Fulltone Guitar Effects
Fulltone 69 mkII Classic 60s Fuzz Guitar Effects Pedal
Fulltone 69 mkII 60s Classic Fuzz Guitar Effects Pedal The Ideal Fuzz Face When it comes to immortal fuzz tones, very few things spring to mind more readily than Jimi Hendrix and one of his various Stratocasters screaming through a Dallas Arbiter Fuzz Face. Those utterly revolutionary, Earth shattering tones which first hit people�s eardrums on Jimi�s first two releases have stayed in the minds of guitarists ever since the �60s. The only trouble is the original Dallas Arbiter Fuzz Faces he would have been playing through from that era are, at this point, unbelievably hard to find, exorbitantly expensive, and incredibly unreliable. This drought for authentic vintage sounding fuzz pedals has caused a number of manufacturers to offer up their idea of the perfect �60s Fuzz Face tone. Fulltone�s offering comes in the form of the 69 mkII and a damn fine offering it is too! Germanium The key to nailing the classic raw tone of the original Fuzz Face pedals that Jimi was howling through in the late �60s is the Germanium transistors at its heart. The type of transistors that fuzz pedals of that vintage relied upon came in a few different flavours but Germanium is the key ingredient to nail the �60s recipe. Fulltone have gone to extraordinary lengths to source the highest quality components they can for the 69 mkII. Each of the Germanium transistors in each of their pedals are hand-picked and tested to ensure they perform with total accuracy and authenticity. Only the best will do. One of the major benefits to Germanium fueled fuzzes is the organic, natural behaviour they exhibit. They can obviously snarl and swing crazily out of control when necessary but they can also straighten up, tread lightly, and deliver some of the most beautiful clean tones that you can think of. They respond really prettily to the volume control on your guitar. Rolling it back and delivering a quieter offering lets the pedal breath and offer up a low powered, crystal clear clean tone with dynamics, harmonics, and precision in abundance. Controls The 69 mkII comes with twice the amount of control knobs than the original Dallas Arbiter FuzzFace which enables you to tailor it far more accurately to the perfect fuzz sound in your head. The volume control sets the master volume of the pedal and the fuzz control sets the amount of gain present. These are the controls one might expect based on the original. Fulltone, however, has added two more to massively increase the 69 mkII�s versatility. The first of the new controls is the �input� control. This knob allows you to control the amount of input bias which can be used to set the amount of �woofiness� in the pedal. Basically, the more you reduce the �woofiness� the tighter it becomes and the more like a traditional overdrive or distortion the pedal will behave. Dial it back up to step back into the thick vibe of the 60�s. The second control is the contour knob which acts as a quasi tone control. It allows you to dial in the midrange, sustain, and harmonics all at once. This further helps to nail the ideal tone and powerfully shape the overall character of the pedal to help it sing no matter what guitar or amp you are playing through. Fuzz Face for the People If you are looking for an accurate original Fuzz Face tone without needing to apply for a small mortgage in order to afford an original, the 69 mkII from Fulltone might just be the answer to your prayers. For super authentic late-�60s fuzz tones, along with a wide range of other flavours of fuzz and even distortion, this is one of the best choices out there. Why Bonners? Here at Bonners Music you have the opportunity to try one of these great Fulltone effects pedals yourself. Just give us a call on 01323 636141 or better still, visit our showroom! If you can't see the Fulltone pedal listed that you are after just call 01323 636141 for availability and the best price.
