View allAll Photos Tagged fuzzface
This photo is from Saturday when the weather was nice and warm and Jane was snuggling with the super-soft blanket out on the porch.
Captured with a Vivitar 135mm f/2.3, a rather rare 1970s lens, with the unusual f/2.3 aperture, that I have been searching to get for over a year with a Nikon mount. The one I got came from someone who put a Canon adapter onto it so I had to figure out how to take that off before I could use it: a tiny little hidden lever to lift did the trick.
I'm anxious to see the bokeh of this lens.
Jane is keeping a close watch on some small birds. I have a caboose-shaped bird house that has a family of small birds living in it and this is very engrossing for a certain little girl.
Zeiss Makro-Planar T* ZF.2 100mm f/2 @ f/5
Peanut Butter, pt. 2 "The Chili Connection"
I love P.B. sandwiches with my chili.
Whenever we had chili in school. They would always serve it with PB sandwiches. It just always seemed natural to me... as an adult. I have come across so many people who think it's odd. They never heard of such a thing. I think to myself, "where did they go to school?"
Every once in a while I'll find someone like me. I know one guy who actually will put a spoonful of PB "IN" his chili. I haven't been able to bring myself to do that yet.
O.M.G. --- Let me tell you. It's amazing how everyone has their own take on how to make chili. I used to work with this girl who always put refried beans in her chili. She swore by it... I thought. OK, I'll try it...
Well, I tried it. I made this huge pot (is there any other way?). I put the "refried beans" in it... took a bowl. Ate it... UH!!! It just laid in my stomach like a brick. I never felt so miserable after eating... I ended up throwing the whole thing away...
I don't even want to think about later...YIKES!!
"to each his/her own".
My photographs are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and all my rights are reserved.
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Addicted to dragonflies. :)
my facial hair is pretty coarse and curly, and it had been a few weeks since i trimmed it last, so i decided to comb it upward after my shower last night to see how fluffy it would get. it's not the best photo, but i thought it was funny.
Portishead may not have invented trip-hop, but they were among the first to popularize it, particularly in America. Taking their cue from the slow, elastic beats that dominated Massive Attack’s Blue Lines and adding elements of cool jazz, acid house, and soundtrack music, Portishead created an atmospheric, alluringly dark sound. The group wasn’t as avant-garde as Tricky, nor as tied to dance traditions as Massive Attack; instead, it wrote evocative pseudo-cabaret pop songs that subverted their conventional structures with experimental productions and rhythms of trip-hop. As a result, Portishead appealed to a broad audience — not just electronic dance and alternative rock fans, but thirtysomethings who found techno, trip-hop, and dance as exotic as worldbeat. Before Portishead released their debut album, Dummy, in 1994, trip-hop’s broad appeal wasn’t apparent, but the record became an unexpected success in Britain, topping most year-end critics polls and earning the prestigious Mercury Music Prize; in America, it also became an underground hit, selling over 150,000 copies before the group toured the U.S. Following the success of Dummy, legions of imitators appeared over the next two years, but Portishead remained quiet as they worked on their second album. Named after the West Coast shipping town where Geoff Barrow grew up, Portishead formed in Bristol, England, in 1991. Prior to the group’s formation, Barrow had worked as a tape operator at the Coach House studio, where he met Massive Attack. Through that group, he began working with Tricky, producing the rapper’s track for a Sickle Cell charity album. Barrow also wrote songs for Neneh Cherry’s Homebrew, though only “Somedays” appeared on the record. Around the time of Portishead’s formation, he had begun to earn a reputation as a remix producer, working on tracks by Primal Scream, Paul Weller, Gabrielle, and Depeche Mode. Barrow met Beth Gibbons, who had been singing in pubs, in 1991 on a job scheme. Over the next few years, the pair began writing music, often with jazz guitarist Adrian Utley, who had previously played with both Big John Patton and the Jazz Messengers. Before releasing a recording, Portishead completed the short film To Kill a Dead Man, an homage to ’60s spy movies. Barrow and Gibbons acted in the noirish film and provided the soundtrack, which earned the attention of Go! Records. By the fall, Portishead had signed with Go! and their debut album, Dummy, was released shortly afterward. Dummy was recorded with engineer Dave MacDonald, who played drums and drum machines, and guitarist Utley, who rounded out Portishead’s lineup. Both Barrow and Gibbons were media-shy — the vocalist refused to participate in any interviews — which meant that the album received little attention outside of the weekly U.K. music press, which praised the album and its two singles, “Numb” and “Sour Times,” heavily. Soon, Go! and Portishead had developed a