I will double check the layout and values again, here is the text from the book:
Testing the Octave-Doubling FuzzCheck fuzz channel 2. Turn the OD control all the way counter-clockwise and close Channel 1 switch. Next, turn the channel 2 level control up full; you'll notice that while this does not produce a normal fuzz sound, it does create one which is still quite distorted. Most important of all, though, this fuzz is dynamically responsive. With most fuzzes, whether you play a soft note or a loud one, they usually come out at the same level. However with fuzz channel 2, the harder you pick, the louder the note sounds. To create a more distorted sound, turn up the OD control.
Check fuzz channel 1. Return OD control to full down, and open the Channel 1 Switch. Then turn Channel 2 Level control full down. You should hear a basically clean sound. Now turn up the OD control, and you'll get sounds that are very similar to a conventional fuzz.
Combine channels 1 and 2. Leave Channel 1 Switch open, and turn OD control all the way down. Next, turn Channel 2 Level all the way up, then play some single-note runs around the 12th fret area of your guitar's neck. The overall sound should now include a tone that is an octave higher than the actual note being fingered on your guitar. This effect comes into play around the 7th fret. Lower notes won't sound bad, but you won't get as prominent a harmonic accent effect.
Start turning down Channel 2 Level, and you'll notice that the harmonic emphasis goes away until the control is all the way off, at which point you're left with only the channel 2 sound. Return Channel 2 Level to full up, and then begin to experiment with the overdrive control; by turning it up, you should get the same type of octave-doubled sound, but with more intensity.
The doubling effect works best when the signal levels out of fuzz channel 1 and fuzz channel 2 are exactly matched, so experiment with Channel 2 Level until you get the best overall sound.
An additional by-product of combining channels 1 and 2 is the series of effects you obtain by playing intervals. For starters, fret a standard D major barre chord at the 10th fret and strum the top three strings. This produces a chimelike, ring modulation sort of sound. Try this at other places on the neck, then try playing fifths, ninths, and octaves; they each acquire different characteristics when mixing fuzz channels 1 and 2 together.
Because fuzz channel 2 has dynamics, you can follow this fuzz with an envelope-controlled effect and get better results than you would with a conventional fuzz. Be sure to try the Octave-Doubling Fuzz with other effects; I think you're going to have a pretty good time adding these new sounds to your musical vocabulary.
Tips for Best ResultsYou'll get best results with the bass (neck) guitar pickup, especially if you turn the tone control all the way down (minimum treble). Start experimenting with other pickups and tone settings only after you get a feeling for the unit's overall operation.
1978 Gibson Les Paul Standard, Cherry Sunburst
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