Z-Vex Fuzz Factory - Union Jack Ltd Edition!!

Cool Britannia in a box!!! Limited-Edition Custom model of the legendary Fuzz Factory, available only from Dolphin Music! Featuring a Union Jack in red, white and blue! This is a limited run of only 10 units!

This is a five-knob fuzz using two new old-stock sixties germanium transistors. The circuit is not modeled after any classic fuzz design, but should have been around when Leary was still lucid.

Although the five knobs are named for the parameters over which they seem to have the most control, please don't hold me to it. They are controls for various operating levels and biases, and basically shape you a personalized fuzz.

Additional Images (click to enlarge):

DOWNLOADS

• Watch a Video about the Fuzz Factory
• Audio Sample 1 (Fuzz Factory with Les Paul and Marshall. Knobs are volume 12 o'clock, gate 3 o'clock, comp 3 o'clock, drive 5 o'clock, stab 5 o'clock. Gated sound with crispy fuzztone.)
• Audio Sample 2 (Fuzz Factory with Les Paul and Marshall. . Knobs are volume 9 o'clock, gate 2 o'clock, comp 7 o'clock, drive 7 o'clock, stab 5 o'clock. Octave-y intermodulation when played with a rhythm pickup at the 12th fret.)
• Audio Sample 3 (Fuzz Factory with Les Paul and Marshall. . Knobs are volume 9 o'clock, gate 7 o'clock, comp 5 o'clock, drive 12 o'clock, stab 10 o'clock. Bypassed to demonstrate clean tone performance... when it turns on, listen to the strange pitch shifts of this setting!)

Artists who have used the Fuzz Factory include:

• Matthew Bellamy of Muse
• Daniel Johns of Silverchair
• Trent Reznor of Nine Inch Nails
• John Frusciante of Red Hot Chili Peppers
• Tim Wheeler of Ash
• Rivers Cuomo of Weezer
• J. Mascis of Dinosaur Jr
• Mark Hoppus of (+44)
• Steven Drozd and Wayne Coyne of The Flaming Lips
• David Sylvian
• Robert Fripp
• David Torn
• Lloyd Cole
• Nels Cline

Features:

VOLUME:

Output level.

GATE:

Squelches noise after end of sustain. Turn to right to eliminate squeals, hiss and buzz, stopping just as they disappear, or use to tune in exact feedback pitch, if you're that kind. Turning to left opens gate.

COMPRESS:

Adds attack characteristic when turned to left, which gets softer to right, and suddenly pinches tone when all the way right. Also use to tune in fat feedbacky fuzz, if you're that kind. 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, if you're that kind. This control becomes meaningless when Compress is all the way right.

STABILITY:

Use all the way right. Do not attempt to adjust this control below 2:00, unless you like your fuzz soft and squishy. Use to control feedback pitch. (Did I say that already?)

WARNING:

Many "incorrect" settings on this pedal squeal. This may annoy the faint-hearted. If you use the example settings, you won't get hurt. We don't want to see anyone hurt. Unless you're that kind. Don't forget to memorize or write down your favorite settings.

GREENNESS:
Yes, folks, like all Z. Vex pedals, it's as low current as possible, extending battery life so long... I have never changed the battery in the prototype (3 years). 'On' current is less than 3 mA... compare to the Tube Screamer (of course an entirely different animal) at almost 40 mA.

ARTINESS:
All Z. Vex pedals are hand painted and hand assembled, and each is unique. They are produced in small batches by umm, elves.

NEW!
Hand-painted Fuzz Factories now have standard Boss-type 9VDC power jacks and green on/off leds!

EXAMPLE SETTINGS
(These use "o'clock" notation- not spinal tap 1 to 11)

Hi compression fuzz

Vol 10:00
Gate 3:00
Comp 9:00
Drive 5:00
Stab 5:00

Velcro fuzz

Vol 10:00
Gate 7:00
Comp 5:00
Drive 5:00
Stab 2:00

Cleanish hi octave intermodulation

Vol 10:00
Gate 2:00-3:00
Comp 7:00
Drive 7:00
Stab 5:00

Smooth fuzz

Vol 10:00
Gate 7:00
Comp 3:00
Drive 5:00
Stab 5:00 (lower Stab is more mellow)

Radio fuzz

Vol 10:00
Gate 7:00
Comp 10:00
Drive 12:00
Stab: Lower from fully clockwise while playing open 'A' with left hand. Stop at most interesting tone.