This makes the inclusion of a Level knob absolutely necessary, so that you may attenuate the pedal’s output to suit whatever space you are in without sacrificing any of the tone that you lust after.
The common practice with fuzz pedals for over half a century has been to turn the fuzz all the way up for that truly glorious, violin-like saturation that is now associated with the likes of Jimi Hendrix, Eric Clapton, and Eric Johnson, to name a few.
AZOR REVERB PEDAL FULL
At the noon position, you are firmly in fuzzy rhythm territory and at full crank this pedal blossoms into the sustain machine that you have come to expect from classic voiced fuzz pedals. At its lowest setting, you get that classic tube amp on the edge of breaking up kind of sound. The Fuzz knob controls, you guessed it, the level of fuzz that the pedal imparts on your signal. Like most classic fuzz pedals, the Azor Fuzz is pretty straightforward, however it does happen to boast one more knob than the Fuzzface! From crispy crunch, to throaty grit, to smooth sustain, the Azor Fuzz surprisingly does it all to some degree, and provides a very nice point of entry into the vast and expanding world of fuzz. Among their most recently released line of mini pedals is their Fuzz pedal, a slick budget option for those who enjoy the sound of old style saturation, but who don’t fancy debating the minute differences between silicone and germanium (no judgement of course, we just think it is nice when there is something for everyone). At the beginning of this year, Azor released a whole line of mini pedals, and we got our hands on a few of them to see how they compare to some of their Western counterparts, as well as how they compare to offerings from the slightly more established Asian companies like Mooer and Joyo. Azor is one of a multitude of Asia-based companies that have been giving some of the more established pedal companies a run for their money.
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