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...
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](https://equipboard.com/band/deftones), traces the signal flow of the equipment, containing a ZVex Fuzz Factory, in his 2011 guitar rig.more
I've known for years that Daniel Johns used the fuzz factory, especially for across the night tours. And I believe beyond that as well. There isn't a whole lot of pics of his pedal board since they broke up. But I remember reading about him using it. It's also on Zvex FuzzFactories Wikipedia site of known users of the FuzzFactory. Which lists Daniel Johns as a known user.more
Scott's website states that he uses the ZWEX Fuzz Factory. "Yeah, with an expression pedal -- so that’s a great pedal. I use a Z.Vex Fuzz Factory for the solo on “Festival of Ghosts,” which is that really wicked solo that makes all the noisy kind of sound. I use that same pedal on the “Mysterious Traveller” solo on the HBC record. That’s a fun pedal. It sort of reacts to how you have your volume control on your guitar set. When you move your guitar volume up and down, it warbles out and makes the weirdest tones." - [Guitar.com](https://www.guitar.com/articles/scott-henderson-interview-effected-fusion)more
"This is Tegan Quin’s pedal board. Upper row: [Boss NS-2](https://equipboard.com/items/boss-ns-2-noise-suppressor-pedal), [OD-3](https://equipboard.com/items/boss-od-3-overdrive-guitar-effects-pedal), [LS-2](https://equipboard.com/items/boss-ls-2-line-selector-power-supply), and [TU-2](https://equipboard.com/items/boss-tu-2-chromatic-tuner). Lower row: [Ibanez TS-9](https://equipboard.com/items/ibanez-ts9-tube-screamer-effects-pedal), [Boss CE-2](https://equipboard.com/items/boss-ce-2-chorus-guitar-effect-pedal), [MXR MicroAmp](https://equipboard.com/items/mxr-m-133-micro-amp-pedal), [Boss DD5](https://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
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
"I use a pedalboard, but I can never really decide on the pedals I want to put on it. The pedals I use most are a Strymon Flint, a Creepy Fingers fuzz, a ZVEX Fuzz Factory, a vintage Fuzz Face, and some others. I have a lot more from people who build me stuff that don’t always make it on the board. I have a lot of fuzz pedals, boost pedals, and preamp-type things. Normally, I always use my old Fuzz Face and just a Cry Baby wah. A new find is this Carlin compressor pedal, which is one of the most radical pedals I’ve ever stumbled upon. There’s actually a clone made now by a guy named Moodysound, and it’s really good."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
> That’s a bit of gear I do know: the ZVEX Fuzz Factory pedal. They have a couple at Q Division studio and I finally bought one for myself. I just love it. I used it a lot on the album—it’s really good for soloing. It’s got a gate, which lets you get a heavy sound but with no sustain. It just cuts off at the end, like [makes a short tire-screeching sound]. I just love that effect. It makes it sound like the amp is breaking apart.more
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.
Its sure is well built and good looking but at the end of the day, the time you need to invest in order to get usable tones makes the Fuzz Factory an overall unpleasant to use pedal for the average guitar hobbyist/player. I spent hours (honestly!) to fully explore the settings only to realize that its just to "unpredictable" for me. Taking that aside, if you do succeed in your quest for "a tone" you might be lucky enough to find "The Tone". In order words it can sound great but just dont make the mistake of moving any knobs after that...ever again...in your lifetime...
It takes a while to master this pedal, but it is well worth it. I like it best in power-starved mode, for a loose, saxophone-like buzz. Be careful when using it live, a little turn of the wrong knob will turn it into a wailing banshee.
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).
One of the nastiest fuzz pedals I've ever used. It's like a Russian Big Muff without all the distortion and more sustain. I highly recommend this for any budding punk guitarist.