Fuzz pedals

A fuzz and an envelope filter in one, and ideal for either lead/rhythm or bass. This may not seem unusual, but add to that a dual channel with various filter options, and you have a killer pedal for $150 USD (half that price if you buy the ProudAnus module for one of the LiberaToe pedal/switcher/router systems). This is a great sounding 60s fuzz, which combines both germanium and silicon. Depending on how you dial into it (with the resonance), it can sound as much overdrive or distortion as it does fuzz. Very versatile – and it cleans up nicely with a guitar’s volume knob. For the video demo, I ran the ProudAnus into two emulators (UA’s Woodrow ’55, which is an emulation of a 1955 Fender Tweed, and the Ruby ‘63, which is an emulation of a 1963 Vox AC30), as well as the Rivera Venus Recording tube amp. In all instances, the ‘fuzz’ sounded robust and growly. Now, I say that with some reservation, since if changing cabinets toward something that is thinner or more cutting in frequency, the fuzz has more of a silicon fuzzzzzz sound, rather than a growl. Overall, you can achieve a heavier, darker and more wooly sounding fuzz, all the way to a biting, screaming tone that bites like an OD/distortion. The Filter (or Wah) aspect of the pedal varies significantly and is very vocal. It can sound throaty, barely audible (great if you want to add a tonal character to rhythm or lead), or even thin enough to mimic a Sitar (not 100%, but it works in a pinch, which I demo on the video). As an added feature, you can toggle select either a hi or lo-frequency filter. You also can adjust the sensitivity toward your picking dynamics, so that a light string strike is more subdued than a hard string strike. Fine-tuning the vocal response also is dependent on the Attack and Decay controls. Now we get into the diversity of this pedal, with these possible combinations (Main Toggle): TOGGLE UP: Green channel = Wah; Red channel = Fuzz TOGGLE CENTER: Green chn = Wah; Red channel = Wah (there is a reason for this, as per the second toggle switch, described next) TOGGLE DOWN: Green chn = Fuzz; Red channel = Fuzz + Wah I provided a quick demo of how channels can be switched and mixed/matched in the video, but let’s consider the second toggle’s role, in selecting a hi or lo filter. TOGGLE UP: Green chn = Hi Wah; Red chn = Lo Wah TOGGLE CENTER: Green & Red chn = Hi Wah TOGGLE DOWN: Green & Red chn = Lo Wah Suppose the main toggle is up for a Wah (green) and Fuzz (red); you can select either a Hi or Lo Wah for green via the second toggle. If the main toggle is center (Wah for both channels), then you can select a Hi Wah for green and a Lo Wah for red via the filter toggle. If the main toggle is down (Fuzz for green and Fuzz + Wah for red), then you again can choose a Hi or Low Wah for the red channel. This may seem a bit confusing without seeing the video, which I encourage you to do. Overall, ProudAnus stands up to any LiberaToe pedal I have tried, and without disappointment. You get some great analog tones, but with serious flexibility. For the fuzz aficionado, ProudAnus is a beauty and I find it very easy to dial into great tones. No complaints and all thumbs up! https://www.liberatoe.com/

This is one of the heaviest and sickest noise-oscillo-fuzz I ever owned. It's super loud, practically and totally uncontrollable and unpredictable, and that's why I love it so much: it's a pure brute force of nature! Controls are super bare bones: Volume and Epilepsy (which is sort of a tone control) are super interactive, and influence the oscillation's character, so as the incoming input signal (this fuzz reacts very well to guitar pots twists or whatever you feed into it, synth, contact mics... whatever!). This became a very important part my metal and noise setups. So important that one at some point I decided to get a second one. I highly suggest to directly contact MASF if you wanna get one its pedals. It may take a bit more time, but so you can buy MASF pedal at fair prices. I would avoid ebay and such as there MASP pedals are sold 100$ more than from MASF itself! DEMO VIDEO: https://www.youtube.com/watch?v=YbFSfAD5OlI

It’s a great time to be a guitarist, with so many affordable effects coming to market. Sonicake certainly fills that niche with their line-up of effects, and the Fazy Cream muff-style fuzz pedal is no exception. Besides a fantastic price ($29.99 USD at the time of writing this review), the Fazy Cream excels in two other areas – it is a micro pedal that takes up minimal room on a pedalboard, and it is extremely diverse, ranging from a vintage warm fuzz to a modern and aggressive distortion-like fuzz… and everything between. Operation is simple, although there is a lot of tweaking possibilities. The Volume works as expected and with plenty of headroom; for the entire accompanying demo I kept the Volume at 12-noon, whereas more than that made my guitar too loud in the recording. The Tone knob is very broad, ranging from dark and brooding to a tone that cuts and slices (although not shrill or overly bright). Seriously, this pedal could work with the darkest or brightest of amps, and whatever else you can throw at it. The Fuzz (gain) knob also has a significant range. When turned all the way down the fuzz is apparent, but more in the way of a warm and slightly broken up overdrive – dirty enough to give a clean amp channel some raunch or to push a dirty amp into a different dimension. Once you get the Fuzz knob around the 9-10 o’clock position, you’re into some serious vintage Muff. Anything around 12-noon and beyond is getting hardcore. The huge spectrum of fuzz sounds occurs as you tweak the Fuzz and Tone knobs – what can sound too heavy and thick suddenly becomes lucid and defined with just a slight turn. The only downside, which is minor, is that pushing the Fuzz at 2-o’clock and beyond with humbuckers does make the signal a bit messy, which is where a noise gate comes in handy. However, this is not as apparent with single-coil pickups. Regardless, with humbuckers I found the amount of fuzz and ‘heaviness’ more than enough at the 1-o’clock or less position on this pedal. Overall, for the price, size and diversity of tones the Fazy Cream is about as good as it gets. It is not as subtle as some other fuzz pedals (preferred by those who only want a hint of warmth in their tones), but if you’re looking for a psychedelic, proto-metal or modern high-gain option, the Fazy Cream is a solid choice.

