![]() Almost all of them in one way or another. Unfortunately, I think it has to die down a little bit.ĭid any of the pedals that are available now come from the ideas for the custom work? The custom stuff is fun, but it’s always this weird balancing act because even though it says we don’t do custom pedals anymore on our website, we still probably get two or three emails a week inquiring about custom work. I think Trent Reznor bought all of our pedals at one point and I guess liked them, so he reached out us to do a filter that was suppose to be modeled off of an old mixing board that you can’t buy anymore or something. I think he emailed us, or maybe somebody that works for him did. I noticed that you also did some work for Trent Reznor. Some of the craziest stuff you guys have done, it seems has come from custom orders. It’s almost like you’re participating it this dialogue of art and craft. It was really cool to go through that experience designing it with him and then hearing it all over his records. We actually just did a custom design for John Dwyer from Thee Oh Sees’ which was a mod of our Fuzz War pedal because he wanted something that was a little more shrill and cutting. Friends of mine and people that are in bands that I love are putting in orders for them which is awesome. So I think that’s a big thing, we try to achieve that great sound, but really loud. We could never understand why some of the traditional fuzz pedals, especially the really great sounding vintage ones are actually pretty quiet. ![]() You can always turn it down, but that doesn’t really make sense to us. The one thing that I think is maybe a little bit different about us is that our shit is just really loud. I think maybe everybody in some way is trying to get more power, volume, and intensity out of their sound. I mean I really love it as well, but I probably couldn’t tell you why I even love it. I honestly can’t even tell you why people love Fuzz so much. Why is the demand so high for a Death By Audio Fuzz? You guys are probably best known for your Fuzz pedals. I don’t want to say it was effortless, but it did happen pretty organically and it allowed us to keep the space. So in order to pay rent we just kept having bands come and it worked. From that show we made enough money to complete the build out, but the guys who were going to move into the photo studio flaked out. We were going to build out rooms and then use the leftover space for a photo studio, in order to pay for that, we decided to throw a show. I was into it, and accidentally ended up starting a music venue. It’s weird, Death By Audio as a thing kind of came out of our relationship because I was working with Oli building pedals and then our landlord offered us the whole floor of the building we were living in. I eventually told Oli that he should just be designing stuff and that we should make it an actual company. It was a very made-to-order operation and totally disorganized. At that point, the company was: someone would place an order and we would have to build it from scratch. I ended up meeting him through a mutual friend and helping him. I guess fast forward a couple years and Oli was still kind of building pedals part time and occasionally doing odd jobs. He knew he could make this thing and probably sell a dozen of them to go on this trip, and that’s exactly what happened. The whole reason that he even came up with the idea for a pedal was because he wanted to go on a vacation to Europe with his girlfriend and he didn’t have any money. Matt Conboy: Our pedal company was started by Oliver Ackermann in around 2002. Noisey: How did Death By Audio come about?
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