The Flatiron Fuzz is a classic op-amp powered fuzz/distortion. With its late ‘70s style circuit and symmetrical hard clipping, it’s EHX’s take on the RAT2™ pedal, only we think it’s better. The Flatiron Fuzz is extremely versatile. At lower drive settings it remains fairly clean and adds a pleasing mild distortion. As the drive is turned up it transports you to a world of arena rock and produces spectacular, thick, meaty tones. - Classic op-amp powered fuzz/distortion - Delivers symmetrical hard clipping - As you turn down your guitar volume, it cleans up, but not all the way - Unique Filter control - Compact, pedalboard friendly design - Features True Bypass for maximum signal path integrity in bypass mode - 9-Volt battery included, also accepts optional EHX 9.6VDC-200mA power supply - Current Draw: 5mA @ 9VDC - Dimensions in inches: 2.75(w) x 4.5(l) x 2(h) - Dimensions in mm: 70(w) x 115(l) x 51(h)
The Nano Big Muff Pi works and sounds identical in every way to our classic NYC Big Muff Pi.
No one cares more about tone than Eric Johnson, and his choice for getting sweet, singing lead tones is the Eric Johnson Signature Fuzz Face. EJ worked closely with Fuzz Face guru Jeorge Tripps to create his signature pedal. It is inspired by EJ’s prized personal Fuzz Faces and is built to his incredibly strict specifications, featuring hand-selected BC183 silicon transistors (for higher gain), custom repro ’68-’69 knobs, and a vintage-style hammertone finish. The result: a beautifully dynamic, expressive, and powerful pedal. “I first heard the Fuzz Face when I was about 12 and loved playing through it,” he says. “It’s the classic tone used by Jimi Hendrix, one of my greatest influences. No other pedal gets this type of sound. It’s the pinnacle of psychedelic fuzz.”
From JHS: Long ago in a mysterious time that we call the 1990's, a new pedal company was created in England. Its ideas were off the beaten path, and its sounds were otherworldly. Despite existing only a few short years, these creations became the things of legend and one product in particular cast the biggest shadow. With such artists as The Edge (U2), Jimmy Page, Radiohead, Kevin Sheilds (My Bloody Valentine), Jeff Tweedy (Wilco), Gary Moore, and many others using the out-of-production units, their Used market prices have begun to rise more and more, sometimes into the $800 range. The Cheese Ball is our faithful and extremely accurate recreation of the original circuit, it is a tribute to one of the most fascinating brands and circuits of all time! The Cheese Ball has your standard Volume, Gain, and Tone knobs found on most distortion fuzz boxes, but comes with an extra mode selector knob that gives you four different overall tone and gain selections. In the “off” position, the Tone knob is disengaged, giving you a bright and trashy fuzz/distortion sound. In the “1” position you have a mid-scooped sound that will give you a Big Muff style buzz for a rounded sound reminiscent of fine mozzarella that sits just right on your pizza but doesn’t get in the way. The “2” position is a mid-boost sound that will cut through a mix like a hot knife through Velveeta. Finally, the “3” position gives you a biting, gated fuzz tone that, when cranked, spits, spats, and bites like gorgonzola naturale. The JHS Cheese Ball is our homage to one of the most excellent fuzz/distortion pedals ever created. Rediscover the finest aged cheese in the pedal world.
Loosely based on the vintage Foxx Tone Machine, the Orange Fur Coat Fuzz takes its inspiration from the great fuzz pedals of the 70’s. The Fur Coat gives you a fully controllable octave fuzz pedal. Separate switches mean you can choose between Fuzz or Octave Fuzz. The controllable Octave up fuzz means you can bring in the fuzz to whatever level you need and the EQ allows you to boost your Treble or Bass. This truly is a fuzz you control. This is our only True Bypass pedal. This is because a Fuzz is better at the beginning of the chain where it interacts directly with your guitar. Placing the pedal further into your signal chain will give the fuzz a more distorted tone.
Now in an MXR mini housing, the Classic 108 Fuzz gives you all the same vintage fuzz tones in a much smaller footprint. Like its larger predecessor, it’s loaded with the silicon BC-108 transistor for a round and dirty crunch. This Classic 108 Fuzz also has the same no-nonsense control interface—just crank the Volume and Fuzz controls to your liking and start riffing. Use the Buffer switch on the side to make the fuzz play nice with wah pedals. Packs vintage fuzz tones into a pedalboard-friendly MXR mini housing Silicon BC-108 transistor yields a round, dirty crunch reminiscent of a classic Fuzz Face No-nonsense interface with easy-to-dial-in Output and Fuzz knobs Buffer switch eliminates the high-frequency suck and oscillation caused by some wah pedals True bypass switching keeps your tone intact when the pedal isn't in use
Ultimate Fuzz Tone 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. Controls Bias: This control has a center detent for the "perfect" fuzz setting. When in the center position, the tone will be big and round with a slight volume boost and great sustain. As you turn this counter clockwise it becomes more gated with lower output. As you turn this clockwise it becomes louder and more refined. Measures 4.75″ x 2.50″ x. 2.25″ with knob Power The Erupter can be powered by a 9v battery or a standard 9-volt DC power supply with a 2.1 mm negative center barrel. We always recommend pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. Do not run at higher voltages! Current draw is 15 mA. Input impedance: 500K Output impedance: >1K Switching This device is true bypass and uses electronic relay based switching. Audio will not pass without power.
