Fjord Fuzz, as you may have guessed, specialises in fuzz pedals. However, the Norwegian brand takes conventional fuzz circuits to the next level — and beyond even that! The FENRIS is the creation of a true mad scientist, and it's a stompbox that has to be heard to be believed.
Providing ungodly levels of saturated gain, the mighty FENRIS is the perfect play-thing for doom metallers or experimental rockers looking for a pedal that'll make the earth shake beneath them. Several tone-shaping filter/EQ knobs let you access a variety of twisted fuzz timbres from the FENRIS — letting you warp the signal of your guitar, bass or synth with addictive sub-octave, speaker-shredding chaos!
Please Note: The control plate on this pedal is made from copper which, as it oxidises, will develop marks and change colour over time giving each pedal a unique appearance.
About Fjord Fuzz
Fjord Fuzz are a tiny boutique pedal brand based in Bergen, Norway. Built "by real musicians for real musicians" — in their own words — Fjord's unique circuits completely warp your guitar's signal with glitchy, tone-altering, high-gain filth!
The company's speaker-shredding stompboxes are solely designed for experimental guitarists who crave the most extreme of tones, and frankly — they have to be heard to be believed! Engulfing walls of fuzzy bliss, self-oscillating pitch bends and sub-octave bellows make Fjord Fuzz's products far from conventional — and we mean that in the nicest way possible!
Here's what Fjord Fuzz says about the FENRIS:
FENRIS sprung out of my collaborative endeavours with legendary bass boy Bent Sæther. He wanted the ultimate super fuzz-based fuzz, and through multiple iterations, two pedals emerged, this one being the most beastly and aggressive fuzz I've ever created.
Both pedals use the preamp found at the dry input of the good old Space Echo tape machine and I've added and subtracted a bunch of parts from the original circuit to make this thing its own creation. It still maintains its super-fuzz/standard-fuzz/hyper-fuzz language tonally, but it has become a much more flexible and useful device.
For recording it really comes into its own as a platform for all the weird and wonderful fuzz sounds you could ever need and live, you can make it do the most explosive, wild and thick fuzz sounds you've ever heard.
It has six knobs. Volume and gain do as you expect them to, but the internal gain in the circuit is so massive, you may find yourself actually not cranking this pedal. The two middle, unlabelled knobs take care of a very flexible notch filter and with them, you can scoop and drag and twist and mangle the signal's EQ curve, from impossibly deep bass, to aggressively nasty treble.
The mushroom knob, lifted from the EMBLA applies a mild, passive gate to the output stage, very useful for whenever you need to cut the noise between your played notes or just destroy your signal. The triangle knob indicates octaving. Put it in the middle for more octaving, put it to either side for less.