The ancient symbol of the dragon eating it’s own tail - this called for a unique pedal
Aiming for insane gain, we started with a heavily modded fuzzface style circuit, pushed over the top with an especially high gain first transistor and a feedback control.
We didn’t expect what happened when plugged in.
Bringing up the guitar’s volume - instead of a grainy, fuzz crumble - there were glassy clean tones despite the insane gain inside. Diming the guitar’s volume brought on rich, dense fuzz tones, and the “Depth” control worked a treat - you could roll back lows without losing gain and sustain. “Bias” is perfect - grainy and gated to the left, full sustain to the right.
Then we kicked in the infinity control, and the pedal freaked out, giving us glitching, descending low octave overtones (undertones??) and oscillating sustain that could be dialed back with the Gain, the guitar’s volume, -or- with the Infinite knob, each to different effect. Low settings on the Infinite control can act as a gain boost… you can set it to the edge of feedback and get near endless sustain, or push it up for glitchy, tail-biting fun.
Point-to-point wired on tag board, carbon comp resistors and a blend of vintage and modern caps, AC125 and rare Motorola “SA176” metal can transistors - this baby has all the right ingredients and delivers an incredibly flexible fuzz that you just have to try to believe.
The ancient symbol of the dragon eating it’s own tail - this called for a unique pedal
Aiming for insane gain, we started with a heavily modded fuzzface style circuit, pushed over the top with an especially high gain first transistor and a feedback control.
We didn’t expect what happened when plugged in.
Bringing up the guitar’s volume - instead of a grainy, fuzz crumble - there were glassy clean tones despite the insane gain inside. Diming the guitar’s volume brought on rich, dense fuzz tones, and the “Depth” control worked a treat - you could roll back lows without losing gain and sustain. “Bias” is perfect - grainy and gated to the left, full sustain to the right.
Then we kicked in the infinity control, and the pedal freaked out, giving us glitching, descending low octave overtones (undertones??) and oscillating sustain that could be dialed back with the Gain, the guitar’s volume, -or- with the Infinite knob, each to different effect. Low settings on the Infinite control can act as a gain boost… you can set it to the edge of feedback and get near endless sustain, or push it up for glitchy, tail-biting fun.
Point-to-point wired on tag board, carbon comp resistors and a blend of vintage and modern caps, AC125 and rare Motorola “SA176” metal can transistors - this baby has all the right ingredients and delivers an incredibly flexible fuzz that you just have to try to believe.