clever marketing strategy based on the group’s atmospheric videos that began to attract attention. Melody Maker, Mixmag, and The Face named Dummy as 1994′s album of the year, and early in 1995, “Glory Box” debuted at number 13 without any radio play. Around the same time, “Sour Times” entered regular rotation on MTV in America. Within a few weeks, Dummy and “Sour Times” were alternative rock hits in the U.S. Back in the U.K., the album had crossed over into the mainstream, becoming a fixture in the British Top 40. In July, the record won the Mercury Music Prize for Album of the Year, beating highly touted competition from Blur, Suede, Oasis, and Pulp. Following the Mercury Music Prize award, Barrow retreated to Coach House to begin work on Portishead’s second album. The self-titled record finally appeared in September 1997. The live PNYC followed late the next year. Portishead went on hiatus starting in 1999, and Barrow, Utley and Gibbons worked on their own projects. In 2001, Barrow formed Invada Records, an experimental label that included Koolism on its roster. Barrow and Utley also recorded a cover of the instrumental rock classic “Apache” as the Jimi Entley Sound that was released as a limited edition 7″ single in 2002. The pair also worked as producers, with Barrow working under the moniker Fuzzface on Stephanie McKay’s McKay album in 2003, and Barrow and Utley co-produced the Coral’s 2005 album The Invisible Invasion. Gibbons collaborated with Rustin’ Man, a.k.a. former Talk Talk member Paul Webb on the 2003 album Out of Season (Gibbons had also appeared on a few tracks by Webb’s previous project, ORang). Portishead reconvened in 2005, performing their first live dates in seven years, including an appearance at the Tsunami Benefit Concert in Bristol, and recording material for their next album. Their version of “Un Jour Comme un Autre (Requiem for Anna)” appeared on 2006′s Serge Gainsbourg tribute Monsieur Gainsbourg Revisted, and in 2007 the band curated the Nightmare Before Christmas All Tomorrow’s Parties festival. In 2008, a decade after their last album, Portishead returned with Third, the trio’s most challenging, unpredictable work yet. ~ Stephen Thomas Erlewin
New 3PDT footswitch boards. New versions of the autobias Fuzz Face board. Finally, the new NPN Rangemaster boards.
Tokai is a small Japanese company that has been making clones of 50s and 60s Gibsons and Fenders since the late seventies. Why? Because at the time the quality of both companies was at rock-bottom. Japanese players were crying out for the classic models that made these companies famous - something they chose not to give for profit reasons. Several local companies stepped into the gap and gave the world its first replicas of the famous vintage guitars.
Now they have been making these replicas longer than anyone else, even though Gibson and Fender have begun making their own replicas. Fender contracted their Japanese-made guitars to Tokai and other quality Japanese makers, while Gibson charged a huge premium for quality that came standard in the 50s and 60s.
Tokai has been doing it longer, and still at reasonable prices. This guitar is Tokai's equivalent of a 1958 Gibson Les Paul Standard. It's light, resonant, woody - and yet it's made from solid mahogany without "tone-chambers" or "weight-relief" that Gibson uses to bring it's low-grade mahogany down to 50s weight in its factory models. The stock pickups are comprehensively rich and deep. The tone is magical.
I think I know how Clapton felt when he plugged his 1960 Les Paul into an amplifier in the shop, played a bit, and said: "Yeah. I'll take it."
The amp is a "silver-face" Fender Bassman 10 that needs some serious TLC. Someone did a number on this old gal. It's only carrying 3 speakers and some mysterious and pointless tinkering has gone on under the hood.
One of these days I'll have it thoroughly serviced. It sounds so good that it deserves it.
Slasher Horror inspired mask with a few design changes to make it look more furry!
Coming soon to Abnormal Event - Sleepover round!
November 7th - 28th!
What's new:
* Lovepedal Eternity
* Lovepedal Black Beauty Balance
* Lovepedal Toxic II
* Lovepedal COT50
* Subdecay Blackstar
Already sold, but pictured in this photo:
* Lovepedal Black Magic
* Subdecay Blackstar
Just about every brand of guitar effect pedal has been through my hands in the 25 years I have been doing this. Vintage Guitar effect pedals. Classic EFFECTORS! MXR VOX EH Mu-tron Tycobrahe guild Foxx Jax Colorsound Dallas-Arbiter Roland Boss Ibanez Maestro Univox Mosrite Ludwig Mica
And that's all you need to build a distortion pedal.
In this case, this original Arbiter Fuzz Face reissue sounded like ass (apparently like all of the reissues). I swapped the transistors (that had hFE of 30 to 40) to higher gain AC128s and restored the resistor values to stock values. That did the trick.
1960s-1970s vintage VOX wahs, Cry Baby, Tone Bender, Dallas Arbiter Fuzz Face and other guitar effect pedals.
Lots of fresh stuff.
The Kimbara Fuzz Box is currently for sale on eBay.
Missing is my Subdecay Blackstar (had it disassembled at the moment I took this picture) and my Hermida Mosferatu (currently on loan).
