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| Z.Vex Fuzz Factory | |
|---|---|
 | |
| Manufacturer | Z.Vex Effects |
| Dates | 1995– present |
| Technical specifications | |
| Effects type | Fuzz |
| Hardware | Analog |
| Controls | |
| Input/output | |
The Z.Vex Fuzz Factory is a fuzz pedal made by the American inventor and musician Zachary Vex of the Z.Vex Effects company.
The Fuzz Factory is based on the fuzz-tone of from the 1960s. Invented in the mid-1990s, the pedals are mostly handbuilt and painted in Minnesota, United States, with a budget line manufactured in Taiwan.
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 (all controls labelled in Korean), and so on. These limited runs of custom paintjobs underscore the handmade, one-of-a-kind nature of the devices. From the earliest incarnations of the device in the mid-1990s, Jason Myrold painted all Fuzz Factories leaving the Z.Vex shop. Briefly during the mid-2000s the artist Laura Bennett assumed painting duties.
In December 2004, Z.Vex released a new model of the Fuzz Factory, called the Vexter Series Fuzz Factory. The Vexter series differs from the Handpainted version in that it has a silkscreened enclosure and a shorter warranty period. This effectively lowers the price point, and makes both production easier for Z.Vex and allows the effect to become more accessible to musicians. The Vexter Fuzz Factory contains the same circuit as the original Fuzz Factory pedals, with the inclusion of modern touches such as an indicator LED and DC power jack for powering the fuzz with an adapter. As of August 2006, Vexter series Z.Vex pedal subassemblies are completed in Taiwan, but a large portion is still done in Minnesota.
Soon after the rise in popularity of the original Fuzz Factory, the Fuzz Probe was introduced. This version kept most of the circuitry the same, but added a voltage-sensitive copper plate affixed to, and extending downward from the bottom of the unit. This copper plate, hardwired to the 'Stab' control on the pedal, allowed for real time control by use of one's foot or hand. By varying the distance from appendage to plate, the self-oscillation effects of the Fuzz Factory (Probe) circuit could be tempered and played musically, similar to a Theremin.
Several newer effects makers, such as Death By Audio, have introduced products which exploit the feedback-loop characteristics in the same way as the Fuzz Factory. Japanese manufacturer Zoom released a self-oscillating/feedback loop-derived fuzz design called the Ultra-Fuzz, which some[ who? ] have likened to be a "poor man's" Fuzz Factory. In addition, circuit bending is now a commonplace technique among experimental electronic musicians, with the principles employed in the Fuzz Factory being extended to include almost any electronic device.
Notable musicians who have used the Fuzz Factory include:
An effects unit or effects pedal is an electronic device that alters the sound of a musical instrument or other audio source through audio signal processing.
Feedback occurs when outputs of a system are routed back as inputs as part of a chain of cause-and-effect that forms a circuit or loop. The system can then be said to feed back into itself. The notion of cause-and-effect has to be handled carefully when applied to feedback systems:
Simple causal reasoning about a feedback system is difficult because the first system influences the second and second system influences the first, leading to a circular argument. This makes reasoning based upon cause and effect tricky, and it is necessary to analyze the system as a whole. As provided by Webster, feedback in business is the transmission of evaluative or corrective information about an action, event, or process to the original or controlling source.
Audio feedback is a positive feedback situation that may occur when an acoustic path exists between an audio input and an audio output. In this example, a signal received by the microphone is amplified and passed out of the loudspeaker. The sound from the loudspeaker can then be received by the microphone again, amplified further, and then passed out through the loudspeaker again. The frequency of the resulting howl is determined by resonance frequencies in the microphone, amplifier, and loudspeaker, the acoustics of the room, the directional pick-up and emission patterns of the microphone and loudspeaker, and the distance between them. The principles of audio feedback were first discovered by Danish scientist Søren Absalon Larsen, hence it is also known as the Larsen effect.
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Scholz Research & Development, Inc. was the name of the company founded by musician and engineer Tom Scholz to design and manufacture music technology products.
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Electro-Harmonix is a New York City-based company that makes electronic audio processors and sells rebranded vacuum tubes. The company was founded by Mike Matthews in 1968. It is best known for a series of guitar effects pedals introduced in the 1970s and 1990s. EHX also made a line of guitars in the 1970s.
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Delay is an audio signal processing technique that records an input signal to a storage medium and then plays it back after a period of time. When the delayed playback is mixed with the live audio, it creates an echo-like effect, whereby the original audio is heard followed by the delayed audio. The delayed signal may be played back multiple times, or fed back into the recording, to create the sound of a repeating, decaying echo.
Distortion and overdrive are forms of audio signal processing used to alter the sound of amplified electric musical instruments, usually by increasing their gain, producing a "fuzzy", "growling", or "gritty" tone. Distortion is most commonly used with the electric guitar, but may also be used with other electric instruments such as electric bass, electric piano, synthesizer and Hammond organ. Guitarists playing electric blues originally obtained an overdriven sound by turning up their vacuum tube-powered guitar amplifiers to high volumes, which caused the signal to distort. While overdriven tube amps are still used to obtain overdrive, especially in genres like blues and rockabilly, a number of other ways to produce distortion have been developed since the 1960s, such as distortion effect pedals. The growling tone of a distorted electric guitar is a key part of many genres, including blues and many rock music genres, notably hard rock, punk rock, hardcore punk, acid rock, and heavy metal music, while the use of distorted bass has been essential in a genre of hip hop music and alternative hip hop known as "SoundCloud rap".
Bass effects are electronic effects units that are designed for use with an electric bass and a bass amplifier, or for an upright bass and a bass amp or PA system. Bass effects are commonly available in stompbox-style pedals, which are metal or plastic boxes with a foot-operated pedal switch or button which turns the effect on and off. Most pedals also have knobs to control the tone, volume and effect level. Some bass effects are available in 19" rackmount units, which can be mounted in a road case. As well, some bass amplifiers have built-in effects, such as compression, overdrive or chorus.
Vex or VEX may refer to:
Z.Vex Effects is an effects pedal company based in Minneapolis, Minnesota. Their name derives from the name of founder Zachary Vex.
The Univox Super-Fuzz was a fuzzbox produced by the Univox company, primarily for use with the electric guitar or bass.
Tone Bender is the name of several fuzzboxes. Macari's Ltd, who also own the Sola Sound Brand, and who have built and sold the pedals since 1965 now own the Tone Bender trademark. Korg used to own Tone Bender trademarks in the 1990s.
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Vintage musical equipment is older music gear, including instruments, amplifiers and speakers, sound recording equipment and effects pedals, sought after, maintained and used by record producers, audio engineers and musicians who are interested in historical music genres. While any piece of equipment of sufficient age can be considered vintage, in the 2010s the term is typically applied to instruments and gear from the 1970s and earlier. Guitars, amps, pedals, electric keyboards, sound recording equipment from the 1950s to 1970s are particularly sought. Musical equipment from the 1940s and prior eras is often expensive, and sought out mainly by museums or collectors.
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