SOUND: Although called a Screamer Fuzz Germanium it’s not strictly a fuzz-sounding device and offers a lot of different tones. Certainly there are some nice thick and grainy fuzz tones, but with the combination of an Overdrive you can create a wide mix of sounds that range from strictly mild overdrive, to heavy distortion and fuzz. The easiest way to describe the sounds over the three settings (whether using just the drive, the fuzz or both) is that the Germanium setting has a thicker and darker tone, the silicon setting has a smoother and more biting quality, and the LED setting has a louder and more aggressive (punchy) character that blends some characteristics of the other two. The Tone knob has a very wide range, from heavy and dark to somewhat piercing, and so whether your amp, pickups and other gear is on the dark side or bright side it’s easy to dial into a pretty awesome sound. The range of drive is significant, in that turned low (9-o’clock) you can hear some added energy in your tone and when pushed (3-o’clock) you can achieve some very nice ‘breaking-up’ qualities, but without masking the original sound of your amp and gear. However, add in even a modest amount of fuzz (8-9 o’clock) and you not only get into some fantastic distortions, but the volume increases quite a bit, making for an awesome boost. Overall, as you fiddle with the Drive, the Fuzz and the output Level there is plenty of headroom on tap. As an added bonus, the Screamer Fuzz Germanium cleans up exceptionally well – crank up the Drive and Fuzz to about 12-noon each and the sound is fairly massive, but dial back on the guitar’s volume knob (to about half-way or less) and you get a good dirty crunch tone. Of course, all of this pertains to a clean amp channel. When working with a high-gain or dirty channel, the levels on this pedal will be affected by how dirty the amp signal is, but also how high the gain is on that channel. Typically just a touch of fuzz and drive on the Screamer Fuzz Germanium will go a long way to hot-rod your dirty channel and without robbing it of the original characteristics and sound. It’s like modding a 5150 amp head… it still sounds like a 5150, but with an extra set of balls. OVERALL IMPRESSION: Fuzz is not for everyone, including pedals that sound like a hive of bees (a very particular taste); and I get that sentiment. However, Cusack Music’s Screamer Fuzz Germanium is one of those fuzz pedals for people who don’t like fuzz pedals (and also for those who do). This is a new take on the original Screamer Fuzz but with a Germanium setting as opposed to a Shottke clipping diode. You can use the Drive exclusively (the germanium diodes go into the Drive section, which then affects the Fuzz thereafter), which is a great sounding overdrive that is quite versatile considering the three clipping options (germanium, silicon and LED); and when you add a touch of Fuzz the sound is far more comparable to a dirty, gritty overdrive or distortion. It’s only when you start cranking the fuzz to about 10-o’clock or beyond that you get that mistakenly obvious fuzz tone… although I find on any of the clipping settings the quality of fuzz is more robust and organic rather than fizzy and overly-saturated. Factor in a highly usable Tone control and one of the most dynamic ranges of settings possible among all the options to craft your own sound (or series of sounds) and the Screamer Fuzz Germanium is a solid buy at $205 USD. Regardless, this is a limited production model with about 35 units remaining. If sold out, do check all the other Screamer Fuzz pedals over at Cusack Music since this company is the real deal when it comes to high-end boutique-like pedals at very reasonable pricing. GENERAL USE: The clipping setting determines if you’re looking for a fatter and darker tone (Germanium), a tone that cuts through the mix a bit better (Silicon) or a tone that has an aggressive boosting quality (LED). The Tone knob works as it should, and with a wide range of dark-to-bright it’s easy to dial into something that works with any gear – fatten up that thin sounding Strat or brighten up those muddy humbuckers. The next consideration is what type of tone you are after, since you can use a lot of Drive, a lot of Fuzz or a combination of the two in various amounts. When focusing on Fuzz the Drive adds some saturation to smooth the signal, but at the same time makes the Fuzz sound a bit angry (a fuzz-distortion type of mix). When focusing on the Drive you can achieve a very classic amp-pushing quality with a lot of Drive and only a hint of Fuzz (you would not think this a fuzz pedal with such a mix, but a fantastic sounding drive/distortion). Add in even more Fuzz and you begin getting a fatter distortion and eventually an unmistakable fuzz tone. The results are even more widespread depending if you are adding the Screamer Fuzz Germanium to a clean or dirty channel. Depending on how ‘clean’ the channel, you can really crank up the pedal with awesome results. With dirty channels that verge on high-gain it is best to add low amounts of Fuzz (8-o’clock) and Drive (9-10 o’clock) for that extra dimension so that you get a super high-gain result. OTHER DETAILS: A standard sized pedal made of heavy duty, lightweight aluminum with an attractive and textured Terridium finish, the