Fulltone 70BC Classic 70s Fuzz Guitar Effects Pedal
Fulltone 70BC Classic 70s Fuzz Guitar Effects Pedal When a Fuzz Face Frowns The original Fuzz Face has become a thing of legend. It sprung onto the scene in the late �60s and was readily adopted by a number of players, most notably, one Mr. Jimi Hendrix. In the early days, the Fuzz Face came powered by a pair of Germanium transistors. These gave the original units a deep, snarling tone with a considerable amount of warmth and musicality. One of the main issues with them, however, was they were incredibly unreliable. This unreliability was a major driving force behind the decision to tear out the heart of the existing Fuzz Face and replace it with a far more consistent, yet considerably angrier alternative. Enter the Silicon As alluded to earlier, Germanium was the transistor of choice in the early days of the Fuzz Face. It is a beautiful component but it is prone to mood swings and temper tantrums. Things as inconsequential as differing climates and room temperatures were enough to cause them to behave completely differently or not work at all. Understandably, for professional musicians, that is not an ideal situation within which to find oneself. A change was needed. That change came in the form of Silicon. This new fangled material was a marvel. A material which wouldn�t even blink when confronted with any of the scenarios which would cause a Germanium transistor to go into a nosedive. Stability was the primary goal of switching to this new material but it wasn�t the only effect that was achieved. Silicon, it turns out, is much more aggressive and intense of a producer of fuzz. It sputters and spits and bites. The days of smooth, natural, organic fuzz were replaced by a rabid, snarling beastly distant cousin. Predictable Madness Fulltone has gone to extraordinary lengths to capture the maniacal growl of the Fuzz Faces from that later era. One of the 70BC�s main forefathers is none other than Eric Johnson�s original blue Fuzz Face from that era. Mr Fuller (the owner of Fulltone effects) managed to get his hands on that glorious piece of tonal royalty and dissect it to find out its secrets (a good few of which are incorporated into the design of the 70BC). This insider look at an unquestionably gorgeous example of one of the old �70s Fuzz Faces is the icing on top of an already delicious cake. The 70BC uses a pair of intentionally mismatched Silicon transistors which helps the pedal to sputter and spit with the utmost authenticity. Controls The 70BC has three controls through which to wrangle your sound. Volume sets the master output level of the pedal. Fuzz sets the amount of gain or fuzz present in the circuit. Be aware, this pedal is ferocious. There is a lot of fuzz on tap and winding the control up to 10 is an absolute bombardment of unstable, vicious tone. Lastly there is a mid control which serves as a chain link leash around the pedals neck. You can use the mids control to dial in some extra clarity and control that wouldn�t be possible otherwise. Broody Vintage Fuzz This is not a pedal for the faint of heart. Although there is warmth and clarity in the tone, its at its best when turned up way past the point of any sense. This is a pedal to let loose at full pelt. Shoot first, ask questions later. For fans of the softer, earlier Fuzz Face tone, the 69 mkII from Fulltone is definitely worth checking out. But for those of you who want to get a snarlier version of the classic tone, this is the pedal for you. Why Bonners? Here at Bonners Music you have the opportunity to try one of these great Fulltone effects pedals yourself. Just give us a call on 01323 636141 or better still, visit our showroom! If you can't see the Fulltone pedal listed that you are after just call 01323 636141 for availability and the best price.
Fulltone Full Drive 3 Overdrive with Boost Guitar Effects Pedal
Fulltone Full Drive 3 Overdrive with Boost Guitar Effects Pedal The Tone. Nothing quite compares to the sound of a good valve amp being pushed hard. It�s tonal Nirvana and what most drive pedals and digital amps are trying to simulate. Guitarists looking to achieve singing, full distortion with tonnes of body, soul, and humanity are looking for that sound. Harnessing that sound, however, typically comes with some caveats. Firstly, an amp doesn�t get to that heavenly point of tone without an ear bleeding amount of volume. Secondly, valve amps are very expensive and heavy. Valveless Valves In swoops Fulltone and their Full Drive 3. This is the latest version of their Full Drive series of pedals which is an attempt to recreate the full and responsive tone of pushed valves, in a pedal form, without actual valves. It is scarily uncanny. The Full Drive 3 simulates its valve tone by using what are called JFET�s. JFET�s are a type of semiconductor which is unbelievably responsive and amp-like, much more so than pretty much anything else out there. They create the same, slightly unpolished, reactive response you�d expect from a valve amp. They swell and squeeze and punch just like you�d expect a well pushed valve would. The scariest facet to the design of the Full Drive 3 though is how convincingly it reacts to