Digital Fuzz? The Boss FZ-5

The term “digital modeling” stirs up as much emotion as “global warming.”

When fuzz is thrown into the mix of binary code and guitar tone, Hell tends to freeze over.

The Boss FZ-5  proudly displays the COSM badge on its shiny, silver exterior. For some, it is a sign of progress. For others, the letters might as well be scarlet.

Composite Object Sound Modeling – or COSM – is basically Boss / Roland’s take on digital processing.

While modulation effects such as chorus, delay and flange get the digital treatment quite regularly, the sacred realm of fuzz has been, for the most part, off-limits.

Sure, multi-effect pedal boards have been offering up a digitized – and generally cheesy – take on fuzz for years, but very few, if any, companies have put out a standalone, digital fuzz.

So what’s the fuzz … err …fuss about?

The Boss FZ-5 attempts to emulate three famed fuzz pedals: the Dallas-Arbiter Fuzz Face, the Maestro FZ-1A and the Octavia Fuzz.

The aforementioned pedals are classic, highly sought after and fetch serious dough.

They also all rely on simple, transistor-based circuits and come from an era of electronics when component tolerance was rather loose.

What that means in English is that vintage fuzz boxes never sound exactly alike. For instance, two Maestro FZ-1A pedals from the same batch will not be sonic carbon copies.

It comes down to the precision – or lack thereof – of vintage electronic components used in the ‘60s and ‘70s.

While electronics engineers may laugh at the primitive technology, a lot of guitarists love the subtle imperfections of vintage fuzz boxes.

So the challenge for the FZ-5 is to emulate not only the tone of each of the three pedals, but also the subtle imperfections.

So how did the team at Boss do?

They did alright.

Since I own a Maestro FZ-1A, I compared the two head to head, and while the FZ-5 did get close, it wasn’t a Maestro FZ-1A.

Even with its multi-million dollar technology, COSM just can’t replicate the charm and quirkiness of the old school originals.

With that said, the Boss FZ-5 isn’t terribly digital sounding. In fact, I couldn’t really make out any digital artifacts at all.

The tones are convincing to an extent. They sound rather good and the inclusion of a “Fuzz / Boost” knob was a very nice touch.

Those who own and cherish the vintage stuff know it’s scary to take out and play live.

While the Boss FZ-5 won’t be replacing the pedals it attempts to emulate, it would make a great pedal for live use – especially at rough gigs.

Previous versions of the FZ series are more highly regarded — particularly the FZ-2. While it may tempt some to go out and spend the $150 or so on a used unit, I think the money would be better spent on a more straightforward fuzz.

For its modest price of $80, the Boss FZ-5 is a cheap sampling of some of the most coveted fuzz tones the guitar world has to offer. It’s also built quite well and it wouldn’t crush your soul if it was broken or stolen.

In the sound demo, I cycle through the various modes: Fuzz Face, Maestro and then Octavia.

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