The great thing about Volture is that it’s not our day job. It’s our daydream job.

So we may be casually doing our day job stuff and daydreaming about trying a new technique, getting inspired from something we read or see, and then transferring those experiences to a new, one of a kind, guitar pedal/work of art. And the great thing about being two different types of creator means that some days we’ll end up splashing glitter on a pedal, and other days we’ll set the pedal on fire. Not the kind of process you’d find in an assembly line at a factory, right?

Let’s talk about making things pretty, or pretty cool.

There are a few techniques we employ on a semi-regular basis. Patrícia usually paints freehand, with Posca markers, acrylic paints and brushes, or even gel ballpoint pens. André really enjoys using old flea market finds to give tridimensionality to the builds, or using a Japanese technique called suminagashi, where the pedals are dipped in water with the paint floating about. Waterslide transfers of patterns are another technique we’re quite fond of, but the really interesting thing about the creative process is that we’re always looking for the next, new, exciting thing to play with when building a pedal.

Let’s talk about stuff. Like, what stuff are pedals made of.

The first Volture pedals were made out of wood. Yup, read that right. All wood, and not a solid chunk of it, either. But then practicality stepped in, and our pedals are now made with wood. And metal. Sometimes seashells and cork and rocks find their way into the build. Whatever material it is, whether it’s a standard 1590 enclosure or something that is cut and bent from zero, it’s always done by hand, one at the time. That means every bit of it is sanded, drilled, painted, set on fire, and so on, by hand, on a basement, in Portugal. Look mass made in the dictionary. It’s not us.

What’s that noise?

Fuzz is great. It’s entropy in a sound wave, it’s not your cousin that studies Greek Philosophy, it’s your crazy uncle who crashes at your place and clogs up the toilet. So fuzz was the first effect that we made, and Uncle Fuzz never left, we just fix the toilet in different ways every once in a while. That means Volture has “a” kind of fuzz, but it’s not always the same fuzz. Just like Volture’s overdrive pedals, or dirt pedals, or fuzz and tremolo pedals, or drive and boost pedals… the point is that the circuits usually get tweaked and changed every time, so the probability of finding the exact same circuit, same sound in two of Volture’s pedals is has big as finding Uncle Fuzz sober, reading a book.

The great thing about Volture is that it’s not our day job. It’s our daydream job.

So we may be casually doing our day job stuff and daydreaming about trying a new technique, getting inspired from something we read or see, and then transferring those experiences to a new, one of a kind, guitar pedal/work of art. And the great thing about being two different types of creator means that some days we’ll end up splashing glitter on a pedal, and other days we’ll set the pedal on fire. Not the kind of process you’d find in an assembly line at a factory, right?

Let’s talk about making things pretty, or pretty cool.

There are a few techniques we employ on a semi-regular basis. Patrícia usually paints freehand, with Posca markers, acrylic paints and brushes, or even gel ballpoint pens. André really enjoys using old flea market finds to give tridimensionality to the builds, or using a Japanese technique called suminagashi, where the pedals are dipped in water with the paint floating about. Waterslide transfers of patterns are another technique we’re quite fond of, but the really interesting thing about the creative process is that we’re always looking for the next, new, exciting thing to play with when building a pedal.

Let’s talk about stuff. Like, what stuff are pedals made of.

The first Volture pedals were made out of wood. Yup, read that right. All wood, and not a solid chunk of it, either. But then practicality stepped in, and our pedals are now made with wood. And metal. Sometimes seashells and cork and rocks find their way into the build. Whatever material it is, whether it’s a standard 1590 enclosure or something that is cut and bent from zero, it’s always done by hand, one at the time. That means every bit of it is sanded, drilled, painted, set on fire, and so on, by hand, on a basement, in Portugal. Look mass made in the dictionary. It’s not us.

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