Screamer Fuzz Germanium’s graphics on the pedal reminds me of the Periodic Table of Elements, giving it a unique look and style. Measuring 112 mm (L) x 60mm (W) x 50mm (H) (4.4 x 2.36 x 1.97 inches), the footswitch is a soft-switch, which means it does not ‘click’ when engaged or disengaged. The three-position clipping toggle switch is solid when moved and is sandwiched among the four proprietary milled aluminum knobs. The four knobs controlling Level, Tone, Drive and Fuzz all have good quality pots (smooth and solid when turned). The cable input and output are located in the back of the unit, whereas the power input is located on the side and about mid-way long the pedal (far from any foot-stomping that may take place). The LED to indicate on (red) and off (green) has a nickel plated brass bevel around it, and is located at the top of the pedal. You can disengage the green LED (when the pedal is not in use) by holding down the footswitch for a second. However, I like this feature, particularly for dark stages, since you know where this pedal is even when not in use (via the green light). The Screamer Fuzz Germanium can work on a standard 9V battery or via a standard 9VDC (center -) power supply, while consuming only 7mA of power.

SOUND: https://www.youtube.com/watch?v=DUjs1lKI1jE With two germanium transistors the 2 SA 202 model (which also uses those type of transistors) of Vintage Fuzz II replicates the famous Fuzz Face sound of Jimi Hendrix. However, unlike older models of fuzz (and even some current ones), this fuzz is very quiet with a barely an audio ‘ssshhhh’ when turned up full. With the Bias rotated fully clockwise there is a velvety fuzz tone reminiscent of the 1960s and 1970s, but this Vintage Fuzz II model offers so much more. Turn up the Fuzz only half-way and with the Bias cranked fully counter-clockwise (or thereabouts) and you can achieve some very classic rock sounds on a clean amp channel that produces a breaking-up and overdriven quality without any mess or fuss. When combined with a driven or ‘hot’ amp the Vintage Fuzz II calms the harshness and warms the signal, although I recommend keeping the Fuzz level between 9-o’clock and 11-o’clock at most. Not only do you get a more organic tone when combining this fuzz with a more modern type amp, but the effect is more 3-D to the ears as the harmonics jump out like crazy. OVERALL IMPRESSION: Developed by Doc Music Station (France), Vintage Fuzz II (2 SA 202 model) is a highly diverse fuzz and at a fair price of 159 Euro. This model is powered with two SANYO NOS 2SA202 transistors (hence the sub-name of the pedal) to bring you closer to Hendrix himself. Consequently, Denis over at Doc Music Station did an outstanding job at reproducing the old Fuzz Face, but this pedal proves superior in both noise reduction and versatility in how it interacts with amps and other pedals at various levels of ‘fuzz’ and ‘bias.’ Whether you’re trying to re-create classic or psychedelic rock tones, or even to tame some high-gain amps to produce a less sterile sound (with added warmth and dynamics), the Vintage Fuzz II (2 SA 202) is a worthy investment. Previously I reviewed the Vintage Fuzz II MP 41 MKII model, which is a fuzz, but more of a ‘tone bender.’ Below is a comparison video of three other types of Vintage Fuzz II pedals (including the 2 SA 202), for those who want hear the distinct tones: https://www.youtube.com/watch?v=9oBa_M2DO0o&t=25s EASE OF USE: https://www.youtube.com/watch?v=DUjs1lKI1jE The Vintage Fuzz II 2 SA 202 varies considerably in tone and whether you want a thick, heavily saturated fuzz sound, or a moderately distorted rock ‘n roll sound. Of course, the effect of this pedal when combined with a clean amp or dirty amp signal varies considerably, and the degree of Fuzz and Bias will need to be adjusted accordingly and relative to your needs (and sound of the amp). With a clean amp you can produce a nice rock sound (similar to going through a Fender Bassman amp) with some decent breaking-up and with the Fuzz at low to moderate levels and the Bias turned toward counter-clockwise (keeping the Fuzz relatively low and the Bias up full counter-clockwise works as a nice boost as well). Obviously, if the Fuzz is up very high you can get a rumbling fuzz (Bias toward counter-clockwise) to a very velvety fuzz (Bias all the way clockwise). When combined with a dirty amp, even a high-gain amp, you can use the Vintage Fuzz II to tame any harshness, make the tone thicker and increase harmonics and dynamics considerably. In the demo video I added the Vintage Fuzz II to a modern amp tone (via the Le Lead preamp) and the result was much richer and with improved character. The fine graininess and squeals produced sound fantastic to my ears. RELIABILITY & DURABILITY: Measuring in at 113 x 67 mm (about 4.25 x 2.25 inches) and weighing 230g (8oz), the Vintage Fuzz II is of standard pedal size. Its chassis is a Hammond 1590B aluminum case that is both lightweight and provides shielding of the electronic card. One-hundred percent Analogy and a True Bypass pedal, the Vintage Fuzz II has quality plastic knobs and the pots feel both solid and smooth when turned. It has Neutrik jacks and Alpha 16mm potentiometer faders for Fuzz, Volume and Bias pots. Other audio components comprise of carbon resistors and Panasonic CF and SMF capacitors. The footswitch is somewhat close to the Bias knob, but that knob is of a good quality, and so any slight stomping pressure on the Bias knob should not pose any concern. The LED on/off light is small and well protected by the three knobs. It is powered by a standard 9VDC (negative center) power supply, and due to its internal voltage inverter this pedal can be powered with isolated outputs or not. https://docmusicstation.fr/en/fuzz/45-vintage-fuzz-2-2sa202-3172668180510.html

