Fuzz

Already in a compact MXR housing, the Classic 108 Fuzz pedal provides you with all the vintage fuzz tones within a relatively tinier footprint. Similar to its bigger counterpart, the Classic 108 Fuzz is equipped with silicon bc-108 transistor for a dirty and round crunch. It also boasts a similar no-frills control layout—simply tweak the fuzz and volume controls to taste and begin riffing. You can utilize the buffer switch to make the fuzz play well with wah pedals.

Biting and aggressive, the Super Badass Variac Fuzz from MXR is a dream come true for guitarists seeking classic fuzz tone. By rolling a knob, you may drag it into that dying battery domain coveted by tone chasers—needless to manage a set of half-dead batteries. To build the Super Badass Variac Fuzz, the design team at MXR dusted off an elusive old-school silicon circuit, tuned it up, and incorporated a Variac knob so you can adjust its voltage from 5V to 15V.

Exploring an enormous range of sounds you can capture from a single fuzz circuit, the Alpha Haunt by Old Blood Noise Endeavors lets you dial in a variety of fuzz textures, from squashed sputters to wide open overdrives. You get control over compression, fuzz gain, tone, and bias to establish the base fuzz sound. It includes selectable fuzz range and tone control voices to give you more options. A parallel Enhance circuit with individual volume provides clarity and body, while an active three-band master EQ sculpts the output.

The Haunt from Old Blood Noise Endeavors is a gated fuzz capable of an extensive variety of fuzz sounds. It consists of Fuzz, Mix, Tone, Volume, and Gate knobs that you can use to summon different textures and character traits, from nuanced and restrained light fuzziness to biting and granular saw sounds. The Haunt also carries Bass and Mode toggle switches. Bass gives an extra low-end boost to your effected signal, while Mode changes between two silicon transistor combinations.

Budget guitar effects pedal brand Rowin’s LN-322 Frenzy is a fuzz pedal built to emulate the Hendrix-style fuzzed-out sound that characterized rock music in the late ‘60s and early ‘70s. It’s a versatile fuzz pedal that offers up a wide range of germanium-fueled fuzz tones , from subtle silky fuzz to full-on thick hairy nastiness. The tiny Frenzy comes with a full complement of Volume, Tone, and Fuzz dials and a two-way tone mode selector switch for precise tone shaping control.

Give your sound a creamy, richly textured crossover blues rock tone ripped straight from the late ‘60s and early ‘70s with the LEF-306 Fuzz pedal from budget guitar effects pedal manufacturer Rowin. This little green box is a lean, mean fuzz machine with an intuitive control layout consisting of dedicated Volume, Tone, and Sustain knobs. The LEF-306 Fuzz packs quite the big, hairy fuzz punch despite its compact, pedalboard-friendly enclosure and very affordable price tag.

Budget guitar effects pedal brand Rowin’s LEF-322 G-FUZZ is essentially the slightly bigger version of the bite-sized LN-322 Frenzy. It packs the same Hendrix-style fuzzed-out sound that characterized rock music in the late ‘60s and early ‘70 and can emulate a wide range of germanium-fueled fuzz tones, from subtle silky fuzz to full-on thick hairy nastiness. A full complement of Volume, Tone, and Fuzz dials and a two-way tone mode selector switch provide precise tone shaping control.

The Arena Fuzz by Sabbadius Custom Pedal Effects is a roar fuzz that plays arena class sound. It features a true bypass mechanical switch and allows you to play heavy bass like big muff as well as rough high tone. It comes in a red enclosure consists of white knobs. Each Arena Fuzz pedal has been handcrafted in Argentina by Sabbadius. Sabbadius is popular for its Mr. White booster, Texas Red Fuzz, 80 Overdrive Tone, and the Triple Trouble which packs the first three pedals.