I'm working on a pedalboard. There will be two signal paths -- one dirty and one fuzzy. Dirty is going to be something like DOD 201 -> Lovepedal COT50 -> Zombie (or other dirt). Fuzzy is going to be Fuzz Face -> Ibanez Standard Fuzz -> Dice Works Astronimus.
I'm making the cables myself, but I'm not yet really good at it -- only half of the cables I made worked.
Roger Mayer with a a pair of his flying fuzz boxes. For an article entitled "Mr. Wah-Wah" in Guitar World September 1985 "The Unpublished Hendrix" special issue.
"I first met Jimi Hendrix at a club in London called the Bag O'Nails [in January 1967]. He gave a performance there for a lot of people in the music business. Townshend,Clapton, McCartney, The Animals, the Stones. It was like a Who's Who. Of course, I was extreme;y impressed with his playing, to put it mildly. I never, ever, heard a guitar player like that. So when I met him we just got to talking, and I told him I'd been designing sounds; before that I'd done some guitar effects for people like Jeff Beck and Jimmy Page. I happened to grow up in the same neighborhood with all them so I knew them from when we were all young.
"So Jimi said to me: 'Why don't you come down next week, I'm playing a place called Chislehurst Caves.' They're actual caves where people hold rock concerts, famous historical caves in Kent. I went down there and took some of the Octavia pedals I'd been working on. Jimi loved the pedals and we got on like a house afire.
We went into the studio [a bit later] for a recording session. That night we began recording two tunes. One was 'Purple Haze' and the other was 'Fire.' So he was using the stuff two weeks after I met him."
The follow-up single, 'The Wind Cries Mary' – `written for Jimi's girlfriend Kathy Etchingham – was a cool breeze by comparison. When Roger entered their lives, Jimi and Kathy were sharing a flat with Chas Chandler and his girlfriend at 34 Montagu Square in Marleybone near Marble Arch. Roger would regularly visit Jimi and also accompany him to studio sessions, concerts and jams in the coming months. As a trusted and highly skilled accomplice he had considerable influence on the way Jimi's stuff was recorded, and the sounds that came from his guitar.
As he had been for Jimmy Page and Jeff Beck before, and as he would become with Stevie Wonder, the Isley Brothers, George Clinton and Bob Marley, Roger was the "secret sauce," the mystery man behind the scenes of The Sound.
Right, another pedal shot. What's changed since the last shot:
Gone:
* Boss CE-2
* Arion SCH-1
* Yamaha FL-01
New:
* Zoom Tri-Metal
* DOD 201
On the way:
My gear as of 2006-04-03.
Top row:
Vox Tone Bender (JEN-made)
Arbiter Fuzz Face reissue (modded)
Daneletro French Toast (very cool)
Kimbara Fuzz-Tone FZ2
Maestro Fuzz-Tone FZ-1 (1962)
Colorsound Supa Tonebender (Steve Hackett Special Edition)
Shin-Ei Fuzz/Wah
Jen Distortion Booster
Second row:
Alesis Bitrman
Arion Tubulator
HAO Rust Driver
Third row:
Boss DC-2
Boss CE-2
Arion SCH-1 (Japan)
Yamaha FL-01
Fourth row:
MXR 10-band EQ
Maxon Treble Booster
Another gear shot.
Gone:
* Colorsound Supa Tonebender.
* HAO Rust Driver.
* Two of my Vox Tone Benders.
* Nobels ODR-1 (nice, but noisy).
New:
* Hermida Mosferatu.
* Roger Mayer Mongoose.
* Boss VF-1 (not pictured because not a pedal).
Off board wiring for the silicon fuzz face available at www.doctortweek.co.uk
Making this guitar effect is really simple - and the sometimes difficult off board wiring is laid out simply in the insuctions here.
As with the Fuzz Face, it doesn't take much to build a distortion effect.
This particular Vox Distortion Booster was made by Jen and is more or less a direct clone of a (silicon) Fuzz Face.
Oh yes, it also doubles as a radio receiver ;-)
(clockwise from top) Shin-ei Uni-Vibe, Uni-Vibe controller, Vox V846 Wah Wah pedal and (Crest Audio) Fuzz Face.
This is the BC108 build. The AC128 looks practically the same. Repro Fuzz Face PCB courtesy of Andy Mackie
Some of my guitar pedals. Top row is for fuzzes, second row is for distortions and overdrives, third row is for modulation effects (chorus, flanger etc.) and bottom row is for tonal effects.
Aion Electronics Solaris (Tarkovsky's masterpiece!) five-knob Fuzz Face board. Eager to try it out. I'm coming down with some kind of flu or something, though. Not gonna do any more work on it today. Interesting board, though. Sockets so I can go crazy trying out different transistors.
Dig that Hammond enclosure. That's a factory finish. A light blue pebble-texture powder coat finish. Very nice, IMO.
There's something seriously wrong with this cat. His levels of relaxation are truly on a whole other level.
