FUZZ FACE MANUAL MOVIE

The center positions heavily cut gain and bass, while the вЂњleftвЂќ positions mildly cut gain and bass. The вЂњrightвЂќ positions leaves its respective side alone with regards to attenuation. These three-position switches adjust the input attenuation and wah friendliness of the side theyвЂ™re found on. The вЂњrightвЂќ positions shave an even greater amount of treble while scooping a greater amount of mid frequencies. The center position of each switch bypass the EQing, while the вЂњleftвЂќ positions shave a small amount of treble and scoop a small amount of mids from their respective sides. These three-position switches adjust the EQ of the side theyвЂ™re found on. Note: when running both sides at once, Side BвЂ™s Vol control becomes the вЂњmaster volumeвЂќ while Side AвЂ™s control becomes a вЂњsaturationвЂќ control. Gives you more output than vintage-style Fuzz Faces. These knobs vary the voltage to the collector of of the second transistor, giving you burlier (clockwise) or leaner/gated fuzz tones (counter-clockwise). Each Fuzz knob is designed to give you an even sweep of fuzz throughout. Most Fuzz Face-style pedals only produce usable fuzz amounts at the end of the knob. Please enjoy your stay in the Spanish Castle. The Input toggle is also a three-position switch, changing gain and bass values that make the Spanish Castle adapt better to your wahs and other pedals. This wing of the Spanish Castle offers up higher-gain silicon transistors for a more buzzsaw-like grind, metal film resistors for tighter tolerances and an extended bias range for dialing in ripping gated fuzz textures as well as full-bodied snarl.Д®ach side offers up two toggle switches-Color is a three-position switch that adjusts the EQ of its respective side, from flat EQ to two settings that shave off treble and mids. On the left side, our post-вЂ™69 If 6 Was 9 circuit lies in wait. The original tenant of the Spanish Castle would have loved it. Unlike the Faces of yore, this circuit is equipped with a bias circuit to dial in just the right flavor, and cleans up like a champ. Carbon-composition resistors further round everything out for a sound that is just like they used to roll them off the line. The right side of the Spanish Castle represents the warmer pre-вЂ™69 circuit and is equipped with low-gain silicon transistors that emulate the rich character of germanium with more stable and consistent operation. Combining both Fuzz Face eras with a little contemporary magic is what we do around here. Packed to the turrets with fuzz spread across two separate and footswitchable If 6 Was 9 circuits, the Spanish Castle is the perfect device for the fuzz-crazy and fuzz-curious alike. Our Spanish Castle pays tribute to this year. 1969 marks a turning point in the gear world also it was the year that Dallas-Arbiter switched Fuzz Face production from the lower-gain germanium transistor core to readily available higher-gain silicon devices. Order to bring you the ultimate fuzz sound, the one you have been relentlessly searching forвЂ¦ Until now.The year 1969: Not only was Led ZeppelinвЂ™s eponymous album released, but Woodstock took place in August. The Bitoun Fuzz is not a dual fuzz, it is a double fuzz! It brings together two circuits that have been designed to work together in Many other brands build dual fuzz pedals, and they offer you the possibility to toggle between twoДifferent fuzz personalities. Me into a Super Fuzz prototype, and the Bitoun Fuzz was born. The spark came by plugging an Anasounds Feed There was a solution to be found, and here it is: the only thing thatвЂ™s better than a great fuzz is two great fuzzes. Furthermore, the Super Fuzz sounds absolutely huge when youвЂ™re playing alone but once you get surroundedД«y a band, its big mid scoop makes it disappear in the mix. Play with an abrupt sustain and a very rocky grain. The only problem is that itвЂ™s an ungrateful sound, very hard to

FUZZ FACE MANUAL MOVIE

Unlike the 1980 italian-american movie of the same name, the Super Fuzz is an amazing japanese pedal dating back to the sixties with a huge soundДЄnd a hint of ring modulation. The original idea was to make the best possible version of the Super Fuzz. It took years of intense fuzzy research for Anasounds and Julien Bitoun to come to the result you are now holding in your hands, shaking with anticipation. Or, to put it in even simpler terms: growl, buzz, and la-di-da. To put it in laymanвЂ™s terms, it ainвЂ™t easy to find a fuzz that is all at once huge, brutal, musical, and easy to play. Precarious equilibrium between the fluidity of incandescent magma and the rocky spittings of an amp on the verge of bursting into flames. Since that magic effect appeared at the dawn of the sixties, the quest for the ultimate fuzz has inspired designers and musicians alike to try and reach that

Fuzz face manual