Fender Classics

Introduced in the mid-'50s, Fender's versions of both were suspiciously similar in design to rival alternatives bearing the Bigsby brand. Further competition soon came from DeArmond, and their volume/tone pedal was the one preferred by players such as Chet Atkins and Hank Marvin. In the early '60s, Big Jim Sullivan used his to create a trademark sound, employed to great effect on Dave Berry's big hit 'The Crying Game'. But Fender's pedals proved popular too, especially with steel players, and production continued well into the '70s. The similarly styled Fuzz-Wah was added in 1969, joined the following year by a dedicated distortion device nattily named the Fender Blender, while the Phaser completed the company's effects catalogue in the mid '70s.

The subsequent arrival of the Boss compact stomp-box series effectively eradicated much of the market for anything bigger in size or price, and Fender's ideas on pedal pushing suffered accordingly. The company have since tended to steer clear of the highly competitive effects arena, but the ever-increasing urge to look backwards finally prompted Fender to revive the Blender in 2007. The rest of the original pedal range was reincarnated the following year, and now all comprise what the company call the Classic series. Under scrutiny and underfoot this month are three examples: the twin-treadle Volume-Tone and Fuzz-Wah models, plus the Phaser pedal. Each comes in a padded, black-velvet, drawstring bag, which is sensually chic, but a bit twee compared to the hulking lump of metal lurking within.

Volume is regulated via a substantial tilting treadle, but this carries a slimmer-depth, separate top section that swivels horizontally to change tone from bass to treble. With practice it's possible to combine both operations, although this can feel uncomfortable, but the resulting sound is the pedal's aural ace in the hole, making the effort worthwhile.

As on the original, the cavernous interior contains a primitive-looking arrangement of pulleys, tension springs and connecting strings to turn the two pots. It may appear ad hoc, but the system is ingenious and actually works very smoothly. Both treadles offer the right amount of resistance, and a full-size, ribbed, rubber top surface supplies a suitably secure grip. The connections are side-mounted, with output partnered by a tuner feed, which is unaffected by changes in volume.

Plugging in immediately reveals that the pedal has less adverse effect on signal strength than the old Bigsby and DeArmond originals. The latter, in particular, caused a quite considerable drop in volume, but the Fender fares far better and also retains tonal integrity. The signal level swells up smoothly from zero, while the transition from bass to treble is equally even. The volume treadle's long travel makes combining both actions more difficult, especially when compared to the DeArmond's shorter sweep. The full-on volume position is slightly past horizontal, engendering a somewhat unbalanced, 'leaning forward' feel. Morley pedals also suffer the same way and one solution is to prop up the pedal's front end, which makes for easier operation. Combining both treadle movements involves an almost circular ankle action that's not exactly natural, but it confirms that the pedal can produce that classic 'Crying Game' sound, which is more expressive than straight swell.

Single, side-mounted input and output jacks are accompanied by an appropriate input for a 9V DC power supply, while the battery alternative is accessed via a single-screw panel on the underside. The latter area also accommodates a trim pot to tweak fuzz volume levels to taste, plus a slide switch that selects either Fuzz-Wah or Wah-Fuzz, as changing the effects order produces different audio end results.

The quality wah-wah should cause few complaints, with the long treadle travel spanning an equally wide tonal range, although appropriate focus on the all-important middle frequencies ensures a nicely vocal effect. Engaging fuzz evokes some surprise, because the sound isn't what might be expected from a supposedly '60s-origin stomp box. Fender must have made a few tweaks to improve overdrive quality, because this certainly isn't as I remember it. Instead of period-correct, fizzy-edged fuzz, the results are more like those made by a modern, decent distortion device, going from grainy raunch to intense aggression. If the original Fender pedal had been capable of this kind of quality back then, it would've become a brand leader, rather than something best forgotten.

The top treadle controls this range and movement resistance should be sufficient to keep it in any chosen position, although care needs to be taken when wah-ing so as not to disturb the desired distortion setting. Engaging both effects exploits the pedal's two-in-one abilities and being able to switch the order offers extra aural flexibility, as does the fuzz volume control, which can provide an extra boost if required.

The main treadle's lengthy sweep and slight forward-tilt feel again makes operation a little awkward, at least to my size 10s, but this is down to personal preference. Also on the physical side, the on/off switches are very close to the casing and their operating height is just below the level of the treadle. This means some suitably dexterous footwork is necessary to ensure hitting them accurately.

Every aspect of the Phaser seems over-sized. The on/off switch sits in a vast expanse of ribbed metal and the only other visible control is a large, rubber-topped disc situated on the substantial, raised front section. This is actually a foot-operated rotary control that selects phase speed via a fairly short turning circle. An illuminated surround changes colour in relation to the effect rate, which is an eye-catching visual gimmick.

The input and output sockets are again side-slung, with each partnered by a deeply recessed rotary control. One governs tonal frequencies while the other determines effect intensity. A 9V DC power input completes the connection quota, with the battery alternative again accessed under a single-screw-fixed cover.

Unlike the Fuzz-Wah, the Phaser's sounds are more in keeping with its original era. It delivers a nice quality of phasing that seems inherently more toppy than some, while the trio of controls provides plenty of shifting-related manipulation in terms of rate, depth and tonality, spanning virtually everything from gently warbling wobbles to seasick-inducing, spaced-out insanity.

The Fuzz-Wah visually revives an old design, but performance is surprisingly contemporary, especially on the overdrive side. The only possible problems are ergonomic rather than aural, while the pedal's two-in-one capabilities could help recoup some of the extra floor space it occupies.

The Phaser faces significantly stiffer competition, most of which comes in appreciably more compact form. While performance is undoubtedly well up to par, it's not necessarily that much better or different enough to warrant buying a pedal that's this bulky. However, it could appeal to the player who fancies something that looks as '70s as it sounds.

On the evidence of this trio, Fender's Classic series offers a lot for the money and not just in terms of measurements. Build standards are impressive, as are performance qualities, and the only real cause for concern is the physical size of all three pedals. Even so, it's nice to see something so unique back on the market.  0