what it is seeing. It feels alive. The volume control on your guitar will tame the pedal from a screaming beast into a sparkling, sensitive clean tone in a frighteningly realistic manor. It is fluid and dynamic to a degree that could easily convince you to tear it apart with your bare hands in a frenzied, desperate search for the hidden valve amplifier that must be buried within. Alas, all you would find would be Michael Fuller�s genius and a few JFET semiconductors. Controls As mentioned above, the Full Drive is incredibly responsive and dynamic. This ethos is reflected in every facet of the pedal and its controls all work together to provide the broadest yet most authentic canvas possible. The volume control is for the master output level of the pedal and the tone control dictates the tonal flavour of the pedal to help it fit seamlessly into your rig. The overdrive control sets the amount of gain that the pedal is producing. The amount of gain will dictate how pushed the pedal sounds and feels but, as mentioned, the pedal can be controlled so intricately from the guitars volume control or even the amount of pressure from your right hand that the amount of gain the position of the overdrive control is producing isn�t necessarily as cut and dry as it is on other overdrive pedals. You�re setting more of an abstract reference point for the gain, how much power there is to be harnessed should you want to. The Three Styles of Clipping Slap bang in the middle of the Full Drive 3�s control knobs is a three-way selector switch which controls the type of clipping the pedal is producing. They are as follows. Up - 90�s: Symmetrical clipping with a full midrange. Middle - Comp-Cut: Pure opamp overdrive with no diode clipping assistance. In layman�s terms, it�s loud, aggressive and articulate. This is the mode best used if you want to slam the front-end of your amplifier. Down - Wide Asymmetrical: The sweetest of the modes. The highs and lows are more soulful and there are a slew of lovely harmonic overtones which add a nice, even, Class-A style chime. Each of the three styles share an overall character but are audibly distinct enough to be worthwhile exploring. They all offer slightly different emotions. They promote and reward distinct playing styles. They�re lovely additions which make this already bewilderingly responsive pedal that much more versatile. Boost One of the new features on the Full Drive 3 is its dedicated and independent boost section on the right hand side. This is another overdrive altogether which has also been beautifully crafted and works by itself or in conjunction with the main meat and potatoes on the left. It is a high-headroom, extraordinarily transparent, JFET powered circuit which adds a whole other dimension to the Full Drive 3. You have a dedicated switch on the right to turn it on or off whenever you like irrespective of whether the main section on the left is on or off. Also, you have a two way selector switch that allows you to control how they work when they�re both on together. You can either have the overdrive feed into the boost or the boost into the OD, it�s up to you and what you prefer the sound of. Extras The last two things to mention are the buffer and the dynamics control. Firstly, the buffer. The Full Drive 3 now uses a buffered bypass. This is in response to the growing number of players who are running bigger and bigger pedalboards. The need is increasing for buffered pedals to keep the signal alive and full. Fulltone�s buffer is one of the best out there. It has been carefully considered and designed to preserve your tone with the utmost clarity. The buffer has also been designed to limit the Full Drive�s influence on other pedals around it whilst keeping the Full Drive itself isolated from other pedals in one�s chain that may be out to affect its tone. Lastly, the dynamics control is another new addition. This little knob controls a exclusive Germanium diode limiter circuit designed by Fulltone to control the feel of the notes through the pedal and also protect against massive transient spikes that could damage your amp. You can use it to sweep the feel of your playing to create a much fuller, juicier tone with sweeter highs through any amplifier. All-In-One The Full Drive 3 from Fulltone is a really fully-fledged overdrive pedal. Its scary amount of dynamism coupled with its flexible controls and killer tone make it a serious contender for a spot on any board. You can treat it like a valve amplifier in a box which bends and flexes to suit any guitar or playing style. The addition of the independent boost section means that it really is two high-class drives rolled into one. The cherry on top of everything is that the Full Drive 3 is also 20% smaller than its predecessors. This means that not only will it sound great on any board it also stands a good chance of fitting onto any board too! Why Bonners? Here at Bonners Music you have the opportunity to try one of these great Fulltone effects pedals yourself. Just give us a call on 01323 636141 or better still, visit our showroom! If you can't see the Fulltone pedal listed that you are after just call 01323 636141 for availability and the best price.
