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levels involving vacuum tube-amp overdrive feedback settings, these fundamental concepts of analog fuzz and overdrive frequencies in all characteristic subtleties of harmonics, feedback, equalization, saturation, sustain and resonance actually has no considerations with dimension-gamma-command perspectives in addressing the advancement of this energy-field "interference," for these subtle effects are necessarily a sonic "distortion" and not a "spatiotemporal" representation. Astonishingly, (apart from a continuing inquiry into precise, specific "v-z" circumstances "snow-noise modulation" and "snow-envelope" type overdrive fx agencies as the luminous nexus hallmark implies), this sonic continuum exists entirely differently from even the concept of an electronic distortion table index and even the slightest overdrive frequencies, although this speculation fx process promotes intense affinities in the "exacting science" of plectrum accuracy manipulation and control of electronic fuzz and overdrive in all distortion levels and frequencies, for example. A recommendation is suggested for an obscure analog "fuzz" circuit from year 1966 in England (and meticulous research will eventually find a copy of an original schematic of this unique circuit design) an idiosyncratic vintage "fuzzbox" with NKT213 germanium transistors: the "Burns Buzzaround." FinalNexusSpacetimeFxDevices observes this extremely rare "Buzzaround" as a singular way or criteria for different degrees of plectrum accuracy as a sonic distortion of an "interference energy," along with the equally obscure 1965 "Colorsound (Solasound) Tonebender" fuzz also with germanium "meltdown" transistors (Mullard OC75). See also "WEM (Watkins) Project V" 1969 with silicon transistors and the Ampeg Scramblerfuzz. The analog sector of this abstract speculation fx process can function specifically within the entire overdrive to fuzzy index of the distortion table including a vast array of vacuum tube-amp overdrive frequencies defined by the interaction of equalization, tone control and pickup settings involving sustain and feedback effectively with the characteristic harmonics and resonance identifying telecaster or stratocaster instruments, observing different degrees of plectrum accuracy manipulation of electronic overdrive to fuzz-distortion saturation as an independent "exacting science." All of these