Collision Devices Tars DLX

A "deluxe" evolution of the fuzz-filter concept, designed for the MS-20 approach

The Collision Devices TARS DLX carries the DNA of the original TARS: a powerful fuzz block combined with resonant analog filters with 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 filter allows 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.

For which musicians and styles?

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 filter underfoot. 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 electro or post-rock for creating filtered build-ups, saturated drops, and ultra-lively transitions. Live, its ergonomics (notably the Crash footswitch) 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.

Controls, modes, and "performance" approach

The Fuzz section revolves around Gain (gain structure), Master (overall volume), and Blast, which manages the amount of fuzz feedback when using the Crash footswitch. Depending on your Gain setting, Blast can range from a sustain and harmonic boost to an auto-oscillation capable of generating controlled notes and screams.

The filter section offers two analog MS-20 style stages: a Low Pass Filter with CutOff (15 Hz to 44 kHz) and Resonance, complemented by a Filter Volume acting as an output VCA. A 2p/4p selector 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 CutOff and 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 Fuzz function (long press on Crash) that adds an additional unfiltered fuzz signal. This blend can create a very musical phasing effect and emphasize or scoop certain frequencies depending on your cutoff positions.

Sound

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 sweeps and 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.

Technical specifications

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

Gain	placed after the input buffer stage, followed by gain and silicon clipping stages	HPF CutOff	30 Hz to 22 kHz
Master	overall volume	HPF Resonance	intensity around cutoff frequency
Blast	fuzz feedback amount via Crash (can enter auto-oscillation depending on Gain)	Add Fuzz (long press on Crash)	adds an additional unfiltered fuzz, phasing effect and frequency variations depending on cutoff
LPF CutOff	15 Hz to 44 kHz	Series/Parallel Selector	fuzz inside filter or fuzz and filters in parallel
LPF Resonance	intensity around cutoff frequency	LPF/HPF Expression Selector	filter choice control
Filter Volume	VCA, filter output volume	Expression/CV	control linked to the selected filter's CutOff
2p/4p	slope -12 dB/octave (2p) or -24 dB/octave (4p)	Blast (short press on Crash)	fuzz feedback, possible note generation, auto-oscillation