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This pedal was introduced as a compact rendition of the Big Muff, with its controls similar to the 1969 Muff Fuzz containing only a tone switch and a level knob. Muff Fuzz (Op-Amp) 1979 - 1982 Discontinued Based on the 1969 Muff Fuzz, this is an Op-Amp version, and was powered by a 1458N IC chip. Red Army Overdrive 1990 - 1992 Discontinued
In 1994, Vex left his job as a recording engineer due to tinnitus and was soon evicted from his apartment. With relocation money from the Minneapolis Community Development Agency, he found a new apartment and turned to pedal-building after finding the schematic for a 1960s Shin-Ei Apollo Fuzz Wah printed on the inside of its casing. [2]
Some grunge guitarists would chain several fuzz pedals together and plug them into a tube amplifier. [53] Throughout the 1990s, musicians committed to a lo-fi aesthetic such as J Mascis of Dinosaur Jr., Stephen Malkmus of Pavement and Robert Pollard of Guided by Voices continued to use analog effects pedals. [54]
Joseph Donald Mascis Jr. (born December 10, 1965), better known as J Mascis, is an American musician who is the singer, guitarist and main songwriter for the alternative rock band Dinosaur Jr. He has also released several albums as a solo artist and played drums and guitar on other projects.
Around 1970 production was changed to a die-cast metal box, with a large pedal featuring a rubber cover that had the words "Super-Fuzz" embossed on it. The first die cast units were either grey or black, with a green or black foot pedal. Around 1973 or so, they were all produced with an orange pedal, with a green or blue foot pedal.
A custom-painted Fuzz Factory by Laura Bennett, an artist previously in the employ of Z.Vex Effects. Each unit is handpainted, and while there is a stock design that adorns most models of the pedal, there have been several variations released in limited quantity, including sparkle finishes, kanji finishes (writing and labelling of controls are in Japanese kanji characters), Korean finishes ...