Quick Hit: Teisco Fuzz Review

The first fuzz from the newly relaunched brand pumps out mind-searing octave tones.



Great range in tone and gain controls. Surprising range of fuzz colors in gain control. Demented octave fuzz textures. Exceptionally sturdy feeling. Great value.

Some potential users might want smoother high-end output.


Tesico Fuzz


Ease of Use:



When the Teisco brand first thrived in the ’60s, it stood apart from its many Japanese guitar-building peers by being deviant. Where rivals were happy to build thinly disguised ES-335s and Jaguars, Teisco reveled in the extroverted uniqueness of its designs. Now, the Teisco brand lives again, and though the sturdy, solid, and stylish Teisco Fuzz reviewed here isn’t completely unique in the strictest sense (it owes much to the Foxx Tone Machine), its viscous fuzz textures suggest that the new Teisco’s appetite for the unbridled and unconventional is no less voracious.

The new Teisco’s appetite for the unbridled and unconventional is no less voracious.

Though radical fuzz tones are more common than ever, the sounds of the Teisco Fuzz are, nonetheless, striking. Similarities to the Tone Machine are overt in sound, function, and layout. There are volume, tone, and gain knobs, and a small toggle that switches the octave effect in and out. But to my ear, the Teisco sounds huskier and slightly more aggressive than the Foxx at many settings. This is a very good thing. And the dry, crackling treble tones, searing fuzz textures at mid- to high-gain settings, and positively perverse, complex, and fractured octave tones lend this fuzz a quintessentially Teisco individuality that will thrill fuzz deviants everywhere.

Test gear: Fender Jazzmaster, Fender Telecaster Deluxe with Curtis Novak Widerange humbuckers, DeArmond JetStar with USA Gold Tone humbuckers, ’68 Fender Bassman, blackface Fender Vibrolux Reverb, Fender Vibro Champ.

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Photo by Rory Doyle

On his new album, Mississippi Son, the harmonica giant steps out on guitar, evoking the legends of country blues 6-string and earning his place among them.

For Charlie Musselwhite, the blues isn’t just a style of music. It’s a sacrament. And Musselwhite is one of its high priests. With a palmful of bent notes on the harmonica—the instrument on which he’s been an acknowledged master for more than a half-century—or the fat snap of a guitar string, he has the power to summon not only the blues’ great spirits, but the places they rose from. If you listen closely, you can envision the Mississippi Delta’s plantation lands, where the summer sun forms a shimmering belt on the low horizon and even a slight breeze can paint your face red with clay dust. It’s a place both old and eternal—full of mystery and history and magic. And the music from that place, as Musselwhite sings in his new song “Blues Gave Me a Ride,” “tells the truth in a world full of lies.”

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The green machine that haunted the pedalboards of mid-’00s experimentalists is back—better and smaller.

Loads of delay voices. Easy to jump in and get great sounds. Looper function is a classic.

Tweak and tweez functionalities leave a lot to memorize. Reverb functions could benefit from their own controls


Line 6 DL4 MkII


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