sprucebringsteen's Activity

In 1968, Fender introduced the short-lived Paisley Red and Blue Flower finish options on the Telecaster and Telecaster Bass—drawing influences from the “Summer of Love.” These instruments were adorned with decorative Cling-Foil and finished with a matching metallic burst, highlighting the vibrant colors in the intricately patterned paper. Many of these guitars fell victim to the unstable mix of thick paper, weak adhesives, polyester clear coats and time, eventually showing major chipping and flaking, driving players to refinish their guitars. Others we simply repainted to cover up the polarizing original finish. Once discontinued in late 1969, these guitars and basses seemed to vanish into the ether.

Over the following six decades, these unsung heroes of free spirit movement would pop up in vintage guitar shops and for sale online, eventually beginning to accrue a cult-like following. Call it nominative determinism or sheer luck, country music singer-songwriter and Telecaster evangelist Brad Paisley became enamored by these misfit late-‘60s guitars, ultimately becoming the modern-day face of any and all paisley-themed finishes.

Flash forward to present day, and through a fortuitus twist of fate, while Brad was studying guitar building, he was gifted what looked to be lightly used sheets of Blue Paisley patterned Cling-Foil – straight from the ‘60s. Driven by his newfound obsession over this Blue Paisley Cling-Foil, Brad teamed up with close friends Zac Childs and Joe Glaser to not only refinish one of his road-tested 1967 Telecasters, but to meticulously recreate vintage-accurate Paisley Cling-Foil paper.

In partnership with Brad Paisley, the Fender Custom Shop is proud to introduce the Limited Edition 1967 “Lost Paisley” Telecaster. The swirling, pulsing and blinding carousel of blues, greens and silvers of the Blue Paisley Relic® finish brings a perfect balance of vintage charm to the unique alder, paulownia and spruce Telecaster body. Featuring a custom ‘60s Oval “C” shaped maple neck and round-laminated maple fingerboard, Seymour Duncan "Lost Paisley" Telecaster Pickups and a Glaser “G” Bender System, this guitar looks, sounds and feels like Brad’s #1 Tele.

Other premium features include 7.25" (184.1 mm) radius, 21 narrow tall (6105) frets, Modern Tele® wiring, 3-way switch, ’67 Telecaster® bridge with Glaser Bender System, vintage-style tuners, bone nut, wing string tree, period-correct Fender ® strap and certificate of authenticity.

The Wattson EFY-6 Fuzz is an enhanced version of the circuit used in the Wattson Classic Fuzz FY-6, based on requests we've received since we began building the FY-6 more than five years ago.

The most visible differences are that the Wattson EFY-6 Fuzz has four knobs, whereas the Wattson Classic Fuzz FY-6has two knobs just like the original Shin-ei FY-6 pedal it's modeled after. Two of the four knobs are directly inherited from the FY-6. The FY-6 Expander knob has been renamed Fuzz, and the FY-6 Balance knob has been renamed Gain. These names more accurately reflect the function of these controls.

The original FY-6 pedal includes a special 3-transistor circuit that doubles the frequency of the guitar signal before sending it into the clipping and filtering circuits, effectively raising the tone by a full octave. For this reason, the FY-6belongs to a class of effects known as "octave fuzz" pedals. The clipping circuit grinds the signal into a thick fuzzy soup, so you don't really hear the octave step up directly. What you do hear are the additional high frequency harmonics that the octave circuit adds. These harmonics are especially noticeable when you play on the neck pickup above the 12th fret. In this range the harmonics are so intense that it almost sounds like a synthesizer.

Unfortunately, while the octave step up adds a lot of character to individual notes, it can make chords of more than two or three notes sound like mush. Because of this, one of the things our FY-6 customers have frequently asked for is a switch that can turn the octave circuit off, taming the high frequency harmonics and allowing chords to sound a bit more organic. We went a step beyond and provided an Octave knob. The Octave knob controls the level of half of the cycles coming out of the octave circuit. When the Octave knob is fully cranked then the EFY-6 sounds just like the original FY-6. When you back off the Octave knob then the bottom end begins to sound more full, the high end has less bite, and chords sound less washed out. Turning the Octave knob all the way down completely eliminates the octave effect, and only the original guitar frequency goes through the clipping and filtering circuits. Even though the frequency is the same, the waveshape is still substantially changed by the other half of the octave circuit, so the guitar signal still has plenty of character.

