If filthy fuzz is your game, this cheeky stomp may well be your future Hall of Famer.
Cool variety of extreme/deviant fuzz tones. Nice dynamic capability at low gain settings. Fair price.
High gain settings can sacrifice articulation and introduce susceptibility to radio-frequency interference.
$139
Acorn Amplifiers F#%k Face
acornamps.com
What's with the cheeky name and graphics on Acorn Amplifiers' F#%k Face? Long story short: In 1989, the Fleer baseball-card company "accidentally" printed a short-lived card featuring Bill Ripken (Hall of Famer Cal Jr.'s less-known brother), hoisting a bat with "Fuck Face" scrawled on its butt. Besides being funny, the tie-in is that F#%k Face is inspired by the famous round 2-knob fuzz favored by Hendrix, Gilmour, and Eric Johnson—only it ups its progenitor's gain ante with three stages of filth courtesy of three 2N3904 silicon transistors.
I tested F#%k Face with a Stratocaster equipped with Fender Custom Shop '69 pickups, a Gibson '57 Classic-loaded Les Paul, a Tele with Curtis Novak single-coils, and an Eastwood Sidejack Baritone with Novak JM-WR pickups. Amps included a 1976 Fender Vibrolux Reverb, a KT66-driven Sound City SC30, a 6973-driven Goodsell Valpreaux 30, and a Fender Rumble 200.
Recorded into an Audient iD44 interface with no EQ-ing, compression, or effects.
Clip 1: Curtis Novak Tele-V bridge pickup into F#%k Face (level 4 o'clock, fuzz min) then a Sound City SC30 miked with a Royer R-121.
Clip 2: Curtis Novak JM-V neck pickup, then JM-V and Tele-V bridge,, then bridge position, into F#%k Face (level noon, fuzz min) then into a SoundBrut DrVa MkII, a Ground Control Tsukuyomi mid boost, an Anasounds Element reverb, and a Vibrolux Reverb miked with a Royer R-121.
Clip 3: Les Paul 57 Classic bridge pickup into F#%k Face (level 4 o'clock, fuzz min) then a Sound City SC30 miked with a Royer R-121.
Clip 4: Les Paul 57 Classic bridge pickup into F#%k Face (level moved from 10 o'clock to max, fuzz at max) then a Sound City SC30 miked with a Royer R-121.
Clip 5: Custom Shop '69 Strat bridge pickup into F#%k Face (level and fuzz at max) then into a SoundBrut DrVa MkII, a Ground Control Tsukuyomi mid boost, an Anasounds Element reverb, and a Fender Vibrolux Reverb miked with a Royer R-121 and a Fender Rumble 200 miked with an Audix D6.
Clip 6: Curtis Novak JM-WR bridge pickup into F#%k Face (level at 11 o'clock, fuzz at max) then into a SoundBrut DrVa MkII, a Ground Control Tsukuyomi mid boost, a Solidgoldfx Electrooman MkII, an Anasounds Element reverb, and a Fender Vibrolux Reverb miked with a Royer R-121 and a Fender Rumble 200 miked with an Audix D6.
Often Fat, Always Nasty
Cutting to the question undoubtedly at the fore of your own face, yes, F#%k Face is nasty. In many respects it reminds me of the vintage-Mosrite-inspired Jordan Fuzztite—a silicon-transistor unit with a switchable high-gain mode that's been my go-to fuzz for years. Both units furnish buzzy, Velcro-y tones that are categorically not for the faint of heart. Put another way: If you're looking for sweetly singing Jimi leads, F#%k Face will do exactly as its name says.
Despite its lack of an EQ control, F#%k Face's tone profile shifts a bit, depending (primarily) on where its level knob is set. Unity gain tends to be anywhere from 10 o'clock to noon, and from there to about 2 o'clock, tones are more mid-dominant, while past 2 it becomes increasingly corpulent and low-mid heavy. In general, lower fuzz-knob settings are thin and spitty (I like the wasp-in-a-tin-can metaphor), while increasing gain past noon simultaneously smooths out the sound, focuses frequencies in the low and low-mid range, and introduces huge, frothing, effortlessly infinite steroidal cello sustain.
