Z.Vex Announces Fuzz Factory 7, Channel 2, Fuzzolo, and Snowbox

Four new prototypes: the expanded Fuzz Factory 7 and three micro pedals

Minneapolis, MN (July 11, 2013) -- Exciting news this Summer at the NAMM show from your friends at Z.Vex Effects! Four new working prototypes are being shown, all of which are in new sized enclosures. The flagship is our Fuzz Factory 7, a new version of the Fuzz Factory with 7 knobs and two stomp switches. The new knobs are a fatness switch that has 9 positions with 9 levels of sub depth allowing the user to completely control the oscillation range and bass content of the fuzz signal, tailoring it for the bass response of their rig. The second stomp switch turns off and on a new tone knob which cuts the treble of the FF7's output, causing it to become more mellow when engaged. It's very similar to a tone control in a guitar, and will allow the user to keep the FF7 on for more mellow passages, keeping a similar but mellower texture. The FF7 comes in a larger box with a vertical form factor and has a window with illuminated hand-painted black glass transistors from 1956, made originally by Amperex. These are some of the most exciting transistors we've ever used in any Fuzz Factory!

The next 3 pedals in our new lineup are in a very small enclosure. First is the Channel 2, which is the exact same circuit as the second channel of our Super Duper, consisting of a Super Hard-On booster with a master volume control. If the master volume is turned up all the way, it's exactly the same as a Super Hard-On, but as it the master is turned down, the unit can be used as a mellow distortion by turning the boost up high. The Channel 2 can be used as a buffer as well, just like the SHO, and easily squeezes onto a cramped pedalboard.

Next is the Fuzzolo, which is a wonderfully thick, heavy fuzz with two controls, volume and pulse width. The Fuzzolo has a very sensitive response and will completely clean up when the guitar's volume is turned down to 2 or so, then come roaring back to life when the guitar is turned up. This tiny terror is much smaller than our regular-sized pedals and can easily fit on a packed pedalboard.

Last, let me introduce the Snowbox, a device that buries your guitar's signal with white noise. It has a rate knob and a direction switch, allowing the user to choose a blast of white noise that recedes at any chosen rate to reveal your guitar, or a slow-rising white noise that eventually obliterates your guitar's signal. If you want to have a certain amount of fixed white noise behind your guitar's signal, you can put the switch into the middle position the moment the white noise reaches the level you want, and it will freeze that level until the switch is moved to the up or down positions. If there's no white noise present when you put the switch into the middle position, the Snowbox becomes a wonderfully transparent buffer. Once again, this pedal is very tiny, making it easy to squeeze onto a crowded board.

For more information:
Z.Vex

An all-analog polyphonic amplitude synthesizer that alters the attack and decay time of any sound source without sacrificing the fidelity of the original tone.

Read MoreShow less

Kenny Greenberg with his main axe, a vintage Gretsch 6118 Double Anniversary that he found at Gruhn Guitars in Nashville for a mere $600. “It had the original pickups, but the finish had been taken off and the headstock had been repaired. So, it’s a great example of a ‘player’s vintage instrument,’” he says.

On his solo debut, the Nashville session wizard discovers his own musical personality in a soundtrack for a movie that wasn’t, with stops in Africa and Mississippi hill country.

Kenny Greenberg has been Nashville’s secret weapon for decades. He’s the guitarist many insiders credit with giving the Nashville sound the rock ’n’ roll edge that’s become de rigueur for big country records since the ’90s. It’s the sound that, in many ways, delivered country music from its roots to sporting events.

Read MoreShow less
Andy Wood on Eric Johnson's "Cliffs of Dover" | Hooked

The hot picker recalls receiving a mix CD of must-know guitarists and the Grammy-winning track was the one that "hit him like a ton of bricks."

Read MoreShow less
x