![]() This one is one of the early silicon transistor models, which makes it far more practical and consistent in use, even if it doesn’t quite sound quite as ‘warm’ as the earlier germanium transistor ones. This example is in exceptional all‑original condition, so much so that it looks almost new with no marks or wear to suggest that it is now over 50 years’ old. The characteristics and features mentioned above are all present and correct, indicating that it is probably from c.1969, so I’ll go with that until someone can prove different. Despite their unreliability, early germanium transistor‑equipped Fuzz Faces are VERY highly sought after and the original silicon transistor versions are not far behind, now attracting huge – and frankly outrageous – prices on the vintage effect market.Īlthough difficult to date precisely, here we have a fantastic late 1960s Dallas Arbiter Fuzz Face in gloriously vibrant red finish. ![]() Dunlop has owned the rights to the Fuzz Face since 1993 and they continue to ‘re‑issue’ modern versions of the venerable stomp box. Depending on who owned the company at the time, later versions may carry the CBS/Arbiter or Dunlop Manufacturing Inc. By 1976, however, the original Fuzz Face had disappeared. The jack sockets were black plastic sporting a seahorse design and the footswitches were regularly made by Bulgin. The potentiometers were small, often with no markings and with vulnerable plastic shafts. Around the same time, the black on white ‘Arbiter‑England’ label became ‘Dallas‑Arbiter‑England’ and the casing was slightly revised, now with a ‘HJM 3316’ casting number on the inside. From 1968, the basic circuit changed to use more consistent silicon transistors, usually metal‑can BC108C transistors. The earliest Fuzz Faces depended on Newmarket NKT 275 germanium transistors, which were highly sensitive to temperature, making for well‑reported variable performance. The Fuzz Face’s circuit couldn’t be much simpler comprising two transistors, three capacitors and a (small) handful of resistors, apparently based on a similar design created by competitors Sola Sound/Colorsound for their famous Tone Bender pedal. The humble Fuzz Face first appeared in late 1966 and has become famous in the hands of legendary guitarists including and many, many others. Original colours included grey, blue and red ‘hammered’ finishes. It has been claimed that Ivor Arbiter got the idea for the smiley casing shape after he saw a microphone stand with a round cast iron base. The circular sand‑cast housing of the English Dallas Arbiter Fuzz Face is possible one of the most influential and recognisable guitar effect pedals in music history and probably deserves the rarefied title of ‘iconic’. ![]()
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