EHX is commemorating their 50th Anniversary with the re-release of Triangle Big Buff V1, the very first Big Muff. The new Triangle Big Muff is a faithful re-creation of the original circa 1969 circuit now housed in a pedalboard friendly, die-cast chassis. With a nod to modern convenience, the Triangle Big Muff features an LED to indicate effect status, true bypass switching, and the option of being powered by a 9-volt AC adapter. Quick Specs The authentic V1 Triangle Big Muff reissued in a nano-sized chassis Effect status LED True bypass Vintage look and graphics Comes with a 9V battery, also accepts an optional EHX 9.6DC200mA PSU
So, what IS the story on Wave Cannon® version 2.0, or as we’ve decided to call it, the Wave Cannon MKII Superdistorter? The long story short is that this thing is an unrepentant, unapologetic distortion pedal that is totally nasty and fun. This Cannon comes pre-loaded with balls (pun alert!) and is capable of going from cranked, lightly dirty amp tones to the sound of a furry Godzilla devouring a junkyard full of broken a/c window units. It’s different than the original, which was based on the classic ’70s fuzzstortions we grew up playing. It’s different from our Haymaker™, which is a wide range drive pedal based around the rotation of a clipping network into different locations in the circuit, and which is intended to respond and feel like an extension of your amp. This pedal is really about rocking your socks off. While it can do some extremely cool mild-to-medium crunch tones, Wave Cannon II is really capable of overwhelming your amp. The focus (mids) and tone controls are different from what we’ve done before and can give you a really broad range of textures and voicings. There is a LOT of gain and volume on tap, as we’d been infuriated in the past by great sounding classic distortion pedals we’ve owned that didn’t go far enough with clean amps, or were quieter than unity gain or the bypass signal. The rumble switch allows more low end if you want it, or lets you tighten things up if you don’t need it.
When the opportunity to work with StuG came about (legendary guitarist, writer, producer, and founding member of UK band Delirious) we couldn’t pass it up. Right out of the gate Stu G wanted a dirt box that could essentially cover any-and-all ground he needed for his studio work and extensive touring gigs. From that request the Kilt was born, and for the V2 we have refined it to be a compact and versatile tone-machine. The Kilt V2 still has the fantastic circuit at the heart of the version one: a heavily tweaked Expandora style dirt box that gives you more tonal options than you might ever be able to use. We use a specifically chosen op-amplifier that offers super low noise, improved slew rate for a smoother structure, and a character that just feels better than the original Expandora. Then there are three toggles that enhance the tweak-ability even further. The cut/flat toggle gives you the option to cut the low end frequencies to better sit in the mix. When in the “flat” position, the bass response is much beefier than the original Expandora for those heavy guitar riffs or bass grit. The G1 and G2 toggles let you select various forms of distortion via select resistance values that switch in and out in the clipping section of the circuit. This method is very different than your normal diode clipping selectors that you commonly see on drive pedals. This gives you multiple configurations and tonal options, helping the Kilt V2 cover light transparent drive all the way to a wall of fat fuzz/distortion and everything found in-between. When both toggles are down, you are in the lightest gain setting. Amp-like chimey breakup. G1 flipped up adds a touch of drive for more riffy grit. G2 flipped up puts you almost into distortion land, with more saturation and sustain for lead tones. Both toggles flipped up sends the Kilt V2 into almost uncontrollable gated fuzz/distortion that will cut through anything. For the V2 we have added the ability to switch the G2 toggle with a Red Remote! This gives you the ability to flip into heavy overdrive or fuzz with a footswitch on the fly, making the V2 just as versatile as the V1 but more compact. So put on your Kilt and raise a pint to rock and roll!
The Super Badass Variac Fuzz is a dream come true for guitar players chasing vintage fuzz tone. This tasty fuzz is aggressive and biting, and with the twist of a knob, you can drag it into that dying battery territory much prized by tonechasers-no need to manage a collection of half-dead batteries. To create the Super Badass Variac Fuzz, the MXR design team dusted off a rare vintage silicon circuit, tuned it up, and added a Variac control so you can set the pedal's voltage anywhere from 5 to 15V. For that wonderful saggy fuzz effect you get as a 9V battery loses its power, just lower the voltage by turning the Variac knob counterclockwise. Increasing the voltage raises the effect's headroom, opening up the fuzz for a more transparent sound at 15V. The Super Badass Variac Fuzz's simple interface is rounded out with Tone, Output, and Gain controls, and it all comes in a road-ready housing with true bypass switching.
