Collision Devices Tars Black On White

From Black Hole Symmetry to TARS: Singularity in fuzz + filter version

Originating from the Collision Devices universe, the TARS incorporates the Singularity fuzz section derived from the flagship pedal Black Hole Symmetry, enriched with a gain control to broaden the saturation palette. The core concept remains the same: sounds flirting with synthesis, with a very "instrumental" approach where the pedal becomes a module you control as much as you play. To complement this fuzz, Collision Devices adds a low-pass filter inspired by the Korg MS-20 to transform the distortion into sonic material: sharper, more dynamic, more dramatic.

Who the TARS suits and in which styles it makes a difference

The TARS is aimed at guitarists, bassists, and texture experimenters looking to break new ground: noise, shoegaze, post-rock, stoner, electro, industrial, as well as any situation where a fuzz that "speaks" in the mix is desired. On guitar, it can range from a dirty, edgy drive to a thick fuzz that fills the space. On bass, the filter helps precisely select the frequency range to emphasize, and the resonance settings allow for creating almost synthetic accents. Connected to a synthesizer or drum machine, it becomes a sound design tool: sweeps, tension builds, synthetic "wah" effects, and deconstructed textures.

In the studio, the TARS is ideal for doubling a track, dirtying a monophonic line, or creating a filtered movement automatable via expression/CV. Live, it shines on a performance-oriented pedalboard: a well-placed CutOff sweep instantly takes you from a saturated riff to a filtered blast cutting through the band.

Controls and architecture: a fuzz sculpted like a synth filter

The fuzz section offers two essential controls: Gain (saturation level) and Master (output volume). The behavior ranges from a crackling, granular sound at low gain to a rounder, denser, and more powerful fuzz distortion when pushed. Then, the MS-20 style low-pass filter becomes the real control center: CutOff adjusts the cutoff frequency (from 15 Hz to 44 kHz ) and Res(onance) boosts energy around this frequency to achieve resonant peaks, aggressive accents, or synthetic vocalizations depending on the setting.

The LPF VOL control acts as a VCA, convenient for adjusting the filtered section's level without unbalancing your chain. The 2P/4P selector changes the filter slope: -12 dB per octave in 2P for smoother transitions, or -24 dB per octave in 4P for a more radical cutoff and more "synth-like" effects. The Add Fuzz switch adds an additional unfiltered fuzz to thicken, boost, and make the sound more massive. Finally, the S/P switch allows placing fuzz and filter in series (fuzz into filter) or in parallel (two paths combined), which completely changes how saturation shapes the mids.

The EXP/CV input is used to control the CutOff fader via expression pedal for hands-free sweeps. This kind of detail transforms the TARS into a performance instrument: you can "play" the filter like a controller, move from a dark pad to an acidic peak, or make a fuzz breathe rhythmically.

Sound

The TARS is a pedal with a strong personality: a fuzz that retains body and granularity, then a filter that either smooths and darkens or, conversely, creates sharp resonances that immediately cut through. In series, expect a very "synth fuzz" sound with colors ranging from dark velvet to unstable acid depending on CutOff and Res. In parallel, you get more width and definition, with the possibility to keep a solid fuzz base while adding filtered movement on top. The dynamics respond well to playing and instrument volume, but it is mainly the CutOff/Res pair that dictates the drama: subtle and textured at low resonance, or downright explosive when seeking the self-coloration point that makes the sound take off.

Technical specifications

Effects	Distortion / Overdrive / Fuzz	Type	sector
Technology	Analog	Use	electric guitar
Format	Pedal	Color	White
EQ	Filter

Manufacturing	Made in France	Output	6.35mm TS jack
Gain	fuzz saturation level	EXP/CV input	6.35mm jack (controls CutOff fader via expression pedal)
Master	output volume	Input impedance	1 MOhm
CutOff	low-pass filter cutoff frequency, from 15 Hz to 44 kHz	Output impedance	1 kOhm
Res(onance)	intensity around the cutoff frequency	Dimensions	120 x 90 x 55 mm
LPF VOL	VCA, volume of the filtered section	Weight	150 g
2P/4P selector	-12 dB per octave (2P) or -24 dB per octave (4P)	Power supply	9V DC, center negative
Add Fuzz selector	adds an additional unfiltered fuzz	Maximum consumption	150 mA
S/P selector	fuzz in filter (series) or parallel use	Battery operation	no
Input	6.35mm TS jack