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The Collision Devices TARS DLXcarries the DNA of the original TARS: a powerful fuzzblock combined with resonant analog filterswith a distinctly "synth" character. While many fuzz pedals simply thicken the signal, the TARS DLX goes further: it treats your sound as a material to shape, with expressive cutoff sweeps, singing resonances, and saturation zones capable of ranging from subtle grain to noise explosion.
The major "DLX" difference lies in its control philosophy: the addition of a high pass filterallows you to work the upper part of the spectrum with the same precision as the lower. The result: clearer sounds, more sculpted textures, and a pedal that can serve as both a radical artistic effect and a sound sculpting tool in the studio.
The TARS DLX is aimed at guitarists and bassists who love pedals with strong personality, as well as electronic musicians seeking the feel of an analog filterunderfoot. It suits intermediate players (comfortable with "searching" for their sweet spot) as well as advanced users who build sounds more experimentally.
Style-wise, it feels at home in stoner, alternative rock, experimental metal, shoegaze, noise ambient, noise, but can also become a formidable weapon in electroor post-rockfor creating filtered build-ups, saturated drops, and ultra-lively transitions. Live, its ergonomics (notably the Crashfootswitch) facilitate on-the-fly interventions while standing. In the studio, it excels at texturing a take, creating filter movement, or transforming a bass/synth line into a granular layer.
The Fuzzsection revolves around Gain(gain structure), Master(overall volume), and Blast, which manages the amount of fuzz feedback when using the Crashfootswitch. Depending on your Gain setting, Blast can range from a sustain and harmonic boost to an auto-oscillationcapable of generating controlled notes and screams.
The filter section offers two analog MS-20 style stages: a Low Pass Filterwith CutOff(15 Hz to 44 kHz) and Resonance, complemented by a Filter Volumeacting as an output VCA. A 2p/4pselector changes the slope from -12 dB/octave to -24 dB/octave, allowing you to switch from gentler filtering to a more radical effect. The TARS DLX then adds a dedicated High Pass Filter(30 Hz to 22 kHz) with its own CutOffand Resonance, perfect for refining attack, removing intrusive lows, or creating razor-sharp "radio/telephone" textures.
Finally, the "Crispy" section adds routing and playing functions: Series/Parallel(placing the fuzz inside the filter or running fuzz and filters in parallel), filter selection controlled by Expression/CV(LPF or HPF), and an Add Fuzzfunction (long press on Crash) that adds an additional unfilteredfuzz signal. This blend can create a very musical phasing effect and emphasize or scoop certain frequencies depending on your cutoff positions.
The TARS DLX delivers a dense, granular fuzz with a very sensitive response to filter settings: it can sound massive and "velcro-like," but also surprisingly precise when tightening the spectrum. The MS-20 style resonances provide an expressive, almost vocal signature, ideal for saturated sweepsand ear-catching build-ups.
In series configuration, expect a very "sculpted" sound, perfect for making a line stand out in a mix. In parallel, you retain more raw material while adding filtered movement around it: excellent for sound walls, shoegaze textures, or synths that need to stay wide without losing their aggressiveness. With Crash, the pedal becomes an instrument in its own right: infinite sustain, controlled feedback, and borderline behaviors embraced by those who like to flirt with chaos.
