Arbiter Electronics Ltd. first issued the Fuzz Face in 1966. Later units bear the "Dallas-Arbiter", "Dallas Music Industries Ltd.", "CBS/Arbiter Ltd." or "Dunlop Manufacturing Inc." name.
The electronics are contained in a circular-shaped metal housing. Ivor Arbiter "got the idea for the round shape when he one day saw a microphone-stand with a cast-iron base". The pedal uses two knobs, one for volume, and one for the amount of "fuzz" the pedal produces. The arrangement of controls on the box suggests a face, with the volume and "fuzz" controls as eyes, the "in/out" stomp switch as the nose, the logo as a smiling mouth, and a wedge-shaped rubber mat suggesting a beard.
The circuit is based on the shunt-series-feedback amplifier topology - a standard in engineering text books. Sola Sound and Vox had been using the same circuit topology for some of their Tone Bender pedals earlier in 1966.
The original Fuzz Face was discontinued in 1974 or 1975. The first, albeit short lived, reissue made by Crest Audio came out in 1976. A second reissue by Crest Audio was released in the 1986. About 2000 of those were made until 1990.
In 1993 Dunlop Manufacturing, Inc. took over production. In the late 1990s Arbiter reissued the pedal as well.
Due to its simplicity and status as a classic, the Fuzz Face soon became a favourite among DIY stompbox builders and is a popular beginner's project. Many variations and modifications are documented. Common modern additions are status LEDs and 9V jacks.
As of 2009, a wide variety of clones and Fuzz Face inspired pedals is available. Dunlop Manufacturing, Inc. currently owns the Fuzz Face and Dallas-Arbiter trademarks and still makes the pedal. Germanium and silicon transistor versions are available. The circuit uses eleven electronic components, plus a battery. At the time the box was first made, the tolerances of electric components were not as tight as they are today. As a result, two circuits utilizing the same components might sound quite different. In addition, germanium transistors tend to be sensitive to temperature, so the sound produced using the box would change as the equipment heated up. According to some sources, professional musicians would try different units from a batch in order to find one which sounded the best to their ears.[citation needed] The circuit uses the property of transistors known as "saturation". When used as an amplifier, a transistor's output level is directly related to the input level, but if the input level is high enough the output reaches a maximum and goes no higher, regardless of the input level. The effect is to "cut off" the peaks of sound waves leaving a flat line instead of a rising curve. This introduces extra harmonics into the sound, producing the distortion or fuzz. The circuit of the basic Fuzz Face uses two transistors that both amplify the signal in sequence. The first transistor is biased close to the edge of saturation, so the amplified waveform is asymmetrical. The closer this is biased to saturation, the more "gargle" and fuzz effect you will get.
The electronics are contained in a circular-shaped metal housing. Ivor Arbiter "got the idea for the round shape when he one day saw a microphone-stand with a cast-iron base". The pedal uses two knobs, one for volume, and one for the amount of "fuzz" the pedal produces. The arrangement of controls on the box suggests a face, with the volume and "fuzz" controls as eyes, the "in/out" stomp switch as the nose, the logo as a smiling mouth, and a wedge-shaped rubber mat suggesting a beard.
The circuit is based on the shunt-series-feedback amplifier topology - a standard in engineering text books. Sola Sound and Vox had been using the same circuit topology for some of their Tone Bender pedals earlier in 1966.
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Due to its simplicity and status as a classic, the Fuzz Face soon became a favourite among DIY stompbox builders and is a popular beginner's project. Many variations and modifications are documented. Common modern additions are status LEDs and 9V jacks.
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