"Jimi had an Octavia and several of my fuzzes and boosters. I had different fuzzes as well as another distortion made for Jimmy Page at start , and we let Jimi used it. It was a smoother sound, a more singing sound than the one you can hear on "Love and confusion". We also had others fuzzes cased in Octavia moulds, then we started selecting some Fuzz Face to see which ones were good. We had another distortion circuitry which was not of the Fuzz Face type. You must know that at that time I did not had any mould, so I could enclose my electronics in the round Fuzz Face box. If you see a Fuzz Face without opening it ( cannot say what is inside). As we had a lot of faulty Fuzz Face boxes, we took advantage of this fact. ... You must know that on the whole Fuzz Face production, only a few sounded real good, and (this selection) took us a lot of time. It is at this time '66 or '67 that Arbiter started to use other transistors, silicons one, making their production very erratic. The first series featured germanium transistors which made them close to the Maestro. Silicon produced a harsher sound. For smoother sounds, Jimi used my germanium fuzzes. We also had a germanium Fuzz Face.

You truly can tune a Fuzz Face, if you know what you are doing. You can obtain a specific sound for a specific title. You can completely change its tone, and this became my speciality. The most important thing is the decay. If it is not correct , the sound is awful. This is distortion and distortion and we wanted to add mathematical harmonics in order to reach a musical result. It is easy to obtain a fuzz, making the signal square, but the real secret is to know how to deviate the normal use of a transistor."


These are the precious hints I have followed to make my Mercer Box.