Massive fuzz in a hand-silkscreened aluminum chassis.
The Vexter Fuzz Factory from ZVex is a 5-knob fuzz pedal with 2 NOS '60s germanium transistors, and it comes in a hand-polished aluminum chassis with hand-silkscreened, 2-color text. Though ...
In an April 2004 issue of Guitarist magazine, John Frusciante talks about using the ZVex Fuzz Factory pedal on his studio album *Shadows Collide with People*. He says, "Well, there's the Fuzz Factory. That guy (Zachary Vex) makes really interesting effects and he handpaints them himself. The song Water has that crazy guitar sound at the end of it and that's just me playing right-hand finger harmonics and that's the sound that came out of the thing! John Frusciante - Water (track 14 on *Shadows Collide with People*): https://www.youtube.com/watch?v=McH-5snJ32Emore
This hand-painted and assembled ZVex Vexter Fuzz Factory Guitar Effect Pedal has been used extensively by Matthew Bellamy. It can be seen in the pedal tray in his rack used during the Black Hole and Revelations tour. Bellamy frequently plays Manson guitars, some of which have the ZVex Fuzz Factory built into them (supposedly with only the "Stab" and "Comp" knobs on the front of the guitar).more
"I have the Fuzz Factory. Zvex is a really fun company. I like all their hand-painted stuff. I didn't spring for the hand-painted pedal, but the hand-painted ones it's like the whole thing is done, it's like a unique piece of art. This one just has the name on it like painted on there. But yeah it's a fuzz pedal, kind of like vintage style. It's a real crazy, nasty-sounding fuzz. It squeals. I use it on two songs, so I don't use it a ton. I use it on 'Teenage Sounds' and on the end of 'Trust'."more
"Pedal-wise, the only real signature sound we used was Travis' Boss Pitch Shifter/Harmonizer for the keyboard delay and modulation for Girl O'Clock. I used various pedals over the years, finally settling on Ibanez TS-series pedals, a Z. Vex Fuzz Factory, a Line 6 Delay Modeler, a wah, and an EQ. All three of us used Boss tuning pedals for the last half of the band's existence."more
"Packed with knobs that let you control everything from tight, radically fuzzy sounds that gate off instantly when you stop playing, to intermodulating oscillations that fight for control of your guitar as your notes decay, to shortwave radio sounds, ripping velcro and octave-like fuzz. Includes an on/off LED and center-negative DC power jack."more
Luke Weiler of Positive Mental Trip has been known to use a Vexter series ZVEX Fuzz Factory. Ussually for saturation soaked dirty wet FUZZ rhythms, experimental noise feedback, squeel, static and interesting other interesting sounds for lead solos or layered rhythm guitar parts. Positive Mental Trip rhythm guitar parts are ussually not distorted so the Zvex Fuzz Factory has not been a part of PMT live shows very much. You can def hear the signature zvex fuzz factory sound on some PMT bandcamp demos. Whether Luke Weiler has actually used the zvex fuzz factory on tracks that amade it on a studio album is unknown.more
Massive fuzz in a hand-silkscreened aluminum chassis.
The Vexter Fuzz Factory from ZVex is a 5-knob fuzz pedal with 2 NOS '60s germanium transistors, and it comes in a hand-polished aluminum chassis with hand-silkscreened, 2-color text. Though the circuit isn't modeled after any one specific classic fuzz, 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 effect.
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, and each is unique.
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 more finicky controls, so it will take some experimentation to get it right.
Ok,so I just made two of these and I'm absolutely loving the Fuzz Factory,I've always been a bit trad when it came to fuzzes but when I got asked to make one recently for someone and tested it I comu fall in love with it,I just had to have one of that space age oscillation fuzz on my broad,...a great modern fuzz I think Jimi Hendrix would have adored had it been available in the 60s,I think that pritty much say it all!
Warning: DO NOT TURN THIS PEDAL ON IF YOU HAVEN'T READ THE MANUAL! This pedal is an insanely cool piece of analog goodness that won't hesitate to punish a bad knob turn. But the reward of a good setting, oh the reward, so worth it. This is not your daddy's big muff. This is a sputtering, self-oscillating, unpredictable sack of goodness. It can do more than an awkward sputter (Though it can do it too), I've used it for a heavy distortion as well. The tamer settings are nice, but the craziness is where Mr. Vex's handiwork shines. The stab knob has the power to turn your notes into arpeggios, and even create interesting octavia style effects. If you can imagine a crazy fuzz in your head, you will hear it in the Fuzz Factory. A good memory or settings list is key for unlocking this pedals potential. I recommend these lists, courtesy of TGP: http://smg.photobucket.com/user/onetubetone/media/Page1-2.jpg.html http://smg.photobucket.com/user/onetubetone/media/Page2-2.jpg.html http://www.thegearpage.net/board/index.php?threads/my-take-on-a-zvex-fuzz-factory-settings-list.176319/
This thread is chock full of information. Happy fuzzing!