SOUND: An outstanding job replicating that classic 1960s and into the 1970s heavy, thick fuzz sound, you can’t go wrong with the Vintage Fuzz II. With the Fuzz level up full you do not get that thin searing sizzle you hear from some more modern-day counterparts, but a slight breaking up quality that places the Vintage Fuzz II into the category of part fuzz, part distortion and part overdrive. As you turn back (reduce) the Fuzz level it produces a more distorted and thicker quality, which is even more obvious as you adjust the Bias level for a more stabbing or bubbling effect to the tone’s quality. And once you crank out some heavy riffs you can hear the emergence of early Black Sabbath and dark Metal. What makes the Vintage Fuzz II so useful is that it cleans up so nicely when you dial back your guitar’s volume. You can put the Fuzz level up high and get that famous vintage fuzz tone, but as you ease off on the guitar’s volume it sounds more crunchy and distorted… and without losing too much overall volume in the process. It sounds awesome on a clean amp channel (with a hint of gain), but works very well and adds a new dimension to a high-gain channel’s tone. When doing so, I found it best to ease off on the amp’s gain and then add in the Vintage Fuzz II at only quarter way on the Fuzz level for a huge sound. OVERALL IMPRESSION: Developed by Doc Music Station (France), Vintage Fuzz II (MP 41 MK 2 model) produces that classic hard-hitting fuzz tone at a fair price of 159 Euro. Denis (the designer of the Vintage Fuzz II) refers to this pedal as a Tone Bender, powered with three Germanium Russian NOS MP 41 transistors to help you attain the tones of Led Zeppelin, The Who and The Rolling Stones. I also hear quite clearly some Black Sabbath in the mix. The Fuzz knob on its own makes it sound great, and anywhere from a heavy breakup to a grainy sizzle (with a heavy sound that easily enters the feedback zone), but you can really makes some awesome tone changes in the attack and aggression by adjusting the Bias knob. This is one of the best fuzz pedals I have tried that actually mimics that early fuzz tone and is unlike many of the ‘modern’ fuzz pedals out there. Used with a clean amp or very carefully and sparingly with a high-gain amp, there is a ton of tonal options available, particularly as you adjust your guitar’s volume knob. EASE OF USE: The Vintage Fuzz II allows you to dial into somewhat smooth tones to thick and heavy tones. When you turn the Fuzz level all the way up, the tone becomes more saturated and smoother. However, even up full you get a nice grain and edge, while not being a smooth as more modern-day fuzzes (which is why this is a ‘Vintage’ Fuzz). As you dial back the Fuzz level it takes on more of a distorted or over-driven sound, which makes it less fuzz-like and, consequently, more diverse. Certainly there is some fuzz quality when dialed back, but it simply sounds edgier like a Fender Bassman amp being pushed to the limits. The Bias control, likewise, either keeps the signal smoother (turned all the way clockwise) or rougher around the edges with a stabbing quality (turned all the way counter-clockwise). The Level merely controls how loud the signal is, although the tone becomes more hardcore when you push the Level past 1-o’clock. Those three controls then need to be coordinated a bit, since as you increase Bias aggression the volume does increase. As you increase the Fuzz level the volume also increases (although it tends to stabilize around 1-o’clock). And, obviously, as the Level increases so too does the overall volume. The other minor coordinating factor is whether you adjust your guitar’s volume knob, since doing so does produce a different tone (besides affecting volume somewhat) and will affect the fuzz quality or characteristics. RELIABILITY & DURABILITY: Weighing 230g (8oz) and measuring in at 113 x 67 mm (about 4.25 x 2.25 inches), the Hammond 1590B aluminum case is both lightweight and provides shielding of the electronic card. The plastic knobs feel of good quality, and when turned the pots feel both solid and smooth in quality. The audio components comprise of carbon resistors, Wima silver mica capacitors, and the Vintage Fuzz is protected against over-voltage and reverse polarity. The cable input/output both are located on the sides, as well as the power supply insert (standard 9v 2.1 mm), and so there is minor concern with stomping and hitting any of the inputs/output. This true bypass pedal also has Neutrik jacks and Alpha 16mm faders for the Gain, Volume and Tone pots. The footswitch is somewhat close to the Bias knob, but that knob is of a good quality, and so any slight stomping pressure on the Bias knob should not pose any concern. The LED on/off light is small and well protected by the three knobs.

