Collision Devices Tars Silver On White

From "Black Hole Symmetry" to Singularity: The Collision Devices DNA

The TARS is derived from the flagship Black Hole Symmetry model and carries forward the "controlled destruction" spirit of the Singularity fuzz, here enhanced with a true gain control. While some fuzz pedals offer only a narrow sweet spot, the TARS aims for a wider range: from a nervous, grainy, and unstable sound at low gain to a round, thick, and powerful fuzz/distortion when pushing saturation.

On this already radical base, Collision Devices grafts a synth-style low-pass filter inspired by the legendary MS-20, turning the pedal into a sound design tool: no longer just dirtying a signal, but sculpting it and making it "speak" in the mix.

For Whom, Which Styles, and In What Contexts?

The Collision Devices TARS is aimed at musicians who love characterful effects: guitarists in alternative rock, noise, shoegaze, stoner, industrial, but also bassists looking for a fuzz that retains body, and keyboardists/synth players wanting to regain the feel of an analog filter underfoot.

In live settings, it shines for "impact" moments: a riff that needs to cut through, a break that needs to twist, a lead that must scream without changing instruments. In the studio, the TARS becomes a texture generator: dirty doubles, filtered drones, transitions, sound design, or simple re-amping of a track to give it a more aggressive signature.

Its ergonomics encourage real-time playing: the faders invite manipulating the filter like on a synth, and the expression input allows for smooth wah-like movements but with a more "synth" identity and much more pronounced resonance.

Controls, Routing, and Playing Feel: A Fuzz That Can Be Sculpted

The fuzz section relies on two essential controls: Gain (saturation level) and Master (output volume). Gain adjusts harmonic density and compression, while Master facilitates integration on a pedalboard (unity level, boost, or compensation after filtering).

The MS-20 style low-pass filter is adjusted with CutOff (cutoff frequency, from 15 Hz to 44 kHz) and Res(onance) (accentuation around the cutoff frequency). In practice, resonance serves both to refine presence and to create more extreme effects: a more "vocal" sound, aggressive peaks, noisy textures, and spectacular sweeps.

The LPF VOL control acts as a dedicated filter volume (VCA type), useful for balancing the level when closing the CutOff strongly or when resonance emphasizes certain bands. Regarding character, the 2P/4P selector changes the filter slope: 2P (12 dB/octave) for smoother, more musical transitions, 4P (24 dB/octave) for sharper, more radical cuts, and a very pronounced "synth" vibe.

The TARS goes further with two structural options: the S/P switch allows placing the fuzz inside the filter (series) or running fuzz and filter in parallel to preserve unfiltered signal while adding a filtered layer. Finally, the Add Fuzz switch adds an extra unfiltered fuzz: ideal to regain bite, thicken a filtered sound, or provoke wilder interactions depending on settings.

The EXP/CV input allows controlling the CutOff fader via an expression pedal: perfect for turning the TARS into a performance filter, with precise rises, falls, and rhythmic accents without letting go of the instrument.

Sound Character

The Collision Devices TARS sits at the boundary between a fuzz pedal and a synth module. The fuzz offers a rich grain, loaded with harmonics, with a response that can range from granular crackling to a more compact and powerful saturation. It retains a real sense of materiality: the sound "sticks" to the playing, and dynamics are effectively modulated with Gain, Master, and right-hand attack.

The filter is the heart of the signature: opening the CutOff brings air and attack; closing it dives into darker, thicker textures, sometimes almost "sub" on certain sources. Resonance adds the sharp and expressive aspect: a simple sweep can turn a classic fuzz riff into a noisy/fuzzy texture that cuts through a wall of guitars, or into a dark electro/ambient-style filter movement.

In short: if you're looking for a "tame" fuzz, look elsewhere. If you want a fuzz that can become a full-fledged instrument, with a filter that sculpts, accentuates, and dramatizes every note, the TARS has that unique temperament made for sounds that take up space.

Technical specifications

Effects	Distortion / Overdrive / Fuzz, Distortion, Low Pass filter	Type	sector
Technology	Analog	Use	electric guitar
Format	Pedal	Color	White

Gain	fuzz saturation level	Output impedance	1 kOhm
Master	output volume	Audio input	6.35mm Jack
CutOff	filter cutoff frequency (15 Hz to 44 kHz)	Audio output	6.35mm Jack
Res(onance)	intensity around cutoff frequency	EXP/CV input	CutOff control via expression pedal
LPF VOL	filter volume (VCA type)	Dimensions	120 x 90 x 55 mm
2P/4P selector	12 dB/octave or 24 dB/octave	Weight	150 g
Add Fuzz selector	adds extra unfiltered fuzz	Finish	white enclosure, boutique-style controls and faders
S/P selector	series or parallel routing (fuzz and filter)	Required power supply	9V DC (center negative)
Input impedance	1 MOhm	Maximum consumption	150 mA