The original FY-6 had a two position switch called Tone. Position "2" of the Tone switch added a mid-scoop filter after the clipping circuit, while position "1" selected the unfiltered signal. One request we received frequently was to move theTone switch to a footswitch. Another request was to eliminate the switch entirely, and provide a knob that could be used to blend between the two tones. We went with the latter suggestion. When the Tone knob is turned all the way down then the EFY-6 sounds like an FY-6 with the Tone switch in position "1". When the Tone knob is turned all the way up then the EFY-6 sounds like an FY-6 with the Tone switch in position "2". In between the two limits, the Tone knob produces a blend of the two tones.

Wattson Classic Electronics EFY-6 Fuzz Features: - 3 transistor circuit doubles the frequency of the guitar (octave up) - Octave knob - 2 posiction tone switch mid scoop or unfiltered

The Wattson EFY-6 Fuzz is an enhanced version of the circuit used in the Wattson Classic Fuzz FY-6, based on requests we've received since we began building the FY-6 more than five years ago.

The most visible differences are that the Wattson EFY-6 Fuzz has four knobs, whereas the Wattson Classic Fuzz FY-6has two knobs just like the original Shin-ei FY-6 pedal it's modeled after. Two of the four knobs are directly inherited from the FY-6. The FY-6 Expander knob has been renamed Fuzz, and the FY-6 Balance knob has been renamed Gain. These names more accurately reflect the function of these controls.

The original FY-6 pedal includes a special 3-transistor circuit that doubles the frequency of the guitar signal before sending it into the clipping and filtering circuits, effectively raising the tone by a full octave. For this reason, the FY-6belongs to a class of effects known as "octave fuzz" pedals. The clipping circuit grinds the signal into a thick fuzzy soup, so you don't really hear the octave step up directly. What you do hear are the additional high frequency harmonics that the octave circuit adds. These harmonics are especially noticeable when you play on the neck pickup above the 12th fret. In this range the harmonics are so intense that it almost sounds like a synthesizer.

Unfortunately, while the octave step up adds a lot of character to individual notes, it can make chords of more than two or three notes sound like mush. Because of this, one of the things our FY-6 customers have frequently asked for is a switch that can turn the octave circuit off, taming the high frequency harmonics and allowing chords to sound a bit more organic. We went a step beyond and provided an Octave knob. The Octave knob controls the level of half of the cycles coming out of the octave circuit. When the Octave knob is fully cranked then the EFY-6 sounds just like the original FY-6. When you back off the Octave knob then the bottom end begins to sound more full, the high end has less bite, and chords sound less washed out. Turning the Octave knob all the way down completely eliminates the octave effect, and only the original guitar frequency goes through the clipping and filtering circuits. Even though the frequency is the same, the waveshape is still substantially changed by the other half of the octave circuit, so the guitar signal still has plenty of character.

The original FY-6 had a two position switch called Tone. Position "2" of the Tone switch added a mid-scoop filter after the clipping circuit, while position "1" selected the unfiltered signal. One request we received frequently was to move theTone switch to a footswitch. Another request was to eliminate the switch entirely, and provide a knob that could be used to blend between the two tones. We went with the latter suggestion. When the Tone knob is turned all the way down then the EFY-6 sounds like an FY-6 with the Tone switch in position "1". When the Tone knob is turned all the way up then the EFY-6 sounds like an FY-6 with the Tone switch in position "2". In between the two limits, the Tone knob produces a blend of the two tones.

Wattson Classic Electronics EFY-6 Fuzz Features:

• 3 transistor circuit doubles the frequency of the guitar (octave up)

• Octave knob

• 2 posiction tone switch mid scoop or unfiltered

The Wattson EFY-6 Fuzz is an enhanced version of the circuit used in the Wattson Classic Fuzz FY-6, based on requests we've received since we began building the FY-6 more than five years ago.

The most visible differences are that the Wattson EFY-6 Fuzz has four knobs, whereas the Wattson Classic Fuzz FY-6has two knobs just like the original Shin-ei FY-6 pedal it's modeled after. Two of the four knobs are directly inherited from the FY-6. The FY-6 Expander knob has been renamed Fuzz, and the FY-6 Balance knob has been renamed Gain. These names more accurately reflect the function of these controls.

