Skip to content or Skip to navigation. Whotabs has been updated, 19 May See the latest items on the homepage. In , the FZ-1, running on a 1. Accompanied by a signed letter from Pete Townshend. Townshend may have set his guitar on fire, literally and figuratively, but this Gibson foot pedal remained and continued to tour with The Who for the rest of This information, along with all other content included in Whotabs , is intended for private study, scholarship or research. Associated images are included for reference only and are the property of the original owner.

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Dating from the late 60s – has BCCs. Required a new pot, jack socket – sounds stunning. Missing rubber tread from face. Surely one of the most iconic vintage guitar pedals, in excellent condition for its age. See detailed photos. We ship worldwide and we have special discounted shipping rates to continental USA and Canada. You can rely on us to pack your item with care, and deliver swiftly by international courier with full tracking and insurance.

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1967 Dallas Arbiter Fuzz Face – BC209C Excellent, $810.00

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Username or Email. Password I forgot my username or password. Keep me signed in. Clear the check box if you’re on a shared computer. Please enter your username, and you will recieve a new password for your account. Send me a new password. Recover Cancel. Individual Company. All solderjoint look untouched, no changed parts, even the batterie-clamp is original. The Fuzz works fine, all functions have been checked and sound great. Located in the little town called Maintal near Frankfurt , GuitarPoint has quickly become a good adress for guitar players, enthusiasts and collectors from all over the world.

We are specialized in Highend-, Customshop and Vintage Guitars.

Dallas Arbiter

It produces a characteristic high distorted sound called fuzz. Ivor Arbiter took the round shaped enclosure idea from a microphone stand and it was the first pedal including a DPDT stomp-switch. The effect became very popular because Jimi Hendrix played it and there were not many distortion pedals around at that time.

Stevie tended to prefer clean tones and natural tube-amp overdrive, but in he added an original Sixties Dallas-Arbiter Fuzz Face pedal to his rig when he.

Mobile friendly. Photo on the left is reproduced with kind permission of Stuart McDaniel. According to pedal-geek lore, Vaughan was a big fan of the TS version of the Ibanez Tube Screamer, but evidence in the form of stage photos, live videos, insurance documents and customs declarations reveal that the TS9 version of the Tube Screamer was his preferred choice from through most of the Eighties. Vaughan usually used his TS9 to provide a clean boost to his Fender Vibroverbs for solos, with the level control all the way up and the drive control set to relatively low gain.

Similar to a Leslie Model 16, the Fender Vibratone is designed for gigging guitarists and features a rugged, roadworthy cabinet covered in black Tolex. More importantly, the Vibratone is also designed for use with a standard guitar amp and features a guitar speaker that emphasizes crucial midrange tones instead of the full-range, two-way woofer and tweeter speaker array found in most Leslie cabinets. Fender sold the Vibratone from through , and it is still considered one of the best true rotating speaker effects for guitarists.

Stevie’s wah pedal was the Vox V that originated from the Sixties and had originally belonged to Jimi Hendrix. Stevie also owned several other Vox wah pedals and was apparently very fond of an early Seventies version with a Japanese TDK inductor. Stevie collected several Fuzz Face pedals, and he would try several during sound check to choose the one he thought sounded best that particular day. The Texas Square face was originally designed as a replacement for Stevie’s fuzz faces, which were always dying.

Cesar Diaz built his circuit into one of Stevie’s dead fuzz face boxes and Stevie used it until his unfortunate death. They have a DPDT switch for true bypass. Originally used by Jimi Hendrix, this pedal was redesigned in the mid s by Tycobrahe.

SunFace and Fuzz Face Pedals : What’s the deal?

There are tons of different models and versions available but not all of them fits our acquired taste. Vintage fuzz units are either based on germanium or silicon transistors. David used germanium from and silicon from medio It has true bypass and a trim pot inside allowing you to set the amount of fuzz, — much like adjusting the guitar volume knob.

Dallas Music Industries (DMI) used to be Dallas Arbiter. I was working for the company that manufactured FuzzFaces in the mid-late ’60s! How.

Condition is Used. It sounds great. Part of the pedal case is broke,Where the silver screw latches. I got it broken many years ago. It does work. The overdrive knob is some where around here. If I sell it someone I’ll try to get them the correct knob. Thanks for looking. I also have a MXR Distortion plus script for….

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Note that Gary has also called the Vox Tone Bender and Arbiter Fuzz Face, ‘​cheap Made by Sola Sound for the Dallas Rangemaster line (pre Dallas-​Arbiter), sold in The date is reinforced by the MK1 and MKII Tone Bender ads from.

Following on from my first haphazard foray into pedal building with the Colorsound Power boost fiasco, I can safely say that it was frustrating, educational and entertaining in equal measures. To this end I’ve decided to start blog posts detailing my various adventures, and misadventures in boutique pedal building. A licence to print money really, and all you get is a pedal that is a copy of an old 70’s design, maybe with a few enhancements.

Take for example the Power Boost that you’re all familiar with by now. I’ve probably not told you much about myself up to now, so here is a potted history. I’ve been playing the guitar since I was 13, semi pro since I was 18, turned pro at Worked at various studios in and around London, did sessions, etc etc. Got out of the pro business when I met my wife, now i’m in Engineering as a Quality Assurance Manager for a motor sport company.

My interest in electronics started last year when I decided that I couldn’t afford to buy the pedals that I wanted So I decided to build them myself, however getting into electronics theory I’ve found to be a steep learning curve, but enjoyable. The Colorsound Power Boost was a labour of love for me as I wanted to create the pedal as accurately as possible to an original.

Therefore the amount of research I did was probably over the top, collecting as many gut shot photo’s of the pedal as possible, and copying the PCB as accurately as possible.

Vintage 1968 Dallas Arbiter Fuzz Face