We're compiling the best Holiday 2016 music gear deals. See them here.
Classic '60s fuzz and 5 tone-sculpting knobs.
The Fuzz Factory from ZVex is a 5-knob fuzz pedal with 2 old-stock '60s germanium transistors. Though the circuit isn't modeled after any one specific classic fuzz effect, it delivers tones straight o...
"This is Tegan Quin’s pedal board. Upper row: [Boss NS-2](http://equipboard.com/items/boss-ns-2-noise-suppressor-pedal), [OD-3](http://equipboard.com/items/boss-od-3-overdrive-guitar-effects-pedal), [LS-2](http://equipboard.com/items/boss-ls-2-line-selector-power-supply), and [TU-2](http://equipboard.com/items/boss-tu-2-chromatic-tuner). Lower row: [Ibanez TS-9](http://equipboard.com/items/ibanez-ts9-tube-screamer-effects-pedal), [Boss CE-2](http://equipboard.com/items/boss-ce-2-chorus-guitar-effect-pedal), [MXR MicroAmp](http://equipboard.com/items/mxr-m-133-micro-amp-pedal), [Boss DD5](http://equipboard.com/items/boss-dd-5-digital-delay-pedal) and a Zvex Fuzz Factory." - [*Mix Online*](http://www.mixonline.com/news/tours/all-access-tegan-and-sara/368190).more
Summers also incorporated Marshall amps and a Roland guitar synthesizer into his rig. Of course, times have changed and so has Summers’ gear. For the ’07/’08 Police reunion tour, he used an elaborate two-piece Bob Bradshaw switching system, the right wing of which includes three Boss FV-500H Volume/Expression pedals, one used to control a rack-mounted Lexicon PCM 70 and two for an Eventide Eclipse, a Moogerfooger Analog Delay, and a Boss Loop Station and Chromatic Tuner. The left wing houses the main Bradshaw switching unit, plus another FV-500H and a Dunlop Cry Baby wah. Summers’ off-stage rack also contains his main Custom Audio OD100 amp and a Carvin DCM150 used to power stereo effects (each amp feeds two Mesa/Boogie Rectifier 2x12 speaker cabs), plus additional signal processors, including a T.C. Electronic TC1210 Spatial Expander/Stereo Chorus/Flanger, Bob Bradshaw V-Comp Tube Compressor, D-Two Multi-tap Rhythm Delay, and a slew of stomp boxes, including a Love Eternity Overdrive, Red Witch Empress Chorus and Moon Phaser, Klon Centaur, Maxon SD9, and Z.Vex Fuzz Factory…more
A detailed [gear diagram](http://www.guitargeek.com/stephen-carpenter-deftones-guitar-rig-and-gear-setup-2011/) for Stephen Carpenter of [Deftones](http://equipboard.com/band/deftones), traces the signal flow of the equipment, containing a ZVex Fuzz Factory, in his 2011 guitar rig.more
My guitar goes into a Lehle D.Loop SgoS Effect Looper/Switcher, which has two loops. Loop A contains a Prescription Electronics Experience Octave/Fuzz, a Dunlop wah, a Boss OD- 2 Turbo OverDrive, and a Rat distortion. Loop B contains a Boss DD-5 Digital Delay, an Alesis Bitrman ModFX multi-effects processor, a Z.Vex Fuzz Factory, and an Electro- Harmonix Micro Synthesizer.more
REINE FISKE’S GEAR Guitars Fender Stratocaster (1963 body, 1964 neck, rewound vintage pickups, strung with .011-gauge GHS strings) Amps 1973 Fender Super Reverb Effects Klemt Echolette tape delay Strymon Flint Tremolo & Reverb Vintage Carlin Compressor Vintage Fuzz Face Custom Creepy Fingers fuzz Roger Meyer Octavia fuzz Vintage Schaller tremolo pedal Boss TU-3 tunermore
Classic '60s fuzz and 5 tone-sculpting knobs.
The Fuzz Factory from ZVex is a 5-knob fuzz pedal with 2 old-stock '60s germanium transistors. Though the circuit isn't modeled after any one specific classic fuzz effect, it delivers tones straight out of the 1960s. These 5 knobs control the Fuzz Factory's parameters at various operating levels, letting you shape your own personalized fuzz.
ZVex designed the Fuzz Factory to consume less energy than other effects pedals. When on, the Fuzz Factory's current is less than 3 mA. This fuzz pedal is hand-painted and assembled by hand too so each is unique. Includes a 9V DC power jack and green on/off LED.
ZVex Fuzz Factory Controls
Volume: Output level
Gate: Squelches noise after end of sustain. Turn to the right to eliminate squeals, hiss, and buzz, stopping just as they disappear, or use to tune in exact feedback pitch. Turning to the left opens gate.
Compress: Adds attack characteristic when turned to the left, which gets softer to right, and suddenly pinches tone when all the way right. Also tunes in fat, feedbacky fuzz. Lower the Stability and see what happens to this control.
Drive: Increases distortion when used as a "normal" fuzz and adjusts feedback pitch and tonal thickness.
Stability: Use to control feedback pitch. This is one of the pedal's more finicky controls, so it will take some experimentation to get it right.
Note: Due to the nature of each hand-painted Fuzz Factory pedal, there may be a slight difference in design from the posted image.
I bought this pedal off of a friend, and it was worth every cent let me tell you. Not only can you get everything from a bright, brittle classic fuzz to a thick and syrupy synth-like sound and everything in between, but so many variables can alter the sound drastically that it's like a new adventure every time you sit down with it - messing with your volume and tone can help shape the tonality, attack, and pitch of the self oscillation (which i've straight up used as it's own instrument, tweaking knobs to get cool effects and melodies). It's very quickly found a place on my main board and in my music, as it does both thick chords (especially in my primary tuning, Open C; it just stacks like an impossibly driven amplifier) as well as hard-defined and impactful single-note runs. Live, I run it before my wah and use it to get INSANE filter sweeps.
Two biggest downsides for me are as follows: 1. it's piss-poor with bass, at least in my experience. It doesn't seem to handle the bass frequencies well, regardless of which pickups, strings, or necks are being used (though so far it works BEST with just a bridge humbucker active). Second issue is that, due to how finicky it is, it's hard to recall past settings, 'cause even the slightest tweak can throw self osculation out of pitch or cut off note tails too soon or what not. As such, i tend to focus less on finding a "Sweet spot" and more just grabbing "what's working right now for this", especially since i'll likely mess with the parameters later on anyway for some noisy-play. But the sound and playability of just the pedal itself easily make up for it. Since I rely on backing tracks a lot to pull off my industrial style, this pedal alone has injected some much needed organic feel to my sets, and has opened up a whole door of possibilities for me, as i plan on investing in more fuzzes (as well as compact synths).