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Fulltone back in business.
Posted on 1/24/24 at 7:39 am
Posted on 1/24/24 at 7:39 am
Partnered with Jackson Audio in Texas. I love the quality and performance of Mike's pedals and have the Secret Freq, Robin Trower Overdive, white Clyde Wah Standard and white MDJV-2. Was going to get an OCD and then he closed.
Fulltone is back (short documentary)
Fulltone is back (short documentary)
2
Posted on 1/24/24 at 9:28 am to BLP
Guitar players around the world rejoice. 
This post was edited on 1/24/24 at 9:50 am
Posted on 1/24/24 at 10:18 am to jdd48
I guess this means my "pre-Jackson Audio" DejaVibe, SupaTrem and Choralflange are worth more $$$ huh? I'm kidding, there worth more to me as tools than as turns.
Every pedal Mike made was GOLD and I'm glad they are back. I look forward to the next chapter.
Every pedal Mike made was GOLD and I'm glad they are back. I look forward to the next chapter.
Posted on 1/24/24 at 10:53 am to TheFretShack
Les Paul -> OCD -> Deluxe Reverb = $$$
Posted on 1/24/24 at 11:34 am to BLP
Great pedals that sound good. However there’s really no innovation with fulltone (as with a lot of other pedal companies)
A lot of it is the same old recycled circuits that don’t push any kind of creative boundaries.
A lot of it is the same old recycled circuits that don’t push any kind of creative boundaries.
Posted on 1/24/24 at 5:33 pm to monsterballads
Mike Fuller paved the road for all the high-quality limited-quantity boutique and custom house pedal pushers (who also recycle legacy circuits) that we've seen emerge over the last 20+ years. I'd call that pretty innovative.
Fulltone's niche was offering desirable tones (that often happened to be vintage) via circuits that usually WERE revised ... to address original circuit shortcomings, to be more player intuitive, to be more reliable and bulletproof, and/or to be substantially more affordable and available compared to comps in the new and/or used/vintage/collectable market to real-world players.
If the innovation threshold, however, is fly by night digital noisemaker pedals that make dirt boxes that sound like they are broken, or that ridiculously and unnaturally modulate or harmonize or octave or bellow or fart or whistle ... absolutely true, Mike Fuller wanted zero part of that. Can't say I blame him.
Fulltone's niche was offering desirable tones (that often happened to be vintage) via circuits that usually WERE revised ... to address original circuit shortcomings, to be more player intuitive, to be more reliable and bulletproof, and/or to be substantially more affordable and available compared to comps in the new and/or used/vintage/collectable market to real-world players.
If the innovation threshold, however, is fly by night digital noisemaker pedals that make dirt boxes that sound like they are broken, or that ridiculously and unnaturally modulate or harmonize or octave or bellow or fart or whistle ... absolutely true, Mike Fuller wanted zero part of that. Can't say I blame him.
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