Well known for his breakout work in the Marvelous 3, as well as production credits that include Weezer, Taylor Swift, Katy Perry, Ryan Adams, and many more, Butch Walker is one of the most in-demand guys in the industry. Consequently, he’s also one of our favorites. So when he let us know that he had been using JHS pedals in session after session, we knew we had to work with him. Walker primarily gravitates toward the SuperBolt for the way it responds like an amp, but also feels like it is an extension of his amp. So we shoved one right into his new Ruby Red Signature 2-in-1 Overdrive/Fuzz/Boost. Then we added a 2-stage boost that can be placed before or after the overdrive circuit, opening up everything from a clean boost to punish your amplifier to wooly fuzz tones that will dominate your mix. Walker needs one pedal that can do everything in the easiest way possible. With the Ruby Red, he has one.
The Russian-Pickle Fuzz dishes out smooth, creamy fuzz tones with a clear midrange to cut through the mix and a fat bottom end that keeps your sound thick and full. With a no-nonsense interface featuring Volume, Tone, and Distortion controls, you can quickly dial in your sound and get to playing. Bass players, take note-this pedal has enough low end to tremble the earth. Whether you're going for '90s-era grunge, swinging stoner grooves, or raw two-piece garage rock riffage, the Russian-Pickle Fuzz is the perfect comrade for your pedalboard. INPUT IMPEDANCE 42 k OUTPUT IMPEDANCE 50 k O NOISE FLOOR -80 dB BYPASS True Hardwire Relay DIMENSIONS 5" x 3-1/4" x 2-1/2" WEIGHT 12.2oz CURRENT DRAW 1.8 mA POWER SUPPLY 9 volts DC not included
Octavix delivers the definitive late 1960’s fuzzed out, octave up sound together with modern enhancements that update the classic concept. Housed in EHX’s rugged nano package, the Octavix features Volume, Boost and Octave knobs. Volume regulates the output level of the pedal. Boost controls the amount of fuzztone and Octave adjusts the volume of the octave above. A mini-toggle lets the player select between 9 or 24 volt power rails and determines the power supply voltage for the entire circuit. At 9V the pedals behaves like the classic, saggy fuzz box. At 24V the Octavix delivers a tighter sound and a richer octave tone. True bypass ensures maximum signal path integrity. A period-evocative, psychedelic design and blue LED contribute to the pedal’s vintage vibe. Octavix runs on a 9 volt battery or accepts a standard EHX9.6DC power supply.
From JHS : In 1967 the legendary Mike Matthews started experimenting with circuits for the electric guitar, and by early 1969 he had created a circuit that has become one of the most legendary, collected and mythical pedals in the history of guitar effects. With 30+ versions made throughout its almost half a century lifetime, the Big Muff Distortion/Fuzz has personally pioneered the sounds of some of the biggest bands and musical movements in history. The Muffuletta is our tribute to the legend and story of one of the greatest pedals ever invented. Let’s take a look at what makes the Muffuletta the ultimate recreation of this circuit in a way that has never been done before. The heart of the Muffuletta is the fact that it replicates five (yes five) classic Big Muff circuits from years gone by as well as a new and original JHS version for a total of six Muff models. All executed without any digital signal processing or digital emulation. When you choose a model, you are achieving analog tone that uses real components and values found in the original units. We have selected our favorite classic versions from the pages of history and made them available in one small format pedal that is easy to understand, operate and do what it should do… replicate rare, expensive, mythical and sought after versions of this circuit with ease. Looking at the pedal, there are four controls: Volume, Tone, Sustain and Mode. The “Volume" control works just like any other volume control allowing you to adjust the overall output of the pedal to your taste. The “Tone” control lets you brighten or darken your overall tone. The “Sustain” control is best understood as a gain or distortion control as it gives more distortion to the circuit. The “Mode” control lets you choose from our six different versions of the Big Muff on the fly. Looking at the “Mode” control you will see six icons around the lower 50% of the knob. Let's take a look at each mode and why they made the cut to be in the ultimate Big Muff tribute. JHS - "2015" The JHS Muff is a JHS original take on the classic circuit. You will find this version more powerful, less compressed with a more haunting mid range. It is also the best for bass guitar. 