SOUND: Accompanying this review are two videos that demonstrate many of the sounds/tones achievable with the Incinerator, but there are a few things I want to cover that I did not demonstrate in the videos. First, the Incinerator is one of the best pedals I’ve heard that sounds great as you dial back a guitar’s volume. With volume up full the fuzz sounds more saturated and thick, but as you dial back the volume it takes on a more ‘distorted’ and edgy sound than strictly as a fuzz. This makes it very useful when combined with a higher-gain amp channel (with gain relatively low at about 20-25%) – with your guitar up full you get a massively thick and heavy fuzz, but with the guitar’s volume dialed back you get an incredibly warm, sweet, organic-sounding and harmonically-rich tone that is simply fantastic for leads and melodic playing. I literally prefer this (e.g., Incinerator fuzz with guitar volume dialed back) over the higher-gain tone of my amps and pre-amps. When you listen to the two videos you will hear the Fuzz on both Channels of the Incinerator to the extreme (and the guitar’s volume up full), along with various oscillations to add some chaos that is nothing short of a slap in the face. Many fuzz pedals have some type of bias control (for that breaking up sound) and some do have oscillators. But the Incinerator’s sound is very different – it sounds alive and very electrical. Even if you rarely use the oscillators, the 26 silicon transistors and various stage switches produce several different fuzz qualities and tones. Roll off your guitar’s volume and you suddenly produce even more variations of fuzz. Fantastic! You also can ease off on the power of the fuzz on Channel 1, but adjusting the Input knob (which only affects Channel 1), just in case you don’t want to go full bore. OVERALL IMPRESSION: The Incinerator was developed by Industrialectric in Toronto, Canada (and produced one at a time by hand); it is about as boutique as it gets, with its rust finished chassis (also available in black) and large jeweled LEDs – a look that resembles something that came out of Chernobyl. Intimidating at first, it doesn’t take long to zero in on some killer fuzz tones, with or without oscillation. Besides looking super cool, there is so much to like about the Incinerator. First, the massive number of transistors allows for various combinations of fuzz tones, from smooth to chainsaw ripping. Second, there are two channels, which can operate individually or together – and each of these has separate oscillators (Channel 2 has an additional oscillating switch to allow for even more fuzzy weirdness). Third, each Channel has its own Output, which means you can use one channel for some crunchy rhythms while using another channel for some smooth leads – and all the while control the volume of each, viz., you can boost one channel more than the other. And if you decide to combine the two channels, you still can control how much you hear of Channel 1 vs. Channel 2 (and only one channel may have oscillation). There are so many tonal possibilities, and the Incinerator works great with clean or overdriven amps. In fact, all you need to do is place the gain about quarter way on a high-gain channel, engage the Incinerator, and you will unleash a massive beast. EASE OF USE: Because the Incinerator offers so many features and possible settings, it’s certainly not a plug-and-play device. The Incinerator can be very simple to use if you keep going back to the same fuzz tone and use only one Channel. However, for those looking for a wide array of fuzz possibilities, you’ve just walked into a candy store. Starting with Channel 1, you can adjust the Input and Output of the fuzz. The Voltage knob, in simple terms, can make your fuzz sound smoother and more saturated, or broken up and bubbly (both the Input and Voltage affect only Channel 1). There are two npn/pnp toggle switches, which are transistor switches; they allow you to choose between different variations of transistor stages (in essence, you can hear either a brighter vs. deeper and darker fuzz). The Oscillator switch for Channel 1 engages that weird feedback signal, mixed with the fuzz. If you turn the Oscillator knob all the way clockwise or counter-clockwise it will not be engaged – you have to tweak it a little bit in either direction. There is a higher oscillating frequency when turned toward the left, whereas the tone is deeper when turned toward the right. Channel 2 has similar options, although, as stated, the Input and Voltage only affect Channel 1. The two npn/pnp toggle switches also work with Channel 2, but there is an additional (red) toggle switch that flips between two modes of oscillation, to expand your sound possibilities. And if you want to go all out, you can merge Channels 1 & 2 into one freaky and chaotic fuzz tone (I didn’t demo adding in oscillation when doing this, but with the various oscillations and Output levels for both Channels you get a ton of experimental sound options and possibilities). RELIABILITY & DURABILITY: An over-sized