The original FY-6 pedal includes a special 3-transistor circuit that doubles the frequency of the guitar signal before sending it into the clipping and filtering circuits, effectively raising the tone by a full octave. For this reason, the FY-6belongs to a class of effects known as "octave fuzz" pedals. The clipping circuit grinds the signal into a thick fuzzy soup, so you don't really hear the octave step up directly. What you do hear are the additional high frequency harmonics that the octave circuit adds. These harmonics are especially noticeable when you play on the neck pickup above the 12th fret. In this range the harmonics are so intense that it almost sounds like a synthesizer.

Unfortunately, while the octave step up adds a lot of character to individual notes, it can make chords of more than two or three notes sound like mush. Because of this, one of the things our FY-6 customers have frequently asked for is a switch that can turn the octave circuit off, taming the high frequency harmonics and allowing chords to sound a bit more organic. We went a step beyond and provided an Octave knob. The Octave knob controls the level of half of the cycles coming out of the octave circuit. When the Octave knob is fully cranked then the EFY-6 sounds just like the original FY-6. When you back off the Octave knob then the bottom end begins to sound more full, the high end has less bite, and chords sound less washed out. Turning the Octave knob all the way down completely eliminates the octave effect, and only the original guitar frequency goes through the clipping and filtering circuits. Even though the frequency is the same, the waveshape is still substantially changed by the other half of the octave circuit, so the guitar signal still has plenty of character.

The original FY-6 had a two position switch called Tone. Position "2" of the Tone switch added a mid-scoop filter after the clipping circuit, while position "1" selected the unfiltered signal. One request we received frequently was to move theTone switch to a footswitch. Another request was to eliminate the switch entirely, and provide a knob that could be used to blend between the two tones. We went with the latter suggestion. When the Tone knob is turned all the way down then the EFY-6 sounds like an FY-6 with the Tone switch in position "1". When the Tone knob is turned all the way up then the EFY-6 sounds like an FY-6 with the Tone switch in position "2". In between the two limits, the Tone knob produces a blend of the two tones.

Wattson Classic Electronics EFY-6 Fuzz Features:

3 transistor circuit doubles the frequency of the guitar (octave up) Octave knob 2 posiction tone switch mid scoop or unfiltered

The Wattson EFY-6 Fuzz is an enhanced version of the circuit used in the Wattson Classic Fuzz FY-6, based on requests we've received since we began building the FY-6 more than five years ago.

The most visible differences are that the Wattson EFY-6 Fuzz has four knobs, whereas the Wattson Classic Fuzz FY-6has two knobs just like the original Shin-ei FY-6 pedal it's modeled after. Two of the four knobs are directly inherited from the FY-6. The FY-6 Expander knob has been renamed Fuzz, and the FY-6 Balance knob has been renamed Gain. These names more accurately reflect the function of these controls.

The original FY-6 pedal includes a special 3-transistor circuit that doubles the frequency of the guitar signal before sending it into the clipping and filtering circuits, effectively raising the tone by a full octave. For this reason, the FY-6belongs to a class of effects known as "octave fuzz" pedals. The clipping circuit grinds the signal into a thick fuzzy soup, so you don't really hear the octave step up directly. What you do hear are the additional high frequency harmonics that the octave circuit adds. These harmonics are especially noticeable when you play on the neck pickup above the 12th fret. In this range the harmonics are so intense that it almost sounds like a synthesizer.

Unfortunately, while the octave step up adds a lot of character to individual notes, it can make chords of more than two or three notes sound like mush. Because of this, one of the things our FY-6 customers have frequently asked for is a switch that can turn the octave circuit off, taming the high frequency harmonics and allowing chords to sound a bit more organic. We went a step beyond and provided an Octave knob. The Octave knob controls the level of half of the cycles coming out of the octave circuit. When the Octave knob is fully cranked then the EFY-6 sounds just like the original FY-6. When you back off the Octave knob then the bottom end begins to sound more full, the high end has less bite, and chords sound less washed out. Turning the Octave knob all the way down completely eliminates the octave effect, and only the original guitar frequency goes through the clipping and filtering circuits. Even though the frequency is the same, the waveshape is still substantially changed by the other half of the octave circuit, so the guitar signal still has plenty of character.

The original FY-6 had a two position switch called Tone. Position "2" of the Tone switch added a mid-scoop filter after the clipping circuit, while position "1" selected the unfiltered signal. One request we received frequently was to move theTone switch to a footswitch. Another request was to eliminate the switch entirely, and provide a knob that could be used to blend between the two tones. We went with the latter suggestion. When the Tone knob is turned all the way down then the EFY-6 sounds like an FY-6 with the Tone switch in position "1". When the Tone knob is turned all the way up then the EFY-6 sounds like an FY-6 with the Tone switch in position "2". In between the two limits, the Tone knob produces a blend of the two tones.

