It's a special day when a new design is released from Fairfield Circuitry. I wish someone would interview Guillaume, would love to hear him talk about his work since he's created some of the best pedals IMHO.
Fuzz circuits seem to work better on guitar or bass, rarely both .Generally speaking, those that I find too subdued for guitar work great with low frequencies, while the truly shattered square wave types turn bass into shapeless mud.Of course, it depends on style and genre, or to those descriptions, how much space and the formats and frequencies being assigned. When most players discuss or access effects and sounds, it's usually within the fairly limited accepted ranges of Rock, or Jazz, or whatever , and how it cuts through and mixes.Troy Van Leuwen once described the QOTSA approach ( with potentially 3 guitarists, or 1 a keyboardist)as looking more at open frequency ranges on a given song; for example, you're the background texture guy, who might play jazzmaster, or keys, or lap steel, depending on requirements; this approach speaks to me, because this is how I usually go into it, - including maybe a second bass, or a baritone guitar. Effects can and should allow you to step out of the confines of genre; this could be seen, as much of Fairfield's pedals, as an Ambient or Shoegaze pedal, - but it needn't be. And it reminds me of how many good songs were made epic by the addition of a simple, repetitive, overdub.Like a triangle, or a few piano notes on the early Stooges work, or the carefully conceived dynamic chaos on almost any Pixies song.
Thanks for all your great content. Was interested in hearing the difference, if any, between having the wet and dry knobs all the way up at same level and then all the way down, since I’m only used to seeing a single blend knob.
This thing is wild af! Would love to mess with one, but my dog would hate his life lolol... Reminds me a lot of a fuzz factory. Does the euro rack looking T socket do anything, or is it purely cosmetic?
my friend emily hopkins on the harp channel ran her euro rack into it if you wanna check that out. i don’t have any modular stuff cuz it doesn’t have strings. 😂
Yeah, I don't like pedals that can't make a consistent sound. I don't want to tweak all afternoon just to have the pedal change sounds without moving a single knob. Frustrating when manufacturers create cool pedals with so much potential that are essentially useless to every recording musician.
@@henryhill92 Recording musicians never just do one take. If it's different every take, then it's just not useful in a studio context. Reliability is *everything* for studio applications.
@@CuriousKey It doesn't just change by itself, if you have it on a setting it tends to stay that way at least until you turn it off. Finding the same setting again is basically impossible, but that's the beauty of this pedal. I like to record multiple takes on different settings, or while tweaking the settings, then comp together the results into something more unique than I could have otherwise achieved in any one take.
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This sounds so good on bass! That intro track was AMAZING!!
hi emily! thanks!
Came here to say the same thing. It sounds great on bass!
It's a special day when a new design is released from Fairfield Circuitry. I wish someone would interview Guillaume, would love to hear him talk about his work since he's created some of the best pedals IMHO.
Super cool pedal. I especially liked it on the seuf bass. Seuf makes amazing instruments.
Seuf Guitars OH-16 + Manley Force = BALLS !!!
And this little gem by Fairfield sounds killer, too !
Thanks a lot !
Fuzz circuits seem to work better on guitar or bass, rarely both .Generally speaking, those that I find too subdued for guitar work great with low frequencies, while the truly shattered square wave types turn bass into shapeless mud.Of course, it depends on style and genre, or to those descriptions, how much space and the formats and frequencies being assigned.
When most players discuss or access effects and sounds, it's usually within the fairly limited accepted ranges of Rock, or Jazz, or whatever , and how it cuts through and mixes.Troy Van Leuwen once described the QOTSA approach ( with potentially 3 guitarists, or 1 a keyboardist)as looking more at open frequency ranges on a given song; for example, you're the background texture guy, who might play jazzmaster, or keys, or lap steel, depending on requirements; this approach speaks to me, because this is how I usually go into it, - including maybe a second bass, or a baritone guitar.
Effects can and should allow you to step out of the confines of genre; this could be seen, as much of Fairfield's pedals, as an Ambient or Shoegaze pedal, - but it needn't be.
And it reminds me of how many good songs were made epic by the addition of a simple, repetitive, overdub.Like a triangle, or a few piano notes on the early Stooges work, or the carefully conceived dynamic chaos on almost any Pixies song.
The Shoegaze crowd will lose their mind on this pedal.
best demo ive seen of this, makes a lot of sense with the bass
Bass tones in this are crush!
Holy moly. My bassist will love this.
THANK YOU FOR INCLUDING BASS
Hello handsome and Happy New Year!?!?! Anything Fairfield is cool, so no surprise that I liked it. LOVE YOUUU!!!
back atcha, bud!
Sounds great. Thanks.
Thanks for all your great content. Was interested in hearing the difference, if any, between having the wet and dry knobs all the way up at same level and then all the way down, since I’m only used to seeing a single blend knob.
dude, there is more stuff i didn't do on this pedal than i was able to do in the limited time. that's a good one though. next time. 😬
This thing is wild af! Would love to mess with one, but my dog would hate his life lolol... Reminds me a lot of a fuzz factory. Does the euro rack looking T socket do anything, or is it purely cosmetic?
takes CV, which modulates the tune knob.
my friend emily hopkins on the harp channel ran her euro rack into it if you wanna check that out. i don’t have any modular stuff cuz it doesn’t have strings. 😂
@@klonewavverr2909 oh that's pretty cool!
@@DemosInTheDark nice! I'll check it out!
@@jt3483 yah, sarah bell reid did a pretty extensive video with it (more synth/experimental noise perspective).
wet is always up, oh well.
What’s the release date?
aaron, how are you seeing this?
@@DemosInTheDark I replied how I can see it but it got deleted?
@@aaroncurtis4476 haha, how are you seeing this video?
Yeah, I don't like pedals that can't make a consistent sound. I don't want to tweak all afternoon just to have the pedal change sounds without moving a single knob. Frustrating when manufacturers create cool pedals with so much potential that are essentially useless to every recording musician.
They're not useless to a recording musician if that musician wants to experiment with new sounds every time they record
@@henryhill92 Recording musicians never just do one take. If it's different every take, then it's just not useful in a studio context. Reliability is *everything* for studio applications.
@@CuriousKey It doesn't just change by itself, if you have it on a setting it tends to stay that way at least until you turn it off. Finding the same setting again is basically impossible, but that's the beauty of this pedal. I like to record multiple takes on different settings, or while tweaking the settings, then comp together the results into something more unique than I could have otherwise achieved in any one take.