pedal (17mm x 12mm or 6.75 x 4.75 inches), the Incinerator is very light-weight, which suggests its chassis is made of Aluminum. It looks heavy, likely due to its rusted metal paintjob, which has an excellent finish and quality and is not actually rust (your hands or equipment will not dirty). The footswitches for Channels 1 and 2 have a smooth springiness that clicks nicely. The large jewel LEDs are of high quality and reminiscent of those found on Fender amps – they look awesome when lit. The knobs are of high quality and the pots very solid and of high quality when turned. The most fragile part of the Incinerator is the toggle switches, associated with fuzz type and oscillation, all of which are far removed from the foot switches. The toggles are of good quality, as well, producing a solid click when moved side-to-side or up-and-down. All inputs (guitar in, guitar out and power) are located in the back and away from stomping feet. Lastly, the Incinerator has reverse polarity circuit protection, to further support the high standards of Industrialectric. https://www.industrialectric.com/incinerator.html

SOUND: From a modest sizzle to thick and fat distortion that sounds like lava burping from a volcano, the Buzz Tone’s abilities are presented in the YouTube video below: Now, there are other videos demonstrating the Buzz Tone, and you definitely can get that early Pink Floyd sound (e.g., The Piper at the Gates of Dawn), such as when cranked full the grainy, yet smooth, fuzz becomes thick and dark, ideal for those slow and heavy Death Metal progressions. But, there’s more to Buzz Tone’s diversity, depending how you use it. With the Depth (mix) of the fuzz/drive up full you can get some very interesting bell-like or horn-like tones when playing in the upper register (particularly on the neck pickup). And with just a modest amount of Buzz Tone in the mix you can make crunch and high-gain amp tones sound more defined, full and harmonic, particularly when you pinch off those lead bends. OVERALL IMPRESSION: Buzz Tone by Jext Telez retails for $229, a typically priced pedal that mimics the germanium tone from the 1960s (associated with early Pink Floyd with a ‘Fuzz Face’ meets ‘Tone Bender’ vibe). Solid in construction with some super big knobs (that likely could be dialed with a foot), the Buzz Tone cleans up exceptionally well so that you can play some basic rock ‘n roll all the way to the dark netherworld of heavy saturation. The ability to change your voltage output from a moderately aggressive 3V (great when adding to a high-gain amp) to a rambunctious 9V that gives even more character to the harmonics and note definition certainly is a bonus with this type of pedal. And just as important is its simplicity to quickly dial in just the right amount of dirt for many different applications. The two drawbacks is that you can hear the 'click' when you turn it on and off, and with too much Volume/Depth/Voltage the pedal can be a bit 'hissy' (some fine tuning is required and depending on your other equipment). You can find Jext TELEZ pedals on Reverb.com, RogueGuitarShop.com and JextTELEZ.com. EASE OF USE: If you like easy-to-use pedals, then Jext TELEZ’s Buzz Tone is almost as simple as it gets (more complicated than a single on-off switch, but far from the complexity of some digital gear). The Volume is straight forward, whereas the Depth indicates the degree of the effect, viz., dirt and fuzz. You may have to adjust both aspects depending on what Voltage you choose – 3V, 6V or 9V. As you increase or decrease voltage there is a corresponding change in note definition and intensity of the drive, and this could necessitate some fine-tuning with your other gear depending on what sound you’re chasing. Obviously an adjustment would depend whether playing single-coils or humbuckers or a clean amp vs. a dirty/high-gain amp. I found a clean amp can take 6V and 9V no problem, as well as full Depth, if you want to go that route. Conversely, although the Depth could range from a little to a lot with crunch or high-gain amps, I found 3V was enough push (otherwise the sound can become too boisterous and the background ‘hisss’ can be a bit annoying when not playing). Both single-coil and humbuckers tend to respond very well to the Buzz Tone. RELIABILITY & DURABILITY: Measuring in at 3.75 x 4.75 inches (9.5 x 12.0 cm), the sharp looking gold lettering and graphics on white paint envelop a solid steel chassis. The LED ‘on-off’ light is far situated from the foot switch, as is the toggle switch for the Voltage Output selection. The footswitch has a nice springy feel to it, followed by a solid click when switching. The guitar cable input and output both are located on the sides, but with this being a somewhat wide pedal there’s plenty of room for your foot to avoid hitting any cables. The power input is located in the back, saving it from potential strain when switching the Buzz Tone on and off. The large plastic knobs for Depth and Volume are of heavy construction and the pots feel of good quality when turned.