Wattson Classic Electronics EFY-6 Fuzz Features: - 3 transistor circuit doubles the frequency of the guitar (octave up) - Octave knob - 2 posiction tone switch mid scoop or unfiltered

The Wattson EFY-6 Fuzz is an enhanced version of the circuit used in the Wattson Classic Fuzz FY-6, based on requests we've received since we began building the FY-6 more than five years ago.

The most visible differences are that the Wattson EFY-6 Fuzz has four knobs, whereas the Wattson Classic Fuzz FY-6has two knobs just like the original Shin-ei FY-6 pedal it's modeled after. Two of the four knobs are directly inherited from the FY-6. The FY-6 Expander knob has been renamed Fuzz, and the FY-6 Balance knob has been renamed Gain. These names more accurately reflect the function of these controls.

The original FY-6 pedal includes a special 3-transistor circuit that doubles the frequency of the guitar signal before sending it into the clipping and filtering circuits, effectively raising the tone by a full octave. For this reason, the FY-6belongs to a class of effects known as "octave fuzz" pedals. The clipping circuit grinds the signal into a thick fuzzy soup, so you don't really hear the octave step up directly. What you do hear are the additional high frequency harmonics that the octave circuit adds. These harmonics are especially noticeable when you play on the neck pickup above the 12th fret. In this range the harmonics are so intense that it almost sounds like a synthesizer.

Unfortunately, while the octave step up adds a lot of character to individual notes, it can make chords of more than two or three notes sound like mush. Because of this, one of the things our FY-6 customers have frequently asked for is a switch that can turn the octave circuit off, taming the high frequency harmonics and allowing chords to sound a bit more organic. We went a step beyond and provided an Octave knob. The Octave knob controls the level of half of the cycles coming out of the octave circuit. When the Octave knob is fully cranked then the EFY-6 sounds just like the original FY-6. When you back off the Octave knob then the bottom end begins to sound more full, the high end has less bite, and chords sound less washed out. Turning the Octave knob all the way down completely eliminates the octave effect, and only the original guitar frequency goes through the clipping and filtering circuits. Even though the frequency is the same, the waveshape is still substantially changed by the other half of the octave circuit, so the guitar signal still has plenty of character.

The original FY-6 had a two position switch called Tone. Position "2" of the Tone switch added a mid-scoop filter after the clipping circuit, while position "1" selected the unfiltered signal. One request we received frequently was to move theTone switch to a footswitch. Another request was to eliminate the switch entirely, and provide a knob that could be used to blend between the two tones. We went with the latter suggestion. When the Tone knob is turned all the way down then the EFY-6 sounds like an FY-6 with the Tone switch in position "1". When the Tone knob is turned all the way up then the EFY-6 sounds like an FY-6 with the Tone switch in position "2". In between the two limits, the Tone knob produces a blend of the two tones.

Wattson Classic Electronics EFY-6 Fuzz Features:

3 transistor circuit doubles the frequency of the guitar (octave up) Octave knob 2 posiction tone switch mid scoop or unfiltered

Yung Mann Fuzz is an exact clone of the vintage Univox Superfuzz with the tone bypass switch removed as built for Kurt Cobain by his guitar tech Ernie Bailey.

Its aggressive and brash, not for the faint at heart. Perfect for Fecal Matter or Mudhoney!

It has UV printed labels, is true bypass, uses 9v center negative dc 2.1mm power, and has vintage germanium diodes installed. Like all vintage Univox its light on output with unity gain between 8-10 on the dial. Meant to be cranked.

It has the trimpot installed in later superfuzz models internally to dial the transistor matching bias, useful for more or less octave rectification effect.

Built by hand in small batches, more designs coming soon.

New Wave is a clone of the vintage Univox Square Wave Fuzz. It has one mod to lessen the hiss of the vintage circuitry and an added bypass indicator LED.

Ernie Bailey, Kurt Cobain's guitar tech sent a Univox Square Wave to the In Utero recording sessions. While there are only a few songs where I think I can actually discern it, I can't say for sure and we probably won't ever know. To my ear it does the rythym tracks of very ape extremely well, as well as many other songs. Even if a broken amp was responsible for more of the fuzzed tones on In Utero New Wave does a great job with its squared germanium clipping.

