fender blender reissue for sale
Based on your location, we've changed your settings:Fender Blender Octave Guitar Effect Pedal7 product ratings5641302010Would recommendGood valueEnjoyableSee all 7 reviewsAbout this producttommymang21 (1566)No returns, but backed by eBay Money back guarantee Fulltone 70-BC Fuzz Guitar Effect PedalTRENDING PRICE Empress Effects Superdelay Vintage Modified Guitar Effect PedalTRENDING PRICEAll listings for this productAbout this productProduct InformationProduct IdentifiersKey FeaturesDimensions5641302010Would recommendGood valueEnjoyableWrite a reviewMost relevant reviewsSee all 7 reviewsby A great fuzz pedal with very picky dialsThis pedal is great for the exact fuzz sound I was going for. It can work well with rhythm or lead, but you have to be very judicious with how much sustain and blend you use. It's a fine balance between your guitar sounding great and sounding like poo. But if you dial it in just right, it really can bring out some great sonic fuzziness. Also, I don't know if it is just the pedal or if it was the previous owner, but the power jack on the back of mine was a little loose and not making connection when I received it.by unique sound ,original better sound,better electronics.reissue has 9v adaptthe fender blender was first introduced in 1968 a product of cbs.
please note picture at right is original unit.the four knobs at top of unit have set screws straight not phillips or allen to hold them to pot shaft.on knobs,1-10 numbers are bold as where reissue are not plus knobs are just push on.on unit at bottom left fender musical instruments logo has small letter r after fender inside a circle.reissue does not.(warning buyer be ware) to distinguish the original blender from the reissue model the easiest and fastest way is to closely look at white strip under knobs and above the two foot pedal switches the original has solid rivet in chrome between words sustain and tone.by Fender Blender guitar pedal - excellent product! Great tonal quality, easy to use. Upgraded quality for a timeless peice of equipment. I would reccomend this producat to the novice as well as the touring professional.by Best fuzz pedal I've ever used next to my Noisemakereffects Donner Party.AMAZING pedal. Would definitely recommend and purchase again if I lost this one! I was very surprised and pleased with the amount of tones I could dial in with this fuzzbox, it's very versatile and responds very well to the EQ on your amp and tone knob on your guitar.by FENDER BLENDER REISSUEWELL, I HAD AN ORIGINAL THAT I USED TO PLAY FOR THE MARINES AND ARMY IN VIETNAM.
IT HAD BEEN WORN OUT, SAND WATER ETC. NOW I SE THIS REISSUED VERSON, BUT THE SELLER TELLS ME ABOUT THE MODIFICATIONS HE INSTALLED AND MAN HE WASEN'T KIDDING ABOUT BRINGING THIS PEDDAL TO LI9FE. I REALLY HAVE TO THANNK THIS GUY FOR HIE REWIRING JOB. I HAD BEEN AND ELECTRONICS TECH FOR YEARS AND KNEW EXACTTLY WHAT HE WAS TAL;KING ABOUT WHEN HE DESCRIBED HIS IMPROVEMENTS. I TOTALLY IMPRESSED AND WILL SEEK THIS SELLER OUT IN THE FUTURE.When Robin Trower segued from his wah-driven blues-rock riffing into the slowed, deep-blues groove of the second half of his ’74 anthem “Too Rolling Stoned,” he kicked it over to a progressively more aggressive overdrive sound. And in his final screaming solo, he hits those big bluesy bends that made him famous, powering his Strat via a pedal largely forgotten these days – the Fender Blender. Fender has always kept its corporate sights focused on guitars, basses, and amps, with only the rare – yet notable – entrées to the effects world.
Other players adopted the effect too; Fender sort of advertised in ’68 that Jimi used one, though it’s not known if that was anything more than a marketing ploy. George Harrison may have used one on his 1970 solo masterpiece, All Things Must Pass;
cuisinart blender chopper cpb 300athe thick, bass-heavy fuzz of “What Is Life” sounds like pure Blender mayhem.
kitchenaid artisan blender myer By ’77, though, the pedal was history.
waring blender 1186Or at least sort of. It would be another decade before the world heard a Fender Blender in a significant way. From the start, the Blender was an interesting and unique blend of fuzz and octave that stood out in the (by that point) crowded array of boxes. The Blender may have been inspired in part on the late-’60s Shin-ei Superfuzz designed by effects wizard Fumio Mieda;
the Japanese pedal did include its schematic handily glued inside the housing. The Blender’s topology was darn similar to that of the Superfuzz, including a Germanium-diode clipping stage, transistor splitter, and a switchable Tone control. Another part of the Blender’s circuit bore more than a passing resemblance to Roger Mayer’s Octavia. While Mayer’s first ’67 Octavia prototypes used transformers, when he began producing the effects, he switched to a less-expensive – and less-fragile – transistor, similar to what the Blender would use. In the Blender, the octave stage includes the transistor splitter followed by diode rectifiers. The signal is then recombined to create a full-wave rectification effect. To the player, that meant some of the most intense fuzz available was right beneath their big toe, as was a gorgeous octave-up chorus. And, of course, they could blend the sounds together. The Blender included four controls; the Volume knob dictated output, Sustain prolonged notes played through the effect by boosting the output as the input signal faded.
The Tone knob adjusted the tonal balance from low to high frequencies. And the Blend mixed the output ratio of unprocessed and processed signals, which also modified the octave range. Added to that was a Tone Boost footswitch that enhanced equalization of the Tone knob, in effect offering a high-end kick in the pants. While the Blender may have borrowed inspiration from others, the result was unique. It simply sounded like nothing else. Played with a light hand, it offers a warm overdrive akin to a Fender tweed Champ in all its glory. Or, spin that dial northward and you’ll get an extreme, ultra-aggressive fuzz that’ll make most other fuzzboxes seem like shrinking violets. Then, you can blend the octave sound to fill either the subtle, warm drive or the full-throated scream. And the Sustain will keep that scream going on and on, just like in the shower scene from Psycho. The distortion was also wonderfully bass-heavy, weighing down that low-end response. If you had any worries, this could be balanced by the Tone Boost’s high-end boot in the backside.
All in all, it was an unapologetically extreme effect. The Blender featured gobs of chaotic fuzz, more gain than you could handle, and a bottom-end rumble. In truth, it could be difficult to control. In the late ’70s, the four-knob Blender was replaced by a three-knob version that was undeserving of the original’s name and fame. The pretender had a new layout, different circuit, no octave effect, and lacked the namesake blend function. It died a quick death. In the ’90s, the ’68-’77 Blender was discovered by a new generation of guitarists, and returned – loud and proud – on the pedalboards of indie guitarists like Billy Corgan of Smashing Pumpkins and Kevin Shields of shoegaze wonders My Bloody Valentine. The pedal played a starring role on these band’s masterpieces, Gish and Loveless, both released in ’91. In 2005, Fender reissued the four-knob Blender. This article originally appeared in VG December 2015 issue. All copyrights are by the author and Vintage Guitar magazine.