SOUND: The Fuzz Factory is one of those classic pedals that originally put ZVEX on the map. You can dial into some great distortion and fuzz tones, and even some freaky feedback if that’s up your alley. The YouTube demo below includes several settings, although I kept it more conservative and traditional. Some of the functions are straight forward, such as the volume, gate and compression. Obviously you use the GATE to reduce any background noise (unless you want to hear added squeals and burps from the STAB (stability knob), and the COMPRESSION is excellent in pinching the tone or it can be used to smooth things out if you want a velvety sound. The DRIVE is very nice, in that you can achieve a gritty and dirty overdrive or distortion, more so than a fuzz quality… but turned all the way up and it sizzles very nicely while remaining clear in the mix. The drive also alters the tone, so that turned toward the left you get a deeper and thicker sound with more grain, whereas you get more clarity and treble when turned to the right. The STAB or stability controls the feedback pitch (low when turned left and high when turned right) – all the way right and it’s quiet as a mouse, but turn it left and past 2-o’clock and you can get some freaky results (that can be controlled or manipulated with the compression and gate). The sound of this pedal is very much like other ZVEX pedals… it sounds like a ZVEX. There is something very raw and organic about this company’s analog equipment and with their own characteristics, and the Fuzz Factory is no exception. Some other fuzz pedals, even if analog, have a more processed sound, whereas you can hear every detail in the Fuzz Factory, like bacon slowly cooking in a cast iron frying pan. OVERALL IMPRESSION: Encased in steel, the Fuzz Factory has a metal foot switch (for on and off) and plastic knobs. The foot switch is far enough removed from the knobs that there shouldn’t be an issue of damage caused by stomping. The standard 9v power input is located at the back, whereas the input-output are located along the sides. It’s interesting that a well-known gear reviewer on YouTube considered the Fuzz Factory to be in the top 10 worse pedals… ever! I can only hazard a guess that he did not control the feedback (from the STAB knob) by way of the compressor or gate… both of which can allow squeals and pops to trickle in, if desired, or become blatantly obnoxious (if you want to go that route). If you avoid the STAB all together you can some great thick distortion that transforms to a very fine and smooth fuzz… you then can get a very punchy effect with the compressor and, of course, have the signal super quiet with the gate. And so, I have no idea what the heck he did with the pedal when reviewing it. EASE OF USE: The Fuzz Factory is not difficult to use, but you will need to do some tweaking to discover how smooth, punchy or ‘wild’ you want the tone. Avoiding the STAB narrows your decisions and makes it easy to use, although some bubbles, burps and screeches in the mix certainly are fun and entertaining. There are no downfalls, unless you don’t like the particular tones of the Fuzz Factory… it does what it’s supposed to do and with very good versatility. It operate on a 9v battery, but also accepts a basic 9v power supply while consuming a paltry 3 mA.

