INSTRUCTIONS
OVERVIEW
We may have finally caught bliss. This is the very famous five-knob, two
germanium transistor fuzz we’ve always dreamed of collaborating with
ZVEX on. In short, it’s a souped-up Fuzz Factory
™
with digital control
and a resonant low pass filter. Although the five knobs are named for the
parameters over which they seem to have the most control, please don’t
hold us to it. They are controls for various operating levels and biases,
shaping you a personalized fuzz. Like all Chase Bliss Audio
™
pedals,
all of these settings can be stored in presets, ramped, or controlled via
expression pedal. Every knob and switch is connected to a little digital
brain while your guitar signal stays 100% analog and never gets
digitally processed.
LPF
Sets the cutoff frequency for a low pass filter. All the way
clockwise is open, no frequencies being cut. As the knob
is turned counterclockwise high frequencies are removed.
In the maximum counterclockwise position, depending on
where the LPF toggle is set, most or all high frequencies
are cut.
AUX FUNC TOGGLE
This toggle selects the function applied to the signal
when the AUX stomp is pressed. When the toggle is set
to the STAB setting, the STAB control will be maxed out
when the footswitch is activated. Setting the toggle to
LPF will allow the user to change between the max LPF
setting and the knob defined LPF setting each time the
footswitch is activated. Finally, the AUX stomp can be
used to close the GATE (max CW) by setting the AUX
FUNC toggle to GATE. Alternatively, if put the AUXPOL
dip switch in “D” (down) the polarity of these functions
will be reversed. Make sure you have the AUXPOL dip
switch in the “UP” position by default.
FAT TOGGLE
This toggle selects the amount of sub frequencies
allowed into the fuzz circuit and changes the nature of
the self-oscillation pitches. NORM is typical Factory
™
configuration. FAT and FATTER increases the sub
frequencies, respectively. This means the pedal can
oscillate at much lower registers, giving it some very
interesting thunder broom synth qualities. This fatness
lends itself particularly well to the bass guitar, and rips
equally well on guitar.
VOLUME
Sets the output level.
DRIVE
Increases distortion when used as a “normal” fuzz and
adjusts feedback pitch and tonal thickness, if you’re
that kind. This control becomes meaningless when
COMP is all the way right.
GATE (RAMP)
When there are no dip switches assigned to ramp any
controls, this knob controls the gate. Turn to right to
eliminate squeals, hiss, and buzz. Stop just as they
disappear, or use to tune in exact feedback pitch, if
you’re that kind. Turning to the left opens the gate. If
a dip switch is engaged for ramping, you can set this
knob to control any of the five parameters individually
or simultaneously (VOLUME, DRIVE, STAB, COMP, LPF),
and have it either modulate (bounce) or ramp-and-hold
(rise or fall) via dip switches in the back of the pedal. In
this case, this knob controls the ramp time in which this
takes place.
STAB
Use all the way right for classic fuzz and to avoid
squealing. Turn left for fuzz that is more soft and
squishy, as well as to create self-oscillation.
COMP
Adds attack characteristic when turned to left, which
gets softer to right, and suddenly pinches tone when all
the way right. Also use to tune in fat feedback fuzz, if
you’re that kind. Lower the STAB and see what happens
to this control.