The Oct-Up Fuzz Tone pedal by Sabbadius Custom Pedal Effects comes in a silkscreened designed enclosure. Starting on the seventh fret, the sound is an octave higher than the original note. Roll your guitar’s tone control to a low position, and the notes are an octave higher and shine ultimately. Preferably, it should be positioned behind a fuzz, overdrive, or distortion pedal for a better octave and greater force. It is a Roger Mayer Octavia kind of pedal utilized by Stevie Ray Vaughan, Jimi Hendrix, Steve Vay, Joe Satriani, and several others.

The La Super Rica Fuzz by Seymour Duncan is a silicon-loaded fuzz with an extensive gain range and plenty of tone-sculpting potential. From aggressive and bright to musical and smooth, the La Super Rica is a flexible box. It consists of Mid Freq, Mid Lvl, Fuzz, and Volume controls. It also carries a three-way voice switch (Fat, Flat, Lean) that toggles between bass effects. A sweepable mid-frequency with a ±10dB level control tames the sting or unleashes the bite in your attack.

In 1971, the Big Muff Pi by Mike Matthews ignited a revolution in fuzz. Creamy, sustaining, and thick, yet refined and more amp-esque instead of buzzy. Skreddy’s 1971 pedal merges the exact elements of the vintage “triangle knob” BMP, like ceramic capacitors, 2N5133 transistors, and carbon comp resistors, into a design that has its gain pulled back slightly. It enables the distortion to preserve a balance of openness and tightness and a more amp-like vibe as opposed to a liquid fuzz character.

The Rust Rod pedal from Skreddy is a different take on the original rams head fuzz circuit. The tone is massive without an anemic mid scoop. Get thick fuzz with a mid-70s liquid response as well as an aggressive distortion. It sounds perfect on chords and riffs. It consists of Sustain, Tone and Volume knobs. Gooey and thick sustain and tone for days that sound incredible regardless of how you set the controls. The Rust Rod boasts a smooth vintage charm rather than a hot contemporary voice.

The Team Awesome Fuzz Machine by Smallsound/Bigsound has been designed for low-end heaviness featuring the capability to slice through a mix to maintain your guitar’s pick attack while yielding an extremely saturated fuzz tone or achieve a mild background fuzz behind your primary keyboard sound. The Team Awesome Fuzz Machine excels at flexibility and fitting in with virtually any instrument in just about any musical setting. The thick, gnarly fuzz is nicely complemented by a quite gritty clean blend that preserves the low end you need.

Whether you are into the vintage tones crafted at The Fillmore East back in ’69 or want the Grunge era’s more in-your-face, mid-scoped characteristics, the Rufus fuzz pedal from Suhr has you covered. It serves up an abundance of fuzz tone effects with the tactile response and dynamics of a tube amp. Press and hold the footswitch to change between Rufus’ two modes (fat and normal) in mid-performance. Configured for supreme versatility, the Rufus features a three-band EQ that lets you conveniently sculpt its tone without sacrificing your rig’s sound.

The Suhr Rufus Reloaded pedal serves up a broad arsenal of fuzz tones. For the Re|Loaded edition, Suhr has added an incredibly dynamic and tactile octave-up effect. It concentrated its development on building a powerful yet convenient to play octave-up, which responds evenly throughout your instrument’s pickup selections and the whole fingerboard—bringing the legendary Band of Gypsys tone at your fingertips. The Rufus Reloaded consists of controls for Mid, Bass, Level, and Fuzz, as well as a Treble toggle.

Imagine combining a silver box Big Muff’s ruthless sustain with the unparalleled touch dynamics of a germanium Fuzz Face and the harmonic signature of a Tone Bender MkII. Supro USA believes the outcome would be the ultimate vintage fuzz pedal. The Supro Fuzz leverages a best-of-all-worlds approach to vintage fuzz, employing a N.O.S. Germanium transistor in the initial stage, then secondary silicon-based gain and a drop of its special sauce to build an insane low-noise, high-gain fuzz box.