SOUND: This is one nasty fuzz and Black Arts Toneworks has received a lot of worthy praise as a result! Although I created a demo of how some settings sound on a Clean channel, I couldn’t resist throwing in the effects on a High-Gain channel (reminiscent of a chainsaw cutting through hardwood!). What makes this fuzz so appealing is that it’s as much distortion and drive as it is fuzz… giving that intense graininess to the tone, which becomes massive in sound when playing in the lower registry. Besides the VOLUME and FUZZ knobs, which are fairly straight forward (and a little goes a long way with the Fuzz), there is a TONE knob and a HIGH knob. These work well together in that you can roll off the highs with the Tone knob, and then reintroduce them with the High knob. You may think “why not just increase the Tone knob for more highs?” Well, you may want to introduce more lows and need to sneak in more highs at the same time. A very nice knob combination and plenty of tone to go around! There is a LO/HI switch, similar to what you would find on an amp – offering a deeper and darker sound (more headroom and less clipping) vs. one with more treble definition (less headroom and more clipping). I like the ‘on the cutting edge’ of the HI setting, and so the demo is based on that. The other switch is a diode selector, which allows for different modes of clipping; you can select Silicon Diodes (for an edgy distortion) or Asymmetrical Germanium clipping diodes (for a warm, tube-like sound). However, when set in the middle you get the cleanest, loudest signal and no clipping, which is where I left it for the demo (which was running over 9-minutes without experimenting with the other settings… did I mention plenty of tone to go around?). When you factor in all the possible settings it won’t take long to discover that you can get some very warm overdrive and boosting from the Son of Pharaoh, or perhaps some meaty distortion. And you certainly can get a full assault of one of the hairiest fuzzes you’ve ever heard. All of which cleans up nicely with the volume control. OVERALL IMPRESSION: Encased in steel, the Son of Pharaoh has a metal foot switch and plastic knobs. The Diode and Lo/Hi toggle switches are metal, located between knobs for better protection. The foot switch is far enough removed from the knobs that there shouldn’t be an issue of damage caused by stomping. The standard 9v power input is located at the back, as well as the input-output – far from harm’s way. For those not into fuzz pedals, the Son of Pharaoh may change your mind. It can be so subtle and warm, grainy and distorted or simply massive that it rumbles the floor and walls around your speaker. On that note, this pedal also works very well for Bass guitar, offering thick fat fuzz tones without low-end loss or sounding squishy or flabby. As well, it should be noted that this is the SAME pedal as Black Arts Toneworks’ PHARAOH… merely in a smaller footprint to save you room on your pedal board. EASE OF USE: The pedal is not difficult to use… pure analog and no digital screens, etc. However, there is some playing around required among Tone, High and Fuzz knobs… and how they sound with the Lo/Hi setting and what diode you use (which can affect where you want to set the knobs, but also your Volume). There are absolutely no downfalls, except it will not operate on a battery and you need a separate power supply (basic 9V).

-Controls for volume, tone, sustain - Totally handwired (breadboard style) - Powedercoat paint job - True Bypass - High quality parts and components - Powered by 9v battery or Boss style adapter - Compact - Bright LED battery indicator UTILIZATION It’s pretty much impossible to get a bad sound out of this one. Plug it in, dial it in and you’re set. Standard muff controls, the sustain knob really stands for gain/clipping. The pedal is very well put together, I’ve never had any reliability issues with it. The big plus with this one is that it is so much smaller than the original vintage muffs, making it a lot easier to house on a pedalboard where real estate is scarce. My one complaint is that one of the graphics painted on was not as durable, and started to wear off after a while. I know Matt has changed the design of this one, so this may have since been resolved. SOUND QUALITY This one is based off of the vintage EHX civil war muff, which you might recognize off a few Pink Floyd albums. This one is probably the most smooth and creamy of the muff sounds, and almost sounds more like a thick OD than a straight up fuzz. It has a pretty versatile range of tons, from really deep and muddy to crisp and gritty. It works beautifully paired with a nice OD pedal, I’ve had great results before with a Lovepedal Kanji. I’m not really a huge fuzz guy, but this one is by far my favorite. The old EHX pedals where a little hit or miss as component values were not quite as consistent as they are today. Matt has basically recreated what one of the nicer sounding ones would have been, now on a consistent basis. OVERALL OPINION This is probably the only fuzz type pedal that I’ve ever really found usable in a wide range of settings. Anywhere from smooth and creamy to aggressive fuzz, it would be a great addition to any board. Matt at Stomp Under Foot takes great pride in his work and is one of the best and nicest builders currently on the market. I’d also highly recommend getting on his mailing list, it is full of special runs, contests, and deals. Bottom line is, if you are after a smooth fuzz type pedal, this is probably one of the better ones on the market.

This is a great little Fuzz pedal for the price. It's all analog. It has a volume knob, a tone knob, and a fuzz knob. It's in a plastic case, which is a downside for me, but it's a thick, heavy case, so I think it will stand up to heavy touring, as long as you don't stomp too hard or jump on it. It uses a standard BOSS style 9V DC center negative power jack so it can be daisy chained with other pedals. It also gets along with others very well and doesn't add much noise when daisy chained and on. UTILIZATION This pedal is super easy to use. Plug in, turn up the fuzz, set the tone, set the volume, and you're ready for some fuzzy goodness. The volume knob is touchy, and this pedal gets very loud, so you have to be careful with it. SOUND QUALITY This is where this pedal shines. It is a nice, thick, trebley fuzz, just how I like it. It sounds somewhat like a thicker, gainier Fuzz Face. The Fuzz knob takes it from a tiny amount of fuzz, to heaps of it. The tone knob goes from thick, bassy fuzz, to thick, trebley fuzz. Set it right and you have Hendrix. Set it right and you have Muse. Set it right and you can get an almost Big Muff sound from it.This is one pedal that does not disappoint despite the cheap price tag. OVERALL OPINION In the realm of cheap fuzzes, this one reigns supreme. For $25 this is an awesome pedal. It is an awesome fuzz. They may have cut corners in the casing to keep costs down, but they did NOT cut corners in the circuit, where it matters most. It's a great sounding fuzz, for an even greater price. What more could you want?