Limited to 1500 units worldwide, Black Ash is a fuzz/overdrive that takes some cues from the vintage “three-knob Bender.” It uses a highly curated cache of rare and irreplaceable components including paper-in-oil capacitors and NOS half-watt carbon composition resistors from EQD President Jamie Stillman’s personal stash to light a fire under this classic fuzz/drive with an explosive-yet-detailed treble response, a sturdy midrange, and subterranean bass extension.
Musician's Friend has a daily deal going on for the Supro Fuzz guitar pedal. It's on sale for $79.99, more than half off its usual price tag of $199.99.
What if you combine the ruthless sustain of a silver box Big Muff with the harmonic signature of a Tone Bender MkII and the unrivaled touch dynamics of a germanium Fuzz Face? Would you get the ultimate vintage Fuzz pedal? Supro thinks so. The Supro Fuzz takes this "best-of-all-worlds" approach to old-school fuzz using an N.O.S. Germanium transistor in the first stage, followed by secondary, silicon-based gain and a dash of our special sauce to create a low-noise, high-gain fuzz box that will leave you deaf and breathless.
Whether you’re looking for a touch-sensitive, vintage 60's flavor or a full-on wall of modern sonic destruction, the Supro Fuzz delivers the goods while keeping your noise floor amazingly low. The Supro Fuzz pedal sports a simple control layout with Volume, Gain, Treble and Bass knobs. The independent EQ found on this pedal is drawn from the award-winning tone stack found in our flagship tube amplifiers, offering a huge range of adjustability without the frustrating limitations of a more traditional, one-knob EQ design. Both Bass and Treble controls are capable of cutting or boosting within their respective frequency bands, with each control designed to deliver the widest possible range of usable tones while remaining musical at all settings.
Taking the fuzz pedal one step further, the Supro Fuzz offers a TRS port for expression pedal control of the TREBLE knob. With the expression pedal in use, the on-board TREBLE knob sets the maximum value, allowing the musician to accentuate or tame the abundant high frequency content of the fuzz sound. All Supro pedals are assembled in Port Jefferson, NY, USA, featuring custom-tooled, anodized, brushed-aluminum enclosures, 9V battery or AC powered operation, rear-mounted metal jacks, easy-access side-mounted battery drawer and studio-friendly, noiseless (click-free) true-bypass switching.
Distortion, dirt, grit, grind, overdrive, fuzz, chunk — it goes by many names, comes in many flavors and they’re all good. Unfortunately, finding that sweet spot isn’t so easy with vintage pedals. You need to deal with noise, signal loss, tones that can change with battery life and even the temperature on stage. Some of those old Germanium-powered effects are more sensitive than a train-car of nitro.
Tech 21’s all-analog circuitry squeezes righteous, vintage tones out of every Boost Series pedal with modern dependability. Designed and built from the ground up utilizing the best individually-selected, hand-biased discreet components, each unit delivers optimized performance with studio-quiet operation. And we call them Boost pedals for a reason. Alongside a wealth of hot driven tones, there is a powerful boost function that delivers up to an incredible 21dB of clean boost, which can be used independently from the effect. It is a true post-boost, punching up the tone you dialed in, not smothering it in unwanted distortion. From the high-impedance input to the sweepable low-pass filter in the tone control, your tone will be open and controllable in every setting.
When you need a huge, 360-degree, room-filling bass tone, step up to the Bass Boost Fuzz. From the fat, gritty sounds of the ‘60s fuzz bass, to the subterranean growl of industrial metal, the Bass Boost Fuzz puts musical rage in your low-end. When you need more focus and edge, dial in the +CLEAN control to add just the right amount of direct tone to your mix.
Can we ask you a serious question? When’s the last time you turned up your favorite fuzz pedal to anything but eleven? If there’s one true thing about rock n’ roll, it’s that it sounds best cranked all the way up. But where do we go from here? We go one louder. Enter the Erupter.
The Erupter is the result of over two years’ worth of tone-chasing, tweaking, and experimentation in search of the ultimate classic fuzz tone with a big low end (but not too mushy), a biting top end without being too harsh, and just enough output to politely send a tube amp over the top.
We used every trick in the book to craft a classic fuzz Device that sounds good with any pickup type, anywhere in the chain (even before a wah pedal!) without any tone-sucking impedance mismatching. We build each Erupter with a buffered input section, transformer-based pickup simulation, new production 5% ½ watt carbon composition resistors, metallized polyester film capacitors, Sprague and BC electrolytic capacitors, and low-gain, hand-matched NOS silicon transistors to deliver a well-rounded and defined fuzz tone with just enough pummeling intensity, so you can rock n’ roll all night and still get to bed at a reasonable hour.
The Erupter’s simple control set stands in stark relief of its rigorous design process, and believe us, we tried everything. Adding controls, removing controls, measuring resistors, swapping transistors, trying different capacitor values, rolling dice, throwing darts at transformer spec sheets on the wall… Heck, we would have done William Burroughs-style circuit board cut-ups if we thought it would’ve worked. If it’s good enough for the Stones, it’s gotta be good enough for us, right?
Anywho, what we finally landed on is a super-simple single knob setup that allows you to bias the Erupter’s NOS silicon transistors for the perfect sound and feel, while still being touch responsive and cleaning up nicely when you roll back the guitar’s volume and tone controls.
