FUZZ The Fuzz Factory 7, a new take on our original company flagship Fuzz Factory. The Fuzz Factory 7 features a 9-position rotary sub switch that opens the pedal up to an astounding new bottom end as well as thin, reedy fuzzes. This means the pedal can oscillate at much lower registers as well has higher ones. The fuzz works equally well with both guitar and bass signals. There’s also a second stomp switch and an associated tone control. This passive tone control operates much the way the one on your guitar does, and when the stomp switch is activated it will let you roll off the high end of the fuzz sound so you can mellow out the tone if you like. Germanium transistors. What makes them so special? It’s because they turn on faster. Sooner. They get turned on way quicker than any other transistors. Yeah, I got a favorite transistor, the shiny fragile amazing mosfet. But the germanium, bipolar and somewhat easily startled and delicate, that loves getting turned on, is my most memorable transistor. Enjoy. She’s waiting for you, respectable and wonderful, the happiest of all semiconductors, the most delicate and perfect. Rock on. The controls of the Fuzz Factory 7 are arranged in a circle around a Lexan window that reveals two NOS 1960s GT308 germanium transistors (from Ukraine), individually hand-tested for the perfect gain range and low leakage. These rare and magnificent-sounding transistors are illuminated by LEDs when the pedal is engaged.SUBS SWITCH: The Fuzz Factory 7 has two new knobs (when compared to the original Fuzz Factory.) One of these, located at the 5 o’clock position, is a nine-position rotary switch that controls the internal tone of the fuzz, getting fatter and subbier to the left and thinner and reedier to the right. This switch will obviously change the oscillation range of the pedal as well, when the other knobs are set to an oscillating or squealing tone. Around the middle you’ll find the original Fuzz Factory setting. KNOBS: Although the six main control knobs are named for the parameters over which they seem to have the most control, please don’t hold us to it. They are controls for various operating levels and biases, and basically shape you a personalized fuzz. VOL: Controls output volume. 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. COMP: 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. STAB: Use all the way right. Do not attempt to adjust this controlbelow 2:00, unless you like your fuzz soft and squishy. Use to control feedback pitch.