If you're looking for sweetly singing Jimi leads, F#%k Face will do exactly as its name says.
At higher gain settings, there were many times when F#%k Face's riotous rotundity felt a little too indistinct and same-y in any pickup position other than the bridge. This might lead one to surmise F#%k Face is for doomy folks. And at extreme settings, many will certainly miss the cushy attack dynamics you typically get from neck or middle pickups. But there's enough interactivity between the pedal's controls, and a decent enough ability to clean things up with guitar-volume tweaks, that you can still get some in-between flavors. A silver lining to this apparent "limitation" is that F#%k Face sounds very consistent from guitar to guitar, regardless of pickup type.
The Verdict
If you're a fuzz deviant like I am, F#%k Face offers a lot to be intrigued by—especially in a stomp category where staid often seems to be the MO. My main wish while playing F#%k Face was that tone shifts were either a little more perceptible or more responsive to volume-knob tweaks at high gain settings. I loved that F#%k Face could make a Les Paul sound like an overloaded arcing Jacob's ladder. But sometimes the gain was so thick it was difficult to predict, rhythmically, how riffs or leads would come out the other end. (Granted, some might view that as a plus.) Interestingly, one of my favorite settings was fuzz at minimum and level at 3 or 4 o'clock, which—with my Tele volume down a tad and my Sound City SC30 dialed to a Vox-y recipe—yielded a responsive, bristlingly dynamic, and hyper-charged Kinks vibe.
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Though Lou Reed seemed to only use a handful of chords, his shrewd right-hand strumming created limitless rhythmic variations.
Beginner to Intermediate
Beginner to Intermediate
- Focus on syncopation.
- Add muted strums to enhance your rhythm playing.
- Learn how to modify complex rhythmic patterns into smaller, more comprehensible figures.
Though usually more lauded for his lyrics than his guitar playing, Lou Reed had a distinctive style of strumming that can make replication a challenge and seemingly impossible for beginners to comprehend. With a combination of syncopations and muted strums, Reed’s rhythm guitar—from his time with the Velvet Underground to his solo career—has a groove and feel that all guitar players can learn from.
We’ll start with a relatively simple strummed hook that shows Reed’s roots. Ex. 1 is a variation on “There She Goes Again” from The Velvet Underground and Nico, which was recorded in 1966 and released in 1967. This strum was clearly inspired by Marvin Gaye’s “Hitch Hike,” as it duplicates Gaye’s intro almost exactly, albeit in a different key. (It is worth mentioning that “Hitch Hike” also inspired the Beatles “You Can’t Do That.”)
Ex. 1
Ex. 2 is the samething but performed with cowboy chords instead of barres.
Ex. 2
With Ex. 3, a la “Sister Ray” from 1967’s White Light/White Heat, we get into Reed’s more syncopated strums. Note that after the first beat, the emphasis of each strum is on an upbeat, including the changes from G to F, then from F to C, followed at the end by a typical Lou Reed-ism of strumming while in mid-change (though in all fairness, many guitarists do this). Thus, the last upbeat notes, which imply a G chord, are in fact a byproduct created by the switch, not a specific chord.
Ex. 3
Ex. 4 is the same strum but capoed at the 5th fret, using cowboy chords instead of barres.
Ex. 4
Our final Velvet reference, Ex. 5, comes from “Sweet Jane” (Loaded, 1970), which is a song I loathe teaching to students as it is deceptively tricky—it was the inspiration for this lesson—and can make one feel demoralized. True, the song has only four chords, but the syncopated switching and muted strums can cause problems for many players, and not just beginners. Take your time to get the nuances of the switches and mutes.
