CORGAN: The Fender Blender. Kevin Shields [of my Bloody Valentine] told me to get one. It's just the destructo pedal of all time. Listen to the song "Bullet" - at about two-and-a-half minutes there's a part where the key changes and it comes in all loud and thick and the speakers sound real distorty. That's that pedal. There are so many weird harmonics in the thing that if you turn it up a certain way, you get distortion beyond distortion. It makes the guitar sound almost unintelligible.

Kevin Shields has used the Fender Blender fuzz effects pedal and has recently released a reissue featuring his own personal modifications for a signature model. This information is highlighted on the official mbvofficial Instagram account.

Pedals: Big Muff (Russian), Pro Co The Rat, Fender Blender (vintage), Robotalk (envelope follower/filter), MXR Dynacomp & Dunlop Crybaby.

On Way's Fuzz Wars Instagram series, he shows the Fender Blender off:

Used to achieve the distortion on Action Cat from Hesitant Alien. Played single root notes on the E string as well as single notes on the higher strings to add layers and build the wall of sound. That broken sounding opening guitar is this pedal.

Used on "Bludfuk", as specified in this July 20, 2012 breakdown of a A Fine Pink Mist gear list printed in the October 1996 issue of Young Guitar.

This photo is from the progressive rock band Genesis in their Selling England Tour, March 1974. In the photo we can see that Tony taped a Fender Blender into his RMI Electra Piano.

Top right, that's a Fender Blender.

Mentioned in the July 1980 issue of Guitar Player, with the details summarized in this March 13, 2009 Gibson article.

Guitar Player, July 1980, "British Rock Guitar Veteran"

What other amps and effects have you employed on your solo albums?

With exception of In City Dreams, there are only one or two tracks on all of my albums that haven't got Marshalls on them. For In City Dreams I used an amp that my electronics guy Mike built for me in the studio: a quarter amp, which would get the same sound as a Marshall. We had a lot of different effects on that album, too. For instance, that's when I started using an [Electro-Harmonix] Electric Mistress flanger. To get say, that rocket ship sound, I ran a Fender Blender [distortion/harmonics/sustain device] through the Mistress. On Caravan To Midnight I used effects in stereo. In other words, I had the output split - one to one amp, one to the other. On each split were different effects, like two or three going to one side, and two or three going to the other, so that you had the same guitar with a different sound coming from both amps. Also around this time Mike and I redid my pedalboard.

Were you having problems with it?

Well, we talked a hell of a lot about what we wanted to get out of the sounds - you know, what the problems were. The problem basically was that if you used more than a couple of pedals, you lost sound: The more pedals connected up, the more the signal died. So he invented a system whereby that wouldn't happen. Now I can have a hundred pedals in the line and there will be no difference at all. Before I got Mike, who also doctors my amps, I used to use a noise gate at the front; that didn't affect the power, but, unfortunately, I lost a lot of top end.

[Ed. Note: Robin preferred to keep the operational details of his pedalboard and amplifiers confidential.]

From your left to right, how is your pedalboard currently set up?

The first effect is a preamp that Mike built, which is on all the time. The second is another volume booster, a Dan Armstrong Red Ranger, which I use for even greater sustain. Third is my Tycobrahe wah-wah. The fourth is the Fender Blender. The fifth is the Univibe, and the sixth is a Mu-tron II. The seventh and eighth are Mistresses with different settings; the one on the left gives a double-tracking effect, while the one on the right provides more of a flanged sound. But I think I've come to a halt as far as effects go. I mean, I can just barely handle what I've got now. There's so much stuff going on that if you just started mixing them there would be a limitless number of combinations you could get.

From your pedalboard, where does the signal go?

Into a splitter box, then to my amps. I don't use a mixing board or anything when I'm live because I like to be very much in control of what's going on. Especially concerning dynamics, that's so much a part of my music that I wouldn't feel happy if someone else were controlling it. I like to be creating the sound.

Gibson, "How To Get That Robin Trower Sound", March 13, 2009

Trower’s hottest rig blasted his array of Strats through a pair of 100-watt Marshall JMP-100 Mark II heads feeding two 1960-B 4x12 cabs and had an impressive effects chain on the floor: custom preamp and clean booster pedals, a Dan Armstrong Red Ranger treble booster, a Tychobrahe wah-wah, an octave/fuzz Fender Blender, a Uni-Vibe chorus/vibrato, Mutron II phase shifter, and two Electro-Harmonix Electric Mistresses.

Charlie Clouser confirmed that a Fender Blender pedal was potentially used to create the 808 sound on the track "Starfuckers Inc" by Nine Inch Nails, as mentioned in a discussion on the Gearspace forum.

"We’ve been experimenting with new stuff lately, but right now my effects include Boss PS-5 Super Shifter and PH-3 Phase Shifter pedals, a Line 6 DL4 Delay Modeler, an Ibanez AD-9 delay, a Hardwire RV-7 reverb, an Electro-Harmonix Electric Mistress flanger, a Fender Blender octave/fuzz…"

Mentioned the gear page of Quine's official website.

Ever in search of new and strange guitar sounds, Quine owns dozens of fuzz boxes - an original Fender Blender, a Dallas/Arbiter Fuzz Face, and the MXR Distortion+ among them - true classics, each with its own distinct sound. "Prescription Electronics has done a lot of amazing things in the last six years. Their Yardbox is my all-time favorite fuzz, a sound I'd been searching for for about 30 years. I'm a big fan of the Beck/Page Yardbirds sound, and this does it exactly!"

Can be seen in the background of the Instagram post. Grant has an extensive pedal collection.