The ancient symbol of the dragon eating it’s own tail - this called for a Fuzz design!
We started the Ouroboros with a heavily modded fuzzface style circuit, aiming to get insane gain, the push it over the top with a feedback control. We didn’t expect what happened when it was first 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 Fuzz design!
We started the Ouroboros with a heavily modded fuzzface style circuit, aiming to get insane gain, the push it over the top with a feedback control. We didn’t expect what happened when it was first 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.