Ex. 5
Better yet, start with Ex. 6, which is a simplified version of Ex. 5, using cowboy chords instead of barre chords, as well as a more straightforward strum. True, it does not conform completely to the original, but it is a worthwhile starting point. Once this is mastered, try playing Ex. 5 with the open-position chords before moving onto the barres.
Ex. 6
Solo Years
Ex. 7 is a take on “Walk on the Wild Side” from 1972’s Transformer, arguably the most famous Lou Reed song. Here we’ve graduated from eighth-notes to 16th-notes in the right hand. Once again, the muted strums play a vital role.
Ex. 7
Like the previous two examples, you might want to start with the simpler Ex. 8, although the only change is that the mutes have been omitted. This example demonstrates how essential the mutes are, as the feel changes completely when you leave them out.
Ex. 8
Ex. 9 also comes from Transformer and is a variation on“Vicious.” Additional syncopations and muted strums, both different from “…Wild Side,” complicate what should be carefree.
Ex. 9
Ex. 10 is, again, a simplified alternative.
Ex. 10
Examples 11 and 12 demonstrate two options for fretting chords, using Reed’s “Leave Me Alone” from Street Hassle (1978) as a vehicle.
Ex. 11
Ex. 12
Our last example, Ex. 13, is based on Reed’s late-’80s “comeback” hit, “Dirty Boulevard” from New York. Here we not only get syncopations, but a rhythmic variation in the chorus—same chords, different rhythms. Pay attention to that quick, almost-ghosted B note on the “and” of 1 in measure two. It almost seems like a mistake but it adds so much.
Ex. 13
The Lou Reed Legacy
When most fans think of Lou Reed, the first thing that comes to mind is his pioneering subversive, transgressive, and poetic lyrics. But, clearly, that is not all there is to his work. In truth, Lou Reed is an incomparable musician whose guitar playing should not be underestimated. So, take this lesson as a starting point and search out more of his idiosyncratic strums. You will be well rewarded.
Stringjoy has introduced the Ariel Posen Signature String Set, a heavy-gauge Nickel Wound set designed in close collaboration with acclaimed slide guitarist and singer-songwriter Ariel Posen.
The Ariel Posen Signature String Set from Stringjoy
Ideal for B Standard, Open C, and other lower tunings, this set offers exceptional tone and feel for players who want to explore new sonic territory while maintaining their guitar's unique voice.
Each string in this set is built with Stringjoy’s trademark quality: wound at tension with high compression winds for maximum output, durability, and smooth playability. The result? Strings that hold up under pressure while delivering a natural, expressive voice—perfect for hybrid playing and expressive slide work.
Ariel Posen Signature Set Specs:
• .014 – .018p – .026w – .038 – .050 – .062
• Wound 3rd string
“If you didn’t know these were 14-62 gauges, you’d swear they were just 11s tuned down,” said Ariel Posen. “They feel like home and preserve the sound of the guitar, even in lower tunings. That’s the biggest thing—it still sounds like guitar.”
“We’ve spent ten years experimenting and testing together to find the right combination,” said Scott Marquart, Stringjoy Founder & President. “This release is more than just a new product—it’s the culmination of a shared journey between friends and musicians. Ariel’s set is uniquely him, and I think players will love how it feels and responds.”
Stringjoy’s Ariel Posen signature string set carry a street price of $13.99. Learn more at at stringjoy.com.
Nashville luthier and guitar tech Dave Johnson shows us the baker's dozen of tools he thinks any guitar picker requires to be a guitar fixer.
3. Guitar Tech Screwdriver Set - 3000
4. Nut File Set (for medium guitar strings) - 0882
8. String Spacing Ruler - 0673
9. Nut and Saddle Files - 4556
The Ultimate Guitarist's Tool Chest Giveaway
Whether you're setting up your first guitar or fine-tuning a custom build, these are the 13 tools every guitarist needs. Now you can win them all. We've partnered with our friends at StewMac to give away a complete pro-level toolkit valued at over $750.
