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Dunlop JHF1 Jimi Hendrix Fuzz Face Distortion

   
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JIMI HENDRIX® FUZZ FACE® DISTORTION - JHF1

The Jimi Hendrix Fuzz Face Distortion is a meticulously faithful reproduction of the one used on classic albums such as Electric Ladyland.

This pedal can only be powered by one 9-volt battery (not included).

The Long Story

The Jimi Hendrix Fuzz Face Distortion is a meticulously faithful reproduction of the 1969–70 Dallas Arbiter Fuzz Face that Jimi used on classic albums such as Electric Ladyland. Dunlop's engineering department examined numerous vintage Fuzz Face pedals, honing in on a few units which possessed that unmistakable Jimi voodoo.

This pedal is built around the toneful BC108 silicon transistor. It is authentic in every detail, featuring a hand-wired brown circuit board with no solder mask and circuitry carefully matched to original specs. It’s all housed in a 100% accurate groovy circular chassis with tooled clones of the original Fuzz Face knobs in the rare and vintage turquoise hammertone finish. A truly playable collectable for any Hendrix or Fuzz Face fanatic.


In 1967, the Jimi Hendrix Experience made its first major American appearance at the legendary Monterey Pop Festival. Jimi Hendrix demonstrated his almost supernatural mastery of the electric guitar, punctuating the performance by setting his guitar on fire, swinging it wildly around and smashing it on the stage floor. Hendrix had issued a manifesto in music form, ushering in the modern age of the electric guitarist.

His creative use of the tools at his disposal set a precedent for tone crafting and sonic texturing that countless numbers of players continue to pursue today. Hendrix was able to vary his tones in seemingly endless ways that fail to sound dated decades later. With equal parts sonic braggadocio and understated elegance, Hendrix used his hands, his instrument, his effects, and most importantly his ears to concoct a brilliant synergy of sound and song rarely, if ever, equaled.

To celebrate the 50th anniversary of Hendrix’s Monterey performance, we’ve created a special edition run of his favorite effects featuring iconic imagery from legendary rock ‘n’ roll photographer Gered Mankowitz. Below we take a look at how Hendrix used those effects to change the face of music forever.

Fuzz Face Distortion & the Gypsy Fuzz

With a Fuzz Face® Distortion, Hendrix could elicit an endless variety of tones by using different pickup combinations, manipulating his guitar’s volume control, and picking at different areas of a string. This unruly stompbox not only gave him a full-on primal howl with its burly, fat-sounding fuzz tones—it afforded him remarkably detailed clean textures as well.

The Are You Experienced album remains a shining example of Hendrix’s ingenious use of the effect. The song “Manic Depression,” for example, has Hendrix veer in and out of grainy yet-almost-twangy tones during the verses only to go to full-on meltdown during the solo with howling sustain and thick-as-a-brick midrange. By backing down his guitar’s volume control, Hendrix used the exaggerated treble bite and hyper-sensitive attack the Fuzz Face Distortion offers to enhance clean tones and make them really speak. Another example of this sonic yin-yang is, among others, “Third Stone from the Sun,” as it features some amazingly jangly chordal work as well as the insane sonic equivalent of WWIII, all achieved with help from the Fuzz Face Distortion.

Over the course of ’69 & ’70, Jimi Hendrix played several famous shows  using a particular Fuzz Face Distortion, red with  white knobs, that sounded completely different from the others in his arsenal. Whereas standard Fuzz Face Distortions tend to sound smooth and girthy—to varying degrees, depending on the transistor, of course—this mysterious pedal was snarling and aggressive in character.

The song “Machine Gun” from Band of Gypsys and the rendition of “The Star-Spangled Banner” from Woodstock demonstrate the uniquely biting tones of this particular Fuzz Face Distortion. In both examples, Hendrix combined the fuzz effect with his Uni-Vibe Chorus/Vibrato to imbue his notes with an ethereal chainsaw quality.

That mysterious prototype has been lost to history, but our engineers pored tirelessly over all of the different customized circuit designs Jimi used over the years. They narrowed it down to a version of the Octavio® circuit that didn’t have the octave up signal. After making a few tweaks, they nailed the elusive sound heard on the aforementioned live recordings. For this series, we have dubbed it the Gypsy Fuzz.