Zach  Januse / Fuzzed Drones

Fuzzed Drones Pedalboard 

Jeff O'Connor

Paying homage to the sacred bass rig embodied by Al Cisneros in the early days of OM, GIZA is a JFET emulation of a modified Green Matamp GT120 preamp combined with the hypnotic pairing of DOD 250 Overdrive and Boss DS-1 Distortion.

Does It Doom

Facebook Page

Product Page

Review by Doomed & Stoned

Official Product Video

Demo by Fuzzed Drones

Giza

David Graves

Der Witchfinder ist eine stark modifizierte Version der Boss FZ-2 Hyperfuzz. Im Vergleich zum Original wurde der 3-Wege-Mode-Schalter entfernt, ebenso der Boost-Modus. Fuzz 1 und Fuzz 2 wurden vereinfacht – statt eines festen Mitten-Cuts gibt es jetzt eine aktive Mittenregelung mit einem 3-fach umschaltbaren Mittenfrequenz-Schalter.

The Witchfinder is a highly modified version of the Boss FZ-2 Hyperfuzz. Compared to the original, the 3 way mode switch has been removed along with the Boost mode. Fuzz 1 and Fuzz 2 have been simplified where instead of a fixed mid-cut there is now an active mid range control with a 3-way center frequency toggle.

Magic Pedals

Demo by Dirty Demos

Demo by Does it Doom?

Witchfinder

QuickMount Type C

Pedalmontageplatte für große vertikale Pedale

Pedal Mounting Plate For Large Vertical Pedals

Tester

One of the best versions of the Ram's Head is the "Violet" version.

The overall tone of the pedal is very balanced from low to high and it has a ton of warm, smooth fuzz that make chords full while retaining string clarity. 
Lead tones are very smooth, punchy and warm. Harmonics jump out with very little effort.

Stomp Under Foot

Vintage 1975 Violet Ram's Head

ch ray

The Seabee is a multi-chorus pedal that delivers the finest analog bucket brigade chorus tones, but like any Beetronics, it goes a few steps further. By digitally controlling the chorus delay time, the Bees have created Harmochorus - a never-before-heard pitch shifting modulation that can certainly inspire new genres.
Three Chorus modes provide the classic, lush chorus and vibee sounds we all love, with each mode offering the ability to control the effect in different ways. Vary between two different speeds and/or depths, go from zero to full depth intensity, or even increase the chorus delay time for a whole new spectrum of sounds.
Three Harmochorus modes give you a unique and inspiring new approach to the effect. The easiest way to explain it's that, when clean, it sounds like angel bees are accompanying you, and when paired with some buzz, it sounds like a swarm of killer bees producing the most dangerous pitch shifting modulation are after you! You can choose between two different pitches and speeds, a combination of twelve chords and twelve different arpeggio patterns, or simply choose between thousands of random patterns.

Beetronics

Review by bonedo

Review by Guitar.com

Manual

Official Product Video 1

Official Product Video 2

Seabee Harmochorus

Esben Dyrhovden

If there were a Venn Diagram showing the overlap between ‘90s British shoegaze and ‘90s Swedish death metal, Jugendstil would feel right at home in the middle. The circuit starts with a simple, high-gain silicon fuzz section which cleans up extremely well and can even be used as a clean boost at low settings. That’s all well and good, but Jugendstil’s secret weapon is a fully maxed out HM-2 style EQ, labelled “loud” and wired as a parallel blend — use the loud control to blend in as much or as little of the HM-2 sound as you like!  The sweep control (labelled "focus" on these blemished units) controls the center frequency of the mid boost.  Set it around 1 o'clock for the classic HM-2 sound.  

God City Instruments

Official Website

Review by reddit /guitarpedals

Demo by AlphaDelta Recording Studios

Jugendstil

Deforming is a PT2399 based delay with an envelope controlled warp function.

We've all played a show where you get to the end of your set, click on your delay pedal, crank the feedback knob and manically twist the time knob for walls of time bending chaos.

The concept behind Deforming was to make that time knob manipulation possible without having to drop to your knees and put your hands on the pedal. Meaning you can keep playing while the delay signal bends and warps around your playing.

Deforming features an input preamp which can be driven hard to saturate the unit and emulate the preamps of old tape machines. This preamp control also helps you reduce the input volume to balance out the signal when driving the unit with loud dirt pedals.

The warping effect can range from subtle pitch wobbles for shoegazey chord movement through to all out warped chaos at the most extreme settings.

Holy Island Audio

Review by delicious audio

Demo by Fuzz Eater Gear Demos

Demo by Tunnel of Reverb

Deforming

EarthQuaker Devices

Time Shadows II DBA Edition

QuickMount Type B1

Pedal-Montageplatte für FRIEDMAN, KEELEY Halo, WAMPLER EQ, VelvetFuzz, WALRUS DeepSix, JULIA V2, 385 OD, Jupiter V2 und Mooer GL 100 Pedale

Pedal Mounting Plate for FRIEDMAN, KEELEY Halo, WAMPLER EQ, VelvetFuzz, WALRUS DeepSix, JULIA V2, 385 OD, Jupiter V2 and Mooer GL 100 pedals

Featuring the largest tuning display Peterson Tuners has ever incorporated into one of their pedal tuners, the StroboStomp HD boasts a high-definition, LCD screen that incorporates a variable color LED backlight. The user-selectable colors can be used to personalize the tuner or to increase display viewing quality in different levels of ambient lighting depending on the usage environment. The vibrant screen colors can also be assigned to stock or user presets to significantly reduce menu navigation time and increase on-stage tuning confidence at the gig.