73 Rams Head - “1973-1977 V2” The 73 Rams Head gets its name for the strange little elfin looking face that appears on the lower right corner of the pedal. Over the years people nicknamed this unit based on the fact that is looks somewhat like a lamb or animal. It is best known for having a scooped mid range, less gain and being overall darker. Famous users include David Gilmour (main Pink Floyd recordings), Ernie Isley (Eisly Brothers), and J. Mascis (Dinosaur Jr.) The Triangle - “1969-1970 V1” The Triangle Muff gets its name from the triangle arrangement of the knobs on the original unit. It is best known for having more low-end response and being more articulate. Famous users include Santana, David Gilmour's Pete Cornish made pedal boards, John Lennon, Kevin Shields (My Bloody Valentine), and possibly Jimi Hendrix. The Pi - “1977-1978 V3” The Pi Muff gets its name from the instantly recognizable red Pi symbol on the top. This is not to be confused with the later redesigned NYC version released much later in 2000. It is best known for a more aggressive sound. Famous users include Frank Zappa, Billy Corgan (Smashing Pumpkins), Jack White, The Edge (U2), Beck, and Pete Townsend (The Who). The Russian - "1999-2009 V8” The Russian Muff gets its name from the “Made in Russia” text found on the back. It is best known for having less clarity and less low end. Famous users include Dan Auerbach (Black Keys), Chris Wolstenholme (Muse), and Robin Finck (Nine Inch Nails). The Civil War - “1991-1993 V7” The Civil War Muff gets its name from the old style Civil War era font found on the enclosure as well as the navy and grey colors found on many. It is best known for having more mid range, brighter overall tone and less gain. Famous users include Thurston Moore (Sonic Youth), John Fogerty, Jeff Tweedy (Wilco), Mike Mills and Peter Buck (REM). The Big Muff has an amazing history and has been used by some of the most influential guitarists ever. Never before has there been a single pedal that gives you all these different eras of it’s tone. We are convinced that the Muffuletta can fit in anyone's rig who loves dirt, distortion and fuzz, and we think it will be hard for you to disagree once you plug it in and play. With a pedal so stuffed with tasty tones you will have a hard time needing anything else to curb your appetite. "I want to give a massive thank you to my good friend Jon Cusack and Cusack Music for helping this hefty idea be fully re
Guitar gods have used the cocked wah sound to create monster riffs that have earned a permanent place in the rock lexicon. That required finding the sweet spot in their wah pedal’s sweep. The Cock Fight lets you achieve that cool cocked wah sound without the wah pedal. Tune in the tone you want. Add the built-in distortion for more grind and growl, or switch to the Talking Wah mode for a stuck voice-box sound. If you plug in an expression pedal, you can sweep the Cock Fight for jaw dropping wah and the tone you want.
Finesse Bass distortion with a silky definition. A mild distortion especially suited for bass guitar. Hold the foundation with voodoo authority and a perfect dialog with your drummer.
Tone aficionados kept telling EHX’s Mike Matthews about a pedal that had achieved a lot of buzz because it was only obtainable at an exorbitant price. That pedal was the KLON CENTAUR. A believer in bringing great tools to starving musicians, Mike tasked his trusty team to create an affordable alternative, and that is how the SOUL FOOD was cooked up. The SOUL FOOD delivers transparent overdrive with great touch and response. Its circuitry features boosted power rails to provide abundant headroom and increased definition. Best of all, you don’t have to be a rock star to own one!
Long revered for its sweet singing tone and violin-like sustain, the classic three-knob Big Muff Pi has helped define the sound of rock guitar for over 40 years. Now, we’ve added some extras for those who crave more sound shaping control. Introducing the Deluxe Big Muff Pi. It delivers all the classic sounds of the original NYC Big Muff Pi, plus more.
The new Nano Bass Big Muff is the latest EHX bass guitar, effect pedal. It delivers that huge Bass Big Muff sound in a nano-sized package. With voicing inspired by the battle-tank green, Russian Big Muff and a classic Big Muff Pi layout of Sustain, Tone and Volume controls, it provides sounds ranging from a slight but satisfying grit to an over-the-top wall of bass fuzz.
Tone Garage captures the pure essence of analog in these compact effect units by pairing carefully selected components with a unique design philosophy. The TRIKE FUZZ octave pedal offers a unique tonal signature from Tone Garage’s all analog circuitry. Main features Discrete circuitry - the result of a relentless design philosophy True bypass design provides tonal confidence even when the effect is off Tough die-cast body that stands up to the rigors of the road A versatile octave fuzz that gives you up to three octaves at once Three different octave modes Uses a special diode with a response similar to a germanium diode
EHX re-creates the classic fuzztone pedal with the Satisfaction Fuzz, now updated with true bypass circuitry for optimum signal path integrity.
Fuzz / octave. Nasty fuzz from the 60's. From distinctive sounds to totally messy ring modulator.
Handmade unique sounding overdrive. Versatile from hard funk to heavy rock.
Handmade creamy distortion with a lot of sustain. Works perfectly with a guitar and even a synthetizer. Add some sugar and/or icing according to your taste!
Legendary Fuzz Face tones in a pedalboard-friendly housing