Housed in a beautiful powder coated Blue 16ga. steel enclosure, the dual-channel Full-Drive 2 Mosfet gives you the best of both worlds. The first channel is the Overdrive Mode, capable of clean boost or non-compressed overdrive or choose light to ...
In [this interview](http://www.guitarplayer.com/artists/1013/robin-trowers-moody-blues/23663) with Guitar Player, Robin Trower says "I have an original ’90s Fulltone FullDrive, which I really like because it has big tone and is warm. So, I said I would like a bit of that combined with the OCD."more
Sorry it’s a tad blurry! The new pedals are the 3 at the bottom right. The Louder, Scream, and Scruzz are the “always on” versions of the More Louder, Screamer, and Screamer Fuzz. At the bottom is the Pedal Board Tamer which adds true bypass and noiseless switching. The big white pedal is the old Route 66 in the metal chassis. Sounds better than the newer Visual Sound stuff, IMO. And the big black thing is a Line 6 M9. I use it for most mod and delay effects, with the Tap a Whirl and DD5 filling in the gaps. Lastly, this is the first time in 11 years I’ve done a show without a Fulldrive 2 overdrive. That’s how highly I think of the new Cusack distortions!more
As the de-facto lead guitarist, er mando-man, Kang bounces between his Ron Oates Custom 5-string Octave Mandolin or Walker Electric 5-string Octave Mandolin. To amplify his custom 5-strings, he cranks up a Two-Rock Custom Reverb and Groove Tubes D75 Power Amp through a Bogner 2x12 cab. His two-board setup boasts a DigiTech XP100 Whammy Wah, a Electro-Harmonix Micro Metal Muff, a Electro-Harmonix Micro POG, a Electro-Harmonix Micro Synth, a Electro-Harmonix Q-Tron, a Line 6 DL4, a Keeley Phaser, a Fulltone Full-Drive 2, a Keeley-modded Ibanez TS808 Tube Screamer, a Keeley Katana Clean Boost, a Boss TU-2 Chromatic Tuner, a Maxon Compressor, a Ernie Ball Volume Pedal, a Roland GR-33 Guitar Synth, a TC Electronic G-Force, a Sarno Music Solutions Steel Guitar Black Box, and the boxes are powered by a Voodoo Lab Ground Control and a Voodoo Lab Pedal Power 2+. And his uses various Elixir strings and Fender Extra Heavy picks.more
"I’ve got the Crocodile switcher, Origin Cali76 compressor—which is like a take on the old UA 1176s, then the Fulltone Full-Drive, Wampler Dual Fusion, then some of the Strymon stuff—the Timeline, blueSky, and Mobius, then an Eventide H9, and a wah. First in the chain, I’m using a Pete Cornish input buffer, which is a sweet little piece."more
Housed in a beautiful powder coated Blue 16ga. steel enclosure, the dual-channel Full-Drive 2 Mosfet gives you the best of both worlds. The first channel is the Overdrive Mode, capable of clean boost or non-compressed overdrive or choose light to medium softer overdrives all while retaining your guitar's original tone. The Tone knob is a very effective presence control that can smooth out or add upper harmonics. The second channel is the "Boost Mode" with its own separate distortion control for medium to higher gains with a more singing violin-like sustain!
One mini-toggle lets you choose between a "Vintage" FD2 sound with mid-heavy tones that cut through the mix and "FM (flat-mids)" for a more natural, transparent sound that works awesome with a Strat's neck pickup.
The other mini-toggle lets you choose between Mosfet and Normal clipping modes. Normal mode is even more asymmetrical, sweeter and more open, with no "blanket" over the sound.
And, of course, the FD2-Mosfet features super-bright LEDs and Fulltone's exclusive "no-thump/no-pop" True Bypass switches. We are the first to offer a switchable "Boost" Channel in an overdrive and the first only to manufacture our own Super-Duty 3PDT footswitch allowing True-Bypass plus LED.
Chosen by Guitar Player Magazine readers as one of the "top 50 effects ever!"
This pedal combines classic rock with pop rock, like I've never heard before. This overdrive made me change the kind of music that I write. It's easy to control and still has a lot of nice features!
Very useful pedal. I combine it with OCD to achieve a gorgeous sound to lead guitar solo. It's nice to chord word and strumming, with low gain for me. I use it on FM and Mosfet to clearer sound than vintage. As a clean boost i heard good comments but i don't use it at all. Well, we know that itá a classic pedal!
For a little over a hundred bucks you get a hand-built in the USA, two-channel overdrive pedal, that has many gain and OD variant options. It's built with high-end components, including some Fulltone proprietary parts, like their own 3PDT switches and custom made copper wire. It's probably one of the cleanest, best built dirt pedals on my board—and it's the least expensive pedal I own. ;)
Nice and humble pedal, with a lot of features. The sound feels not at all transparent, as it has added a little compression and probably the original signal is added in parallel with the effect to produce this pedal sound, which is really good. If you listen to Kings of Leon, you definitely want this pedal to achieve their sounds.
Using the Blues Driver and the TS Mini in parallel with the Boss LS-2, I can get many sounds from the Fulltone Fulldrive 2 Mosfet.
I bought this one after I tested a friend's FD2 with the Vox AC15C1 and finally getting all those sounds from the 'Because of the Times' album from Kings of Leon in 2007.
Probably I'll get rid of my other drives, but not by the moment. I've used the Blues Driver as clean boost before the Fulldrive 2 obtaining good sounds.
The EP Booster pushes well the Fulldrive 2 pedal, as this has headroom just when is pushed with the internal boost in the pedal.
This pedal was heavily used during the promotion period for the self-titled record, in Summer 2018, as well as recorded on "Alone, Leave Me" and "Monuments".
Certain drives are really hard to dial in with certain amps, but this pedal sounds brilliant with any set up. The drive by itself sounds great, and the boost rivals the tone of a Tube Screamer. It's two pedals for the price of one, and the versatility allows you to go from clean boosts to heavy crunch with one tap. Great pedal.
Vintage and standard settings gives the usual TS tone, which off course sounds nice though I don't care much about it as I prefer the flat midrange and MOSFET settings to achieve a punchier response with more balanced tone and dynamics. I like how the boost switch is implemented as it just kicks in more gain. I always use guitars with HH mic configurations, then even at bridge positions with no treble cut and with my MF Boost at the maximum of its tone knob the FD's tone knob range does never become much sharp nor super bright. All this considering that I always feed it with 9V and run it at home through my Vox AC4C1 and at rehearsals and concerts through my Vox AC30CC2.