Click here to enter
Paul Reed Smith cradles one of his company’s Charcoal Phoenix limited-edition guitars in front of a PRS Sonzera amp.
The storied guitar builder reflects on his dozen months sharing his experience, knowledge, and perspective with PG’s readers.
Over the past year, I’ve written a series of articles in Premier Guitar going over some of my, and our industry’s, views of guitar making. You can find all of them all online (and for those reading this online, the articles are collected here). What I am going to attempt to do for this final piece is boil down each of these articles to a “sort of” conclusion. I have enjoyed the process of writing and editing each one. For the most part, it’s been a lot of fun. So:
Tonewood Doesn’t Matter. Wood Does (August 2024)
We don’t use the word tonewood in conversation at PRS. It doesn’t capture a lot of my experience of which combinations of wood make good instruments. First and foremost, we are looking for qualities of wood over species, and we make sure we dry and treat each one appropriately.
What Makes a Guitar Worth the Price? (September 2024)
Very often, the price of a guitar does reflect how good an instrument is—and very often the price of the guitar has nothing to do with how good an instrument is.
What You Can and Can’t See When Buying a Guitar (October 2024)
This one’s a pet peeve. When making a purchase, you can clearly see the color of a guitar and how beautiful it is, but you have no idea if the neck is going to warp over time because of many factors, including wood drying and truss rod installment design. Trust your experience.
Does Where a Guitar Is Made Really Matter? (November 2024)
There are really good, really smart, really talented people all over the world. While I won’t deny it’s helped our career here at PRS being in the United States, I do not believe it is a truly defining factor of our quality. A good example would be the PRS SE Series.
The Complicated Beauty of Electric Guitar Pickups (December 2024)
We’ve taken so many good stabs at humbucking design, and I’m getting incredibly good feedback on our new McCarty IIIs. But making pickups is a complicated art. There are a lot of ingredients in the recipe.
“I hope these articles have had some positive impact on you as a group.”
In Guitar Making, It’s the Details that Matter (January 2025)
Well, that title says it. What’s interesting for me is that all guitar makers believe that different types of details matter more than others. At PRS, we have our own beliefs.
When Building Guitars—Or Pursuing Anything—Go Down All the Rabbit Holes (February 2025)
This one’s about learning. It’s a process I really enjoy. Whether your passion is guitar making, guitar playing, or something else entirely, there is always more to keep discovering.
Paul Reed Smith on Buying Gear (March 2025)
Very often at a clinic, the people who don’t play guitar have a less calcified view of the sound of the instruments being demonstrated than those players who have already developed strong ideas. On the other hand, one time a very experienced player was at one of my clinics and heard something he’d been looking for for a long time and did not expect it out of the guitar he got it from. Trust your experience—not your predetermined views.
Learning from the Mistakes of Guitar Building’s Past (April 2025)
I think my beginnings as a repairman gave me a lot of insight on this one. Even still, just the process of defining a past guitar-making mistake is its own art.
Paul Reed Smith on Where Amp History—and Tone—Begins (May 2025)
This one I love. It’s a greatly exaggerated version of mods you could do to a TS808 Tube Screamer, which has a history on the web. Amplifiers are “modulated power supplies” and can have so much impact on your tone.
The Lifelong Rhythm of Learning (June 2025)
In some periods of time, there’s a lot to be learned, and in some periods of time, you can barely hold what you had before. It’s different for everyone, and for me, it’s been up and down. No matter where you are in the process, there’s always good work to do.
I hope these articles have had some positive impact on you as a group. I know some things resonate with some people and not others, and the opposite as well. I haven’t gotten a lot of feedback from these articles except that there’s not an overwhelming chorus saying “what an idiot,” which I assume means there’s been some meat on the bone of some of the views shared. It’s been a joy. Thanks for listening.
