Tone Report Weekly Issue 144 - Page 21

great if I could plug in and play that?!” So I set out to make a tone that sounded like a snowball cake tastes. A lot of my pedal ideas come from food and candy. TR: How do you approach designing a pedal? FB: It starts with either an idea for a certain look to a pedal, like a particular graphic design, motif, or aesthetic, (like the Cream Puff) or a name (like the Sputnik and Sandwich) or a particular type of sound or effect I really want to have (like the Vibutron or Peachfuzz). So, sometimes a product is designed from the name down to circuit, sometimes the reverse, but it is always just something that I want to try for myself, something that I would like to see and hear in the real world. I figure that the best and only test is whether or not it excites me, and if I like it then others will too. That was the case with the Cream Puff; when I came out with that the dealers all thought I was nuts. “Nobody will ever buy a pink pedal,” they said . . . but it ended up being my biggest seller that year. TR: You were one of the spearheads of the boutique pedal movement back in the late ‘90s. What has changed in the industry since you began? FB: Oh—everything! And very little, it depends on what side of the coin you look at. Technically and from a manufacturing standpoint it is a completely different world. The industry that has sprung up around the DIY movement has brought about so many affordable options for anyone wanting to have a start-up, from PCB design software, to outsourced manufacturing, UV printing companies that can do your enclosures, vendors that can supply you 21