Peterson

Review by Gitarre & Bass

Demo by The Time Preservation Society

Demo by EytschPi42

Demo by TalkingBass

Review by The Gear PAge

Review by TDPRI

StroboStomp HD

Paulo  Duarte

The M-EQ DRIVER is a Mid Booster & Drive pedal, based on a vintage Pultec® studio EQ. Still sought after today, these legendary passive EQs from the 1950s can be heard on thousands of hit records thanks to their highly musical, versatile EQ curves and the ability to overdrive their push-pull output stage. Rather than making an exact replica, we have chosen to reimagine this classic piece of studio gear as a guitar-oriented, compact pedal.

Craft the perfect mid boost, add some studio-inspired saturation or push the pedal’s valve-like output stage into fierce “cocked wah” distortion. With the addition of our Adaptive Circuitry, the M-EQ DRIVER is always responsive and precise, with a character all of its own.

Origin Effects

Demo by JayLeonardJ

Review by The Gear Page

Review by AMAZONA

Review by guitar pedal X

M-EQ DRIVER BLACK

RockBoard

ISO Power Block V10

Für 7-12 FX-Pedale, 1 MOD-Slot - **470 x 330 mm / 18.50" x 12.99"** - erhältlich mit Gig Bag oder Flight Case

For 7 - 12 FX pedals, 1 MOD slot - **470 x 330 mm / 18.50" x 12.99"** - available with Gig Bag or Flight Case

Basierend auf meiner Lieblingsversion des Ram's Head hat das Violet Menace einen zusätzlichen Mittenregler, der von einem gescoopten Ton bis hin zu einem Mittenbuckel reicht, um in einer Live-Situation zu helfen. Mit dem zusätzlichen Mittenregler hast du mehr Möglichkeiten, deinen eigenen Sound zu formen und zu kreieren. Der Gesamtsound des Violet Menace ist sehr ausgewogen mit einem weichen Fuzz, der viele Obertöne und Sustain hat. So erhält man druckvolle Akkorde und süße, singende Leads.

Based on my favorite version of the Ram's Head, the Violet Menace has an added mids control going from a scooped tone all the way up to a mid hump to help cut in a live situation. Adding the mids control allows you more options for shaping and creating your own sound.
The overall tone of the Violet Menace is very balanced with a smooth fuzz that has a lot of harmonics and sustain. This gives you punchy chords and sweet, singing leads.

Demo by Jack Fossett

Demo by Brett Kingman

Review by Talk Bass

Violet Menace version 1

Die Triangles von 1969 sind die allerersten Versionen des Big Muff. Ursprünglich wurden sie auf Perf-Board gebaut und es gibt mehrere verschiedene Versionen in dieser Serie. Ich bin durch alle verschiedenen Versionen gegangen, die ich die Möglichkeit hatte, zu verfolgen, und dieses ist mein Favorit. Diese frühen Pedale sind ein bisschen mehr geschöpft als spätere und sie wurden mit Teilen hergestellt, die nie wieder verwendet wurden. Der Gesamtsound des Pedals ist ziemlich ausgewogen, mit einem kleinen Extra an Bässen, und der Fuzz hat einen riesigen, knorrigen Sound mit einem lockeren Break-up im Fuzz in den unteren Saiten.

The 1969 Triangles are the very first versions of the Big Muff. Originally they were built on perf board and there are several different versions in this series. I have gone through all of the different versions I have had the opportunity to trace out and this one is my favorite. These early pedals are a bit more scooped than later ones and they are made with part values that were never used again. The overall tone of the pedal is pretty balanced with just a little extra low end throughout and the fuzz has a huge, gnarly sound with a loose break-up in the fuzz on the lower strings.

1969 Tri-Muff V1

This is what a muff is! My favorite version of the Triangle era fuzzes.

The biggest, meanest, grittiest and smoothest sounding Triangle.



Monstrous fuzz with a throaty, wooly, gritty break-up on the lower notes and a sweet, full, blooming, smooth fuzz on leads. The tone of the pedal is balanced with a little extra low end throughout that gives it a meaty fullness. 

Demo by gearmanndude

Demo by Tone Tailors

1970 Tri-Muff V1

Durch die Verwendung der gleichen Widerstände und Kondensatoren wie beim originalen Triangle hat das 1972er V6 einen grindigen, düsteren, wolligen Fuzz bei Akkorden und eine süße, cremige Weichheit bei Leads. Der Ton des Pedals hat ein straffes und volles Low-End und ein dickes und klares High-End. Die 1972er Pedale sind dafür bekannt, dass sie eine Menge Gain haben, was erstaunliche Obertöne erzeugt, die vom Griffbrett abspringen.

Using the same type of resistors and capacitors as an original Triangle, the 1972 V6 has a grindy, gritty, wooly fuzz on chords and a sweet, creamy smoothness on leads. The tone of the pedal yields a tight and full low-end with a thick and clear high-end. The 1972 pedals are known for having a lot of gain which produces amazing harmonics that jump off the fret-board.

Demo by Shawn Hatfield

1972 Tri-Muff V6

Vintage 1975 Violet Ram's Head von Stomp Under Foot