A far different texture than the Yung Man Fuzz (superfuzz) , they sit well together on a board.

It is clear that from his early youth Kurt had an affinity for squared, filthy, fuzz tones just as much as his later DS and then SANS tones. Now you can have all the tones he did at your disposal.

The vintage control labels don't really match their actual response, weird.

Balance is actually a volume cut. You'll keep this at maximum for most everything to maintain unity gain levels.

the wave icon is not really a gain control, it's a bass cut that's implemented in a vintage way that also cuts volume. The fuzz level however remains consistent.

It's pretty set and forget with the balance at max and wave/bass cut to taste.

New Wave features:

NOS Germanium diodes

True Bypass switching

2.1mm DC Center Negative 9V

Commando is a clone of the Randall Commander Amplifier's PREAMP section only, with some slight mods.

Designed by Don Randall while working at Fender approximately 40 years ago this is the best sounding solid state analog fender preamp I have heard.

The preamp gain has been tweaked for a smooth sweep and "light crunchy clean" at maximum VOLUME (gain.) Don't expect much dirt from it.

The B/M/T tonestack is familiar to most and the Master sets the output level.

The "CHANNEL" switch is actually a diode clipping switch:

Up is LESS

Middle is NONE

Down is STOCK

This SUBTLY changes the compression and clipping characteristics allowing you to dial in whatever crystal clean (NEVERMIND) or lightly crunchy clean tones you like while also taking a DS-1, or other distortion pedals EXTREMELY well. These changes are most noticeable with the VOLUME (gain) set to max.

The pedal is DC CENTER NEGATIVE and can use 9-24V.

Do NOT use reverse polarity or MORE voltage. Will DESTROY your pedal permanently.

The real amp used 24V! 18V is what I recommend for most people and 9V is still fine, especially if looking for the most possible crunch. I recommend Cioks power supplies.

A Randall or Fender amp is:

PREAMP->POWERAMP->SPEAKER/CAB

All three sections add some distortion and color. Therefore you cannot expect Commando to have as much dirt/crunch or the same frequency response unless used in context properly.

You'll want to use a solid state power amp that can add some dirt color, (EHX or DUNCAN come to mind), or a tube poweramp (my favorite) to achieve the same crunch levels as the Dale Demos and a cab/speaker similar to the Randall's G12-70 speakers.

Alternatively you can plug Commando directly into your amplifiers FX LOOP RETURN.

Commando can be used in front of an amp but we recommend using the most neutral settings possible on the amps EQ. For fender style amps this is middle set to maximum and bass and treble set at minimum.

Commando can also be used for direct recording into your DAW with a fender style POWERAMP simulation and also CAB simulation.

You can also use something like a

"2notes CABM+" or "Tonex ONE" for a power amp and speaker simulation to connect DI to the House system for an amp less setup LIVE.

I recommend starting with all KNOBS set to "6" and the CHANNEL selector DOWN in the STOCK position.

X

You may be familiar with the Albini mix of HSB. If not, you'll want to go listen before continuing.

Kurt and Krist had a difference of opinion over this effect on the solo and eventually, Kurt conceded and removed it, however it was his original vision.

I fell short in my attempts to recreate this effect for my tribute band. I subsequently researched as much as I could about the original Pedal X, as designed by Mr Bill.

I also absorbed as much as I could from Aaron Rash's extremely short demo; Albini's estate and Private Collector Aaron Rash own two of the five in existence.

I spent countless hours scouring ring mod schematics I suspected could have been the starting point for Mr. Bill's DIY circuitry. Eventually I had an epiphany on an alternate topology and went that way.

While X is NOT a clone by any means, I think it's an excellent dirty ring mod tremolo thing, that well cops the solo tone and does much more. Clean tremolo sounds, dirty ring mod-ish, and even clean or dirty jfet boost tones are available.

Place X last in the signal chain before the amp. The more effect you blend in, the more level you'll want to use, as perceived output will decrease.

Subtle goes from a pulsing tremolo to a vibrato like warble. Bold will take you to extreme ring mod type sounds.

Inside the pedal, you'll find two dip switches, these are two sets of clipping diodes. feel free to set them to your taste for cleaner or dirtier tones.

The real X seems to have as much dirt as both switches on. You'll use level to compensate and plenty of boost is available to reach unity for any choice.

You may use 18V for increased headroom, but no more. Permanent damage will occur.

True Bypass

2.1mm DC Center Negative

9V-18V MAX!