitivity at the output. High-gain fuzz settings — particularly FILTH MOD engaged at maximum DRIVE — produce noise floor accumulation that becomes audible in gaps between notes. The gate sensitivity is a single threshold control rather than an attack/release-adjustable gate; sessions requiring precise gate timing behavior for staccato rhythmic material need an external gate rather than the internal single-knob implementation.

Pre and Post gain controls bookend the entire effect stage: Pre adjusts the signal level entering the fuzz and chainsaw circuits (effectively a secondary gain stage before the DRIVE control), and Post adjusts the output level leaving the distortion stage. MIX blends the fully processed wet signal against the dry input — at 50% MIX the unprocessed direct signal combines with both active distortion channels, which on bass guitar preserves the fundamental note definition while layering the distortion characters above it.

No Independent Channel Gain Control

The shared DRIVE architecture is the boundary condition that defines how Doomagorgon is used. Both channels receive the same gain amount — pushing one circuit harder means pushing both. Producers who need the fuzz channel at near-unity gain while the chainsaw channel runs at maximum saturation, or who want to use the SuperFuzz character as a light texture while the HM-2 dominates, reach outside what the plugin’s architecture permits without placing a gain plugin before Doomagorgon in the chain. The per-channel FILTH MOD and RAT MOD switches change the distortion character rather than the gain level, so they do not substitute for independent Drive controls. Sessions requiring the two circuit characters to be gain-staged independently use external parallel routing with two instances rather than the plugin’s internal BLEND control.

FAQs