Cusack Music Tap-A-Fuzz vs Fairfield Circuitry ~900 About Nine Hundred Fuzz
The Cusack Music Tap-A-Fuzz and the Fairfield Circuitry ~900 About Nine Hundred Fuzz are both pedals sharing full, saturated. The Cusack Music Tap-A-Fuzz leans modulated and aggressive. The Fairfield Circuitry ~900 About Nine Hundred Fuzz leans harmonically rich and warm. Current prices: $249 vs $228.56.
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Blended from circuit-archetype lineage, dynamic feel, tone-signal overlap and tone-vector distance — the tone vector itself is derived from editorial description text, not a measured acoustic signal, so this reflects how similarly the catalog copy describes the two, not a lab measurement. Shown only within a gear class, and only where there's enough evidence to be meaningful.44% — somewhat different
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Genres both listings are associated with.- Experimental
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Derived from overlapping tonal signals across both listings.- full
- saturated
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Citation/mention fame — how often this gear is cited across artist rigs and gear discussion.$249via Reverb
$228.56via Reverb
The Cusack Music Tap-A-Fuzz takes the company's Screamer Fuzz circuit and adds tap-tempo-controlled modulation, making it the first fuzz to sync its movement to a song's pulse. The underlying fuzz runs from a thick, saturated overdrive-flavoured grind to a full aggressive fuzz, with Level, Fuzz and Gain controls plus selectable clipping options shifting the character from tighter and more compressed to looser and more open. Over that sit 24 modulated waveforms, each with independently programmable fade-in, brake speed, tap divide and tempo, producing rhythmically pulsing, stuttering and tremolo-like fuzz textures locked to the beat. An RCA jack sends or receives tap tempo so it can drive other pedals from the same switch. Made in the USA by Cusack Music.
The Fairfield Circuitry 900 About Nine Hundred is a JFET-based fuzz pedal from the Canadian boutique builder Fairfield, tracing its lineage to the discontinued Four Eyes Fuzz. Two cascading JFET gain stages provide a very wide gain range from gritty, warm saturation to full fuzz with controlled harmonic density. Controls include Input, Fuzz, Bias, and Volume, with the Bias control introducing gated and sputtering textures by adjusting the second stage operating point. It suits blues, psych, indie, and experimental rock contexts.
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Genres this gear is documented as being used in.- Blues
- Indie
- Alternative Rock
- Rock
- modulated
- aggressive
- harmonically rich
- warm