Fulltone '69 Pedal

This pedal is very easy to use and simply sounds great. Just dial in the sound you dig and go! The pedal is red with a hude '69 painted on it...that is cool in itself. It is a solid piece of gear.

I use this pedal in front of either a Budda Stringmaster and a Budda Dual stage 30. The Fulltone pedals, I have experienced, like to be placed in front of smaller wattage tube amps. I also have a Fulldrive 2, Ultimate Octave and a Deja Vibe. I have tried the Fulldrive2 on a 5150 combo, on the "clean" chanel with the gain set low...It was totally gross. Although I don't strive to get other people's sounds, the '69 is really nice. It doesn't have a huge amount of fuzz but, if your amps power section is just clippin' a tad bit, when the '69 is engaged it just rules! Also, when you roll back the guitars volume pot the gain gets even less and the tone gets thinner and less bassy. Here, the word "thinner" is used in a positive way. The pedal is just really cool.

As a general rule I take care of all my gear. I feel confident that if I were on the road 365 a year, this pedal would keep up. All of the Fulltone pedals are little tanks. I don't believe in back ups...that is an expencive concept.

Fulltone's website is really good. I know everbody is all calling or tring to greeb info from Mike's brain...that must get frustrating at times. However, I haven't needed to contact Fulltone.

I had to have this pedal. I made the music store hold it for me until I got paid. I've been playing electric guitar for a spell, I remember when pedal were noisey little rodents that were all evil, or were made elsewhere and offered nothing tonally. My friends, we are in the middle of an electric guitar Renaissance. It is a cool time to be playing electric guitar.

You can get a "good sound" out of it by turning it on, basically. There's four knobs, vol., bias (input impedance), contour and fuzz; they all have a LOT of adjustability. If the fuzz is not all the way clockwise it's not real "fuzzy" sounding in a "buzzy" sense; it responds in the same way to turning down the volume knob on your guitar. Not real complicated, but once you get used to the setup you see that you can make one hell of a lot of different sounds with this simple device. There is also an internal trimpot; I like it set to a little less trebly sound than it came out of the box with. There is an incredible amount of variation in the sound with just that adjustment pot. It's easy to use and has more range of sound than any "fuzz" box I've used since the first one I got (a red box "Fuzz Tone" in 1969, I think it was Jordan Electronics succesor to the Bosstone), and I've used a bunch (several highly modified). The "manual" concise, and all you nedd except your ears. Although it is a simple device, I have so far about a half dozen quite different basic sounds I use from it (had it three weeks).

I use strats mostly, occassionally a custom strat with DiMarzio PAF Pro, a cheap '80s Japanese tele-copy (and a surprisingly nice guitar it is) or a Jackson Fusion XL etc., but usually older style strats. Marshall and Fender amps; this box sounds great through both, but doesn't sound so great through a buffered effects loop, it seems really in it's element running between the guitar and amp. It sounds great with my amps whether loaded with Sovteks, Groove or Svetlana tubes; haven't used it with a solid-state unit, have no idea what it may or may not sound like. It's not a noisy box at all; I've used an old Big Muss (one of the earliest models) pretty severely modified, and I've basically replaced it with this (much more versatile) pedal; I got the best Big Muff sound I've ever heard out of the one I use, but can do the same with less extraneous noise on one setting with the '69. I use it in conjunction with only two other boxes at the moment, a Voodoo Labs micro-vibe and a Way Huge analog delay. Sounds great; sounds best before the other devices. Yes, I can get "the sounds of my favorite artists" (Hendrix, Jeff Beck, McLaughlin; doesn't really help that much with Django Rinehardt, y'know?) but am a lot more impressed with the fact that it is useful in getting MY sound. I don't really want to BE Jimi, and he already did himself well enough to where I'm not interested in pretending. Be warned, though, this is NOT a silicon distortion, this is NOT an overdrive, but if that's what you want Mr. Fuller makes them, too.

Well, I treat my equipment really carefully, and I've never broken a pedal (except one Thomas Organ Co. wah-wah which was pretty worn out before I got it), nor an amp nor a guitar. I'm not sure what you could do to this box to hurt it, anyway, aside from run over it with an APC or dunk it in the ocean. The wiring is solid, the box is Number One quality; Boss should be bought by someone who makes boxes like this. I plan to get a backup, but don't feel any need to hurry, I have a lot of confidence in the quality of this device's manufacture.

Don't know; Mr. Fuller has always answered my e-mail, although I get the impression he's extremely busy. Sometimes his answers are more relaxed and friendly, sometimes brusque; I don't mind, I'm busy, too. Seems nice enough, and if he makes pedals this good I have to believe he'll stand behind them.

I play a variety of stuff, I try not to even think about "styles"; I work with contemporary Christian, jazz-rock fusion, blues, etc. projects, a lot of different things. It works great with anything I play at some volume level or another (remember the thing cleans up incredibly at any setting if you lower the guitar volume knob, so you have a really wide range of sound available to you on any particular setting you use). I've been playing since the Beatles came to the USA (WHERE did all that time GO?), and have used a mountain of gear over the years. This pedal is head and shoulders above any stomp box I've ever had in it's quality of construction. For a simple device with one "basic" sound (Germanium fuzz unit) it has an incredible range of versatility IF you take the time to learn to use it. If lost or stolen I would get another, you're damn right. In the realm of germanium distortion it can hardly be compared to anything else. Whatever anyone on the net can (or will) say about Fulltone or Mike Fuller, I've become a believer. The only thing I can add is my standard advice for any musical instrument or device; take the time to learn it and it's ways, and you can use it to make your own music; if you just find one setting you like or you don't know how to get what you want out of it first thing, either way, there's a lot more to this device than what you hear at first.