This pedal is sheer and utter ridiculousness. It is capable of both soaring and gorgeous singing tone for solos as well as INSANE and EVIL chugging tones when scaled back. Oh, yeah, and it can sound like it's going to blow your amp up as well as everything else on the block whilst oscilating to and from outer space. This pedal is a MONSTER of a fuzz. I use it regularly in the studio up against an earthquaker Bit Commander and the two go from bitter rivals to great friends. I mention the other because both reflect a class of pedal that is incredibly difficult to tame, but when done effectively can muster amazing results. I ended up pulling this pedal off of my live board, however, as the compromise between usable live volume and controllable oscillation was too hard for me to find or depend upon. I still use this guy when recording, but when I want to be consistent with a single live take, this pedal definitely requires some TLC.
So loud I have to keep the pedal volume below 12 to keep from blowing out my amp (not that I'm complaining). A bit dry on most settings by itself, but sounds great with a tube screamer earlier in the chain. All in all, an amazing fuzz pedal.
To be honest, I got this one because of it's extensive use on Muse's Origin of Symmetry. Of course all I did at first was turn knobs here and there to make crazy radio-like sounds, but once I sat down to get some actual tones from it I was pleasantly surprised. It can do anything from velcro fuzz to sweet metal tones.
That being said, it did take me some time to get a thick guitar tone out of it. Definitely doable, just takes a bit more work. Oh, and it seems to be really sensitive to temperature and humidity changes so it's definitely not set-and-forget. Still, it's the only pedal I haven't sold even after going fully digital.
When you hold the reigns using this pedal, you can achieve a variety of controlled fuzz tones, but if you are looking for something more wild and outlandish, just turn down the stab on the pedal and you'll witness a whole other side of this pedal that is terrifyingly amazing.
10/10, can do most fuzz tones perfectly, and with enough messing around and experimenting, any fuzz tone can be marginally achieved. One could see the temperamental nature of this pedal and its dependence on the room, temperature, and humidity as a downside, but in all honesty it is what makes this pedal unique and worth your money.
This pedal is pretty much the only pedal on this planet the really stretches past and future in fuzz sound design. Buy it if you want to create new laser sounds: Ready for the future.
The fuzz factory has the perfect wild, gritty sound I want in a fuzz pedal. It's extremely customizable, and makes some interesting squeals if you play around with the dials. Its wildness may also be a slight minus, since adjusting this thing live can be a pain if you don't have the exact setting you want memorized, or if you forget to turn down the volume before anything else (seriously, turn down the volume before tweaking). Other than that, I don't think I could be more satisfied. In summary: excellent crazy psychedelic grit & sound, not the pedal for you if you just want basic fuzz to plug & play without any knob tweaking.
I totally love this pedal. But I thing that is not for everyone. If you're looking for something anarchic, a little unreliable, difficult to control and setup... this pedal is for you!!! At the moment everything that I've said sound wrong, but let me explain... by anarchic I mean that the way that the sound comes out of this pedal is like trying to ride a savage stallion, probably you'll never control it totally but both will learn to understand and respect... and with that a relationship almost symbiotic will emerge. It's unreliable and difficult to setup because you need to check where to put it in your effect chains, also you need to careful set up your amplifier. I neglected most of the parameters in the amp (just using gain and volume) because the pedal can create so much fuzz that the process of finding the right tone can be difficult for your ears, but believe me is super fun. About the parameters... even the instructions say something like "each knob controls most of that aspect of the sound, but not totally" meaning that there are other ways to get a sound with more compression, fuzz, volume not using directly the "vol" gate. In my short experience I can give you some tips... "stab" move it all to the right, if you move it to the left you'll get weird and annoying noises (which I love) that comes from stabbing a part of the signal, it's cool but not for everyone. I think that I'll adjust this parameter at the end if needed. The "gate" knob can add of remove some cool background noises like a drive, if you move it all to the right you won't hear them, but if you move it to the left you'll start hearing them. "comp" and "drive" are self explaining and "vol" is like a gain... it can give you a huge amplifying sound so use it wisely. Aaaah! one last thing, the battery, I read that it can last for years!!! which is cool if you don't want to carry your whole pedal board or an external power source and you only need this effect to jam with your friends or whatever.
I had this pedal for a while. It can sound great, and it can sound like the worst possible thing you can put on your pedal board. I love the fact that it's so crazy you can pick up radio stations on it, but especially for a live setting, it's just way too fidgety and tweakable for a lot of people.