Eric Johnson Signature Fuzz Face now shipping

Aah, the Fuzz Face. They look great, they sound great, they’re entertainingly unpredictable, the transistors used in the originals seemed to be different depending on the day of the week they were made on, and they sometimes just flat out stopped working if they got too hot. Eric Johnson swears by them, and with the help of Dunlop’s Jeorge Tripps he’s created his ultimate Fuzz Face.

Dunlop Proudly Presents The Eric Johnson Signature Fuzz Face

NOW SHIPPING

Dunlop® is proud to announce the release of the Eric Johnson Signature Fuzz Face®.

No one cares more about tone than Eric Johnson, and his choice for getting sweet, singing lead tones is the Eric Johnson Signature Fuzz Face.

EJ worked closely with Fuzz Face guru Jeorge Tripps to create his signature pedal. It is inspired by EJ’s prized personal Fuzz Faces and is built to his incredibly strict specifications, featuring hand-selected BC183 silicon transistors (for higher gain), custom repro ’68-’69 knobs, and a vintage-style hammertone finish. The result: a beautifully dynamic, expressive, and powerful pedal.

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REVIEW: Z.Vex Vexter Fuzz Factory

The Z Vex Fuzz Factory shot to legendary status almost instantly upon its release in the mid 90s. This was a rude, loud, dirty fuzz pedal in an era that was rapidly becoming overpopulated by high-gain valve heads, and before the boutique pedal boom had really hit its stride.

Initially only available in groovy hand-painted boxes, Z.Vex released the Vexter series a few years ago, which packs the same circuit as the newest hand-painted Fuzz Factories(including a DC power jack and on/off LED indicator) into a less labour-intensive screen-printed box to keep the cost down. Well, relatively down – it’s not a super-cheap pedal by any stretch of the wallet – which is kind of reassuring. If it’s true that you get what you pay for, I’d probably be a bit

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Caught by the fuzz – or how I learned to stop battering my cranium and start loving germanium

I’m not sure when it happened. Some time between chaining a few distortion pedals and a graphic EQ together for pure evil Dimebag Darrell tone when I was 16, and my 27th birthday or thereabouts, I started to hear the call. Quiet at first, maybe a little distant and muffled, but definitely there. It got louder over the years, and increasingly raspier and sharper. Then before I knew it, there it was:

Fuzz.

I’m not sure why I hadn’t thought of it before. Maybe it was because I spent my teens in an era where amp distortion was king, and even pedal distortion was relatively frowned upon as being synthetic. Maybe it was because I thought of fuzz as, to paraphrase Dethklok, ‘grandpa’s distortion.’ But whatever mental roadblock was coming between me and glorious fuzz gradually started to shift, and now I can’t get enough of those little germanium or silicon-chipped wonders.

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