Low “Bias” settings yield a rude, spongy fuzz tone with plenty of sag and a blossoming attack envelope that’s gated without entering “dying battery” territory. As the “Bias” control is increased, additional harmonics stack atop the input signal, producing a stiffer, more complex fuzz tone with a tighter response, increased output, and longer sustain. We had a custom center-detent pot made to fit the required resistance for the Erupter. When the Bias control is set at noon you will feel a little click. That means the pedal is perfectly biased to give the best possible fuzz tone.
The Erupter uses a fixed master output level and gain setting for the thickest fuzz possible and to push the full frequency range of the guitar out front when you kick it on. And we do hope you’ll kick it on often.
Each and every Erupter is built by the hands of real-life dream warriors in the foothills of Mt. Akron, Ohio.
The official demo is below, and more info is available on the official product page.
The Micro Dream is the Echo Dream stripped down to just the delay function. It's priced at $200.
The Evil Filter is priced at $380 and will ship in February.
Psycho HP/BP/LP filter.
When pushed to the limit it glitches out into octaves up, down, and insanity.
Has 2 really nasty fuzzes, one straight forward and powerful as heck - the other pushing and pulling with every chord.
CV/Expression in - slam the filter up and down in sync with an arpeggiating synth or control it with an expression pedal.
Sounds amazing with synth and guitar.
Brothers™ --- 100% Analog Signal Path --- Six independent Effects via Two Independent Channels (A & B) --- Stack A into B, Stack B into A, or Mix Channels in Parallel --- Save-able Presets (2 on board, 6 via “faves” switch, 122 via midi) --- 33 Different Routing Options, All Save-able with Knob Positions --- Channel A features JFET based Boost, OD, Fuzz (Designed in collaboration with Resonant Electronic Design™) --- Channel B features IC based Boost, OD, Fuzz (Designed by Chase Bliss Audio™) --- High Headroom, Super Clean Tonestack for Each Channel --- All Parameters Controllable by Expression / CV --- True Bypass or Buffered Bypass selectable by Dip Switch --- Momentary Engage / Kill Mode for Both Channels --- $349 – Release date March 20th --- Pre-order date February 20th --- “mini-doc” with history and sound clips of pedal linked here: https://www.youtube.com/watch?v=v-1I4v6PvvA
This is the story of how this pedal came into existence.
Boost. Drive. Fuzz. Not necessarily in that order.
Designed in collaboration with Resonant Electronic™, Brothers™ is built upon two independent JFET / IC analog channels comprising a total of six unique boost, drive, or fuzz circuits in one small enclosure. The pedal can be routed in thirty-three distinct ways, including mixing them in parallel or changing the order of the effects. As with every Chase Bliss pedal, you can save everything and recall presets instantly, on-the-fly either on the pedal or with MIDI. Every knob and switch is connected to a little digital brain while your guitar signal stays 100% analog the entire time and never gets digitally processed. Since the control of the effect is digital, it opens up unprecedented effects and features that have never been heard or offered in analog stompboxes.
The Tech 21 Bass Boost Fuzz is on sale today at Musician's Friend for $79, which is $70 off its usual price of $149.
It goes by many names, comes in many flavors and they’re all good. Unfortunately, finding that sweet spot isn’t so easy with vintage pedals. You need to deal with noise, signal loss, tones that can change with battery life and even the temperature on stage. Some of those old Germanium-powered effects are more sensitive than a train-car of nitro.
Tech 21’s all-analog circuitry squeezes righteous, vintage tones out of every Boost Series pedal with modern dependability. Designed and built from the ground up utilizing the best individually-selected, hand-biased discreet components, each unit delivers optimized performance with studio-quiet operation. And we call them Boost pedals for a reason. Alongside a wealth of hot driven tones, there is a powerful boost function that delivers up to an incredible 21dB of clean boost, which can be used independently from the effect. It is a true post-boost, punching up the tone you dialed in, not smothering it in unwanted distortion. From the high-impedance input to the sweepable low-pass filter in the tone control, your tone will be open and controllable in every setting.
When you need a huge, 360-degree, room-filling bass tone, step up to the Bass Boost Fuzz. From the fat, gritty sounds of the ‘60s fuzz bass, to the subterranean growl of industrial metal, the Bass Boost Fuzz puts musical rage in your low-end. When you need more focus and edge, dial in the +CLEAN control to add just the right amount of direct tone to your mix.
The DOD Carcosa Fuzz is a doorway into an alternate fuzz universe, where classic tones of legend coexist with splattered and shattered Pollack abstractions. Combining the Carcosa's wide-ranging AFTER bias control with two toggle positions creates tones that range from porcine fatness to dessicated shards. This versatility makes the Carcosa Fuzz a good companion for dirty or clean amps. True bypass, tons of output, and the visage of the King in Yellow sets the stage for fuzzy madness.
The DOD Carcosa Fuzz has an exaggerated mid-range and treble character that help it stand out in a mix. It has been designed to cut through a dense and heavy band but still have great note articulation with chords. However, when extreme bias (AFTER) ranges are selected many wild and over-the-top sounds are possible.
Pro Guitar Shop has a nice demo of Earthquaker's new dual fuzz pedal, the Spires. The Spires uses a footswitch to change between the green channel, inspired by the Rosac Electronics Nu-Fuzz, and the red channel, a silicon version of their now-discontinued Dream Crusher. It's expected to hit stores soon with a price tag of $195.