Fulltone OCD V2 Overdrive Guitar Effects Pedal
Fulltone OCD V2 Overdrive Guitar Effects Pedal Obsessive Compulsive Disorder The Fulltone OCD was originally born in 2004. More or less immediately upon its release it came out, blinking, to unanimous praise and acclaim. Since that fateful day it has been through a fair few subtle tweaks and changes. Some of these new editions have been wrongly accused of being a version 2, version 3, version 4 and so on. That, however, has not been the case. Until now. What Makes the OCD So Great? The OCD was the first pedal to use MOSFET clipping. MOSFETs (or metal�oxide�semiconductor field-effect transistors to give them their full and catchy title) were at the time a new and revolutionary way of generating distortion. They provide a far more dynamic style of clipping which is much more reactive to ones playing style. Again, at the time, 90% of overdrive pedals on the market were effectively Tube Screamer copies and so the OCD stood apart as a fresh take on the tone and character of an overdrive. With its fairly frequent updates and tweaks, it has been gradually refining its tonal character and remained as one of the go to overdrives currently on the market. It has power and sensitivity, aggression and musicality. It�s response to your playing, particularly your right hand technique, is really special and allows it to fully conform to the sound in your head. What�s New With Version Two? All of the original tone and prowess of the original OCD is all present and correct in the new version 2. As mentioned, the design had been subtly tweaked over the years to hone and craft the sound closer to overdrive Nirvana. The recent changes though were enough to justify a V2, the main one being a new internal dip switch to select between the pedals native true bypass mode and Fulltone�s new enhanced bypass mode. Enhanced Bypass As mentioned, the most notable new edition in the new edition is the new addition of a redesigned buffer. True bypass is still the default mode and probably the preferred choice for most, however, if the need arises, you can now select what Fulltone are calling �enhanced bypass� using an internal dip-switch. This new option allows the pedal to sit comfortably and seamlessly at any point in any rig whilst preserving the pedals tone and the tone of all the pedals around it. It allows for ultimate flexibility for tone purists no matter how extravagant or conservative their pedal board may be. The section explains in layman's terms how the new enhanced bypass works and gets quite technical. If you already know what true bypass and buffered switching are (or don�t care what they are) then I�d advise skipping to the next heading. Otherwise do feel free to read on! Enhanced Bypass cont. (The Nerdy Bit) True Bypass switching provides utmost cleanliness and clarity in your signal chain by virtue of the fact that, when the pedal is switched off, your signal path ignores the circuitry and passes through as if nothing were there. This is great as it keeps the tone of your guitar and amp clean, pure, and unaffected. The main snag, however, is that the longer the length of cable you have, the more tone you lose in capacitance. Adding a pedal in your chain adds capacitance and a pedal with true bypass switching, ignoring the circuitry when off, essentially then acts as a length of cable and thus it sucks some tone and volume out of your signal. By the time you�ve got 4 or 5 pedals in a row, each with true bypass, you�re losing quite a significant amount of volume and tone. Recently, that is becoming more and more of a problem because pedalboards are growing and a lot of the time these days pedals are run as part of a chain of ten or so others on a mammoth board. True Bypass switching on every pedal would lead to a fairly ungodly amount of signal loss. To get around this issue of tone loss pedals began to be made with a buffered switching mode. A buffer revitalises your signal as it passes through your pedal even then the pedal is off. It lifts the level so that you don�t lose volume or tone on your signals journey from your guitar to the amp. The trouble with traditional buffers is that they tend to colour the tone of your tone and the tone of the other pedals on your board even whilst the pedal in question is turned off. Some buffers are better than others but they all invariably have some tonal imprint no matter how subtle. This presents a quandary. How to offer a buffered switch for modern boards which doesn�t negatively impact the tone of everything around it. To solve this issue, the good folks over at Fulltone have redesigned the idea of a buffer. Fulltone, using patented witchcraft as far as I�m aware, has sidestepped all of this through various ingenious and magical means. As far as I can gather it involves things like re-configuring the FETs as Class-A, keeping them in phase, eye of newt, and other such things like that. Needless to say, this is a buffer which has been very carefully considered and as a result, it sounds and behaves brilliantly. Fulltone thinks that having the pedal in the chain off sounds even better than just going straight into the amp. That is just how good this buffer is. New Input and Output Sections The input section has been slightly redesigned to raise the impedance from 330K to 1 mega ohms. This essentially means that the pedal is now much more dynamic. This subtle change makes the pedal far more responsive to different types of pickups. Whether you confront it with a humbucker or a single coil, it�ll be lively and alert and dynamic. The output section has also been redesigned. This new output buffer has been tweaked to help to isolate itself from the pedals around it. This ensures that the pedal performs in the perfect manner no matter where it is placed on your pedalboard and what pedals sit next to it as its neighbours. Controls The OCD makes it very easy to dial in your perfect overdrive tone. All of the controls are powerful, dynamic, and reactive. The drive control dictates the amount of gain present. The volume controls the master output level, and the tone sweeps the EQ from a warmer, grungier sound all the way to glistening clarity. The only other control to mention is the HP/LP switch at the top of the pedal. This switch allows you to choose between HP (high-pass) and LP (low-pass) filters respectively. These filters will help to curtail the high or low frequencies with a powerful tonal scoop to help the pedal to play nicely with any guitar or pickup type it might well come into contact with. The Best Selling Boutique Overdrive of All Time The OCD by Fulltone is one of those pedals which serves as the yardstick for all others. It stepped outside of the box back in 2004 and created it�s own lane which it has led ever since. If you�re in the market for a really high quality, dynamic, versatile overdrive pedal, this might just be the one for you. Why Bonners? Here at Bonners Music you have the opportunity to try one of these great Fulltone effects pedals yourself. Just give us a call on 01323 636141 or better still, visit our showroom! If you can't see the Fulltone pedal listed that you are after just call 01323 636141 for availability and the best price.