Knob twiddling is simple. Volume, Bias, Contour, and Fuzz. Bias is sort of a bass control, a tweak for muddy-sounding setups. Contour adjusts midrange clarity, as well as gain. Fuzz is pretty much a secondary volume until turned almost all the way up.

I can't realy give a numerical rating in this category. While this pedal under no circumstances sounds "bad", I just didn't find it that remarkable. The distortion is mild - not particularly fuzzy, and it doesn't really have a distinct tonal color. It pretty much sounds just like my amp (Blues Deluxe with an LP) distorted, but with a bit of an EQ tweak via the contour knob.

Wiring is truly top knotch. Fuller knows his stuff.

Though I've never dealt with Mike, virtually everyone says he's a hell of a nice guy.

I know someone must find this pedal useful, but I was wanting something more distinct.

Four knobs, plus a small trimmer on the inside. Easy enough to use

Used with a strat through a small Victoria amp, this thing sounds pretty good, you can get a pretty good variety of textures with this box and it gets pretty clean when you turn your volume pot down and doesn't lose high end response. This pedal didn't sound as good through a Rivera, I think it sounds best through 'older' style amps.I've heard that it sounds better with a guitar with humbuckers but I haven't tried that yet as it sounds pretty damn good with a strat.

Solidy constructed steel box. Haven't had it long enough to comment though

Mike will take the time to talk to you on the phone, great customer support.

This is an outstanding pedal when used with a non-master volume vintage styled amp, in that regard I would purchase it again.

Typical pedal operation,simple.

Very let down after all the hype that I read about this device.Maybe I'm not a fuzz connoisseur,more an overdrive/distotion guy.But the warmth and "complexity" I expected was not there.Actually I Built a Fuzz Face from a schematic obtained on the web that sounded pretty darn good for about $10.00.

It appears to be well made.

N/A

Way too expensive for what it is.

trivial in use. Easy to change the battery (fingers only), unlike with the original fuzz face where you usually stripped the bottom plate screw after a year of use. Lotsa funky knobs for a mere fuzz box, though.

With minimal setup, the '69 pedal achieves the sound of the best vintage Fuzz Faces: a visceral violin/clarinet. It doesn't stop there: you can tweak for differing harmonic content, attack, waveform symmetry (inside) and 'in effect' compensate for different guitars or finicky effect pedals on the output side. For instance, you may back off on the CONTOUR & BIAS knobs to control the tubbiness and the "choking" effect that plagued the original Fuzz Face. This is too evolved in design to be called a work-alike, and for the first time in a long time, I stopped regretting that I sold my hammertone grey '67 fuzz face.

looks well-built.

Quick, informative over the phone.

Better than the original Fuzz Face. It seems to like humbucking pickups, though. Yes, I'd get another one if it were stolen.

This unit is quite easy to use but certainly complex enough to monkey around with and get a unique tone. The Bias and Contour controls offer a large amount of tonal variations. The manual helped a little in getting introduced to the meaning of bias and contour, but you just have to plug it in to really get acquainted.

This is probably the best fuzz I've heard. I have an Experience pedal also but its not as musical as the '69. The tone of the '69 is sweet, fat, and smooth. Back the fuzz setting to about 4:30 and you can get a good distortion sound that's not super fuzzy but still very thick and complex. I ran it through my reissue vibroverb and the SRV tones happened quite easily. In front of my Hiwatt it made the amp sound like it was going to blow up without searing my ears (cool and rare!). Also, the '69 is quite dynamic - turn the volume down and the fuzz goes away. Most importantly, play around with the bias and contour knobs and you can get a variety of great fuzz tones.

It's heavy, roadworthy, solid, and handsigned and numbered by Fuller himself. I've only for a few days so I can't really comment on the reliability.

Haven't needed it yet (hopefully I won't).

This is a very musical and sweet fuzz. The bands I play in require a variety of tones. When a fuzz tone is needed, the '69 delivers the best sound I've heard yet.

Very easy to get good sounds, instruction sheet enclosed.

Not noisy, strong effect. Very dynamic, can control amount of fuzz with guitar volume control.

Built like a tank, strong steel case. I would use it on a gig without a backup.

I had some trouble with a store selling this pedal for more than the list price. I called Fulltone and delt directly with them. I was very impressed with the service and cannot wait to get my hands on some of the other effects offered as soon as I can afford to.

Would buy it again in a heartbeat, best fuzz I have ever heard. Very musical to my ears. I cannot use the more mass produced products as they sound harsh and dull to me.

Very dynamic, distortion is dead on early Arbiter. FAT Harmonic FUZZ

Haven't had it very long

Mike Fuller is very helpfull. Very good at turning comments into reality

Truly a fine remake of the Fuzz Face