Danelectro Nichols 1966 Fuzz Drive

The Danelectro Nichols 1966 Fuzz Drive is a fuzz pedal that blurs the lines between fuzz and overdrive. Released by Danelectro in 2024, it is a modern re-creation of the very first circuit created by Steve Ridinger, the founder of the FOXX pedal line and Danelectro's current owner, built from a homemade pedal he made in 1966¹²³. Where most fuzz pedals copy a known classic, this one revives a design that never had a wide release the first time around, which gives it a voice of its own².

The pedal uses a three-transistor circuit that Danelectro's documentation says delivers a dynamic range of tones, from subtle overdrive to saturated fuzz⁴. Reviewers placed its character squarely between the two categories: Pedal of the Day described a distinctive "glass-shattering" sound that falls somewhere between a fuzz and a distortion, and one that is highly reactive to the guitar's volume knob³.

Between a fuzz and a distortion

The Nichols 1966 does not sit cleanly in either the fuzz or distortion camp. Gearnews described it as straddling somewhere between a fuzz and a distortion, depending on where the controls are set². Danelectro's own build documentation calls it a distinctive fuzz pedal that blurs the lines between fuzz and overdrive, offering a versatile palette from subtle overdrive to saturated fuzz⁴.

That in-between character comes from the interactive Fuzz and Drive knobs. Because the two controls affect each other, the same pedal can be dialed toward a softer overdrive voice or pushed into full saturation. GuitarPlayer's reviewer Art Thompson found that a blend of the two distortion types best suited his ears, and recommended starting with the fuzz and drive controls about halfway up and taking it from there⁶.

Pedal of the Day's review went further on the pedal's character, calling it a box that "dishes out delicious tones unlike those of any pedal ever made" and recommending it for players looking for something non-traditional and intriguing³. The same review noted the sound is highly reactive to the guitar's volume knob, so rolling back the volume at the guitar changes the pedal's response, a behavior players usually associate with vintage germanium fuzz designs³.

Controls and the Mid Cut switch

The control layout is four knobs plus one toggle:

The Stock/Mid Cut switch is the one control that goes beyond the standard set. Danelectro's documentation says the Mid Cut position provides additional tonal shaping, allowing for a scooped midrange response⁴. Delicious Audio described it as a switch for added sonic flexibility⁷. A scooped midrange pushes the pedal's energy toward the lows and highs, which can suit rhythm parts or amps that already emphasize mids.

Because the Fuzz and Drive knobs are interactive, settings on one change the effect of the other. Thompson's advice of starting both around halfway and adjusting from there is a practical way to hear how the two sides of the circuit trade off⁶.

Steve Ridinger's first pedal design

The story behind the Nichols 1966 goes back to the mid-1960s. Steve Ridinger, who later created the FOXX pedal line in the 1970s and now owns Danelectro, lived with his parents in a home on Nichols Canyon Place²⁸. It was in the garage of that home that he created his first effects pedal, which he named the Liverpool Fuzz Tone¹. The modern pedal takes its name, Nichols 1966, from that canyon address².

The timeline of Ridinger's designs, as the press tells it:

• 1966: Ridinger designs the Liverpool Fuzz Tone, his first pedal, in the garage on Nichols Canyon Place¹⁵
• 1970s: Ridinger creates the FOXX pedal line, including the Foxx Tone Machine⁸⁵
• 2024: Danelectro re-creates the 1966 circuit as the Nichols 1966, shown new at NAMM¹

Pedal of the Day reported that the reissue was meticulously crafted under the direction of Steve himself³. GuitarPlayer's Art Thompson framed the pedal simply as a reissue of Steve Ridinger's own original-design dirt pedal⁶.

One naming point matters for anyone searching for the old circuit: the original was the Liverpool Fuzz Tone, and Gearnews noted the pedal was originally named the Liverpool Fuzz when first released². Danelectro states plainly that it is not affiliated with any current owners of Liverpool or Fuzz Tone trademarks, which explains the change to the Nichols 1966 name¹.

What reviewers said

Published reactions to the Nichols 1966 have been positive about its versatility and distinctiveness²³⁶:

• Gearnews found the demo videos all sounded pretty good, and that the pedal comes across as a lot more than a one-trick pony²
• The same review noted it appears to have a pretty distinct drive tone and one that sounds pretty versatile²
• Gearnews also made the point that separates this pedal from most fuzz reissues: because the original circuit never circulated widely, it has a unique voice, rather than being a take on another classic fuzz design²
• Pedal of the Day called it an incredible box with tones unlike those of any pedal ever made, aimed at players looking for something non-traditional³
• GuitarPlayer's Art Thompson found that a blend of fuzz and drive character, with both knobs about halfway up, best suited his ears⁶

The common thread is that reviewers heard a pedal that does not clone a familiar circuit. For players comparing fuzzes, that is the practical difference: the Nichols 1966 is not another Fuzz Face, Tone Bender, or Big Muff variant, but its own 1966 design brought forward².

Videos

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Questions