Fulltone Plimsoul Hi Gain Distortion Guitar Effects Pedal
Available to order
Fulltone Plimsoul Hi Gain Distortion Guitar Effects Pedal Jack of All Trades, Master of All Trades Distortion is produced by something called clipping. Clipping is where the volume of the sound being inputted exceeds the volume anticipated and can be dealt with reasonably. This results in the soft, curved, sine wave that is naturally created being constrained unnaturally and sawn off (or clipped) at the top and bottom of its travels resulting in a harder, harsher sound. The more volume inputted, the harder the clipping (the more square the wave becomes) and the more aggressive the sound. Distortion pedals, since their invention, have typically revolved around two different types, or amounts, of clipping. Soft and hard. Soft clipping is what one might expect from something like a Tube Screamer. Quite open and expressive with most of the original note and tone intact, just with a little more grit and gristle. Hard clipping, more commonly found in pedals like the Boss DS-1, is much more full-on and angry. Commonly, you�d have a pedal for each style of clipping. The Plimsoul, however, is an effort from Fulltone to create a single pedal which offers authentic versions of both styles of clipping under one roof. Dr Jekyll The Plimsoul is built upon an extremely reactive base. The pedal is designed from the ground up to behave like a valve amplifier. It will respond to your touch and your guitar�s volume control with the utmost sensitivity and dynamism. In its stock mode so to speak, just utilising the main three controls of �level�, �sustain�, and �hi-cut�, the pedal can be dialled in to behave itself and sing softly, or it can be turned up to provide a fair amount of snarl. These three controls are very expressive and can be used to dial in a very wide array of very convincing, amp-like tones with ease. Mr Hyde The secret to this pedal which separates it from pretty much every other overdrive/distortion pedal out there is held within its �stage 2� control. This teeny weeny knob located just to the right of the �hi-cut� control is a second gain stage which can be dialled in organically. What makes this gain stage so powerful is its hardcore and obsessive focus on reactivity. Its reactivity you can see. The �stage 2� can be wound in at any point to any degree and it will react organically to the volume that the front end of the pedal is receiving. When the control is engaged you can actually see the little LED light above it light up. That light will brighten and dim directly in line with how much volume it is picking up. This volume will slam the �stage 2� circuit and dynamically increase the distortion in line with the volume it is hearing. It is a really special feature of the Pilmsoul and one that you won�t see elsewhere. You can utilise its functionality to varying degrees, wind it in a little bit to help accentuate certain moments or wind it in the whole way to kick the pedal into roaring overdrive that can clean up in a heartbeat just by winding your guitars volume down or picking lighter with your right hand. Joining Forces Both the pedals standard controls (which for the purpose of clarity I�ll call �stage 1�), and the pedals �stage 2� control can be used individually to create two different flavours of overdrive or in conjunction to kick the pedal into full-fat distortion territory. No matter what point you set the pedal though, crucially, it sounds totally authentic, and retains full reactivity and control. It is extraordinarily amp-like and a fantastic do it all drive pedal which sounds phenomenal on any pedalboard. Why Bonners? Here at Bonners Music you have the opportunity to try one of these great Fulltone effects pedals yourself. Just give us a call on 01323 636141 or better still, visit our showroom! If you can't see the Fulltone pedal listed that you are after just call 01323 636141 for availability and the best price.