As any true fuzz fanatic knows, every fuzz pedal sounds different. In the case of some models, like the vintage Fuzz Face, that can be literally the case, with every model offering its own subtle nuances. While we’re not about to do a Hendrix and audition a pile of the same fuzz, we’ve spent years chasing that perfect fuzz tone, setting us up perfectly to compile this guide to the best fuzz pedals.
The early days of fuzz were an arms race, with some designs lasting the course and becoming present day icons, while others crashed and burned. What this means is, whether you consider yourself a veteran fuzz freak or you’re just getting started in the world of filth, there are many flavors of fuzz to check out. This ranges from the violin sustain of the Big Muff, to the lysergic rush of the Fuzz Factory, the blown-out speaker joy of the Fuzz Face, or the unhinged screaming of the Supersonic Fuzz Gun. In this guide, we’ve pulled together just a few of the best fuzz pedals on the market today.
Table of Contents
Electro-Harmonix Op-amp Big Muff Pi Fuzz Pedal
- Iconic sound and vibe that’s coveted by guitarists
- Controls for Tone, Sustain and Volume, plus a Tone Bypass switch
- True bypass switching for maximum signal integrity in bypass mode
The standard Big Muff triad of Volume, Tone, and Sustain knobs are present on this nano-sized pedal, as well as a switch that bypasses the Tone knob. There’s a touch more coarseness to the sound than you’d get from a normal transistor-based Big Muff, an underlying gritty crunch that lends itself to grunge riffing and thick ‘n’ heavy chord work.
Fans of grunge and alternative rock have long admired the original 1970s EHX Op-Amp Big Muff for its distinctively harsh and biting fuzz style compared to transistor-based Muffs – as famously and devastatingly exploited by Billy Corgan on some of the Smashing Pumpkins’ biggest singles. EHX has now resurrected the pedal in a compact form, enlisting the help of Mr. Corgan to ensure that this new edition offers all of the classic 90s alt-rock sounds – and a lot more.
There are sweet spots in between the extremes, where you can use the tone knob to dial in the proper amount of edgy presence, or use the Tone Bypass to get straight to a no-nonsense sound that slices through the mix. Those looking for the classic Smashing Pumpkins tone will get it here, in a tiny pedal from the original manufacturer at a reasonable price.
Even if that’s not your cup of tea, you’ll discover a reliable source of edgy fuzzy distortion that lends itself to a wide range of heaviness. The Big Muff is not only a must-have for any pedalboard, but it’s also one of the best affordable fuzz pedals available. Bottom line, Electro-Harmonix Op-amp Big Muff Pi is one of the Best Fuzz Pedals.
Electro-Harmonix Big Muff Pi Guitar Effects Pedal
- Singing sustain with attitude
- Crushing distortion
- Adjustable tone
What best fuzz pedal list would be complete without the Electro-Harmonix Big Muff Pi, particularly with the new Tone and Wicker switches?
The Electro-Harmonix Big Muff Pi is the Best Fuzz Pedal, let alone one of the most well-known and adored fuzz pedals. It’s been around since 1969 and has undergone numerous alterations since then. The Electro-Harmonix Bass Big Muff Pi will be discussed later in this post.
This pedal is classified as a distortion/sustainer, but it’s more commonly referred to as a fuzz. This pedal creates a rich, creamy, violin-like sustain as well as remarkable fuzziness. It’s appeared on a slew of albums and can be found on pedalboards all across the world.
This beast has had a top-tier reputation since prior versions, and it continues to rule the charts because it keeps improving. The Tone and Sustain knob (essentially your distortion knob) still supports the same fuzz, but EHX has broadened the spectrum of sounds you can get out of these.
The Tone knob now has an on/off switch, allowing you to entirely bypass it and receive a full frequency spectrum fuzz if desired. Keep it engaged and roll the tone back for a warmer fuzz, but then turn on the Wicker switch to open up the high-end frequencies once more.
As a result of combining the two, you now have more control over the mids, which you may effectively scoop out if you prefer. Alternatively, keep both engaged for extra crispy and crunchy fuzz. Now you have a plethora of choices.
Z.VEX Fuzz Factory
- Sub switch with even more bottom end than the original Fuzz FactoryWorks...
The Fat Fuzz and Fuzz Factory 7, as well as a slew of additional models and tweaks, were all inspired by the ZVEX Fuzz Factory. Most fuzz pedals have no more than three knobs. This bad boy even has a Gate knob to assist muffle any noise from the high-gain effect once your sustain has run its course. There’s also a compressor that can keep the assault in your playing dynamics or squash them for a full-on big fuzz attack.
The Fuzz Factory is without a doubt the most well-known and acclaimed modern fuzz pedal, having been released in the 1960s and 1970s. This is a five-knob fuzz that uses two fresh old-stock ’60s germanium transistors and provides circuit manipulation unlike any other.
The drive knob is a classic “more or less distortion” knob. “Stability” is the meaning of the Stab knob. It regulates the amount of voltage that is provided. Turning it all the way to the right simulates the battery or power supply failing, while turning it all the way to the left simulates the battery or power supply failing.
You may use the voltage sag to create some fascinating effects, or you can ignore it entirely. It’s all up to you how insane you want to go! All of these elements work together to create a fresh classic that has already spawned variants, but none of them justify the increased price. The original is still available.
The Fuzz Factory is adaptable in a manner that other pedals aren’t, thanks to a combination of germanium transistors, feedback loops, and knobs that allow the operator to mis-bias the circuit inside. Do you want to lower the input voltage such that the pedal oscillates? Go ahead and do it. Is it possible to feed the output of one block back into another? Yes, of course!
As a result, attaining the sounds you desire requires careful juxtaposition of the pedal’s knobs, with squeals, howls, and feedback along the way — that said, this is a terrific fuzz pedal for sonic adventurers. The Fuzz Factory can also produce traditional harmonically rich fuzz, cool resonant droning feedback that can be tuned to pitch, and gated staccato lunacy. Yes, it’s a beast that needs to be tamed, but it has the broadest range of fuzz-derived sounds of any single stompbox. Even now, when there appear to be more pedal companies every day, the tiny Fuzz Factory has something basic, elegant, and thrillingly rebellious about it.
EarthQuaker Devices Hoof V2
- Fuzz Guitar Effects Pedal with Hybrid Germanium/Silicon Circuitry...
The EarthQuaker Devices Hoof has a lot of horsepower. The fact that each Hoof is fully analogue and handcrafted adds to its attractiveness. It uses a germanium/silicon hybrid circuitry, similar to a few others on the list, to give a high-quality vintage sound as well as a ripping modern fuzz. It all depends on how you adjust the knobs on this attractive, well-built chassis with real bypass switch.
With the Tone and Level knobs, there’s nothing new to say, but with the others, things get interesting. The Fuzz knob is a basic distortion knob for cranking up the gain to produce more of the effect. When used in conjunction with the Tone knob, the Shift knob is a fantastic addition.
If you want a more vintage sound, lower the Tone to obtain a warmer fuzz with less high-end, or leave it at the right to keep the high-end and keep the sound more modern. However, if you want a more modern sound, you can lower the Shift, which is a mid-contour. This means you can scoop or raise the mids for further warmth while keeping the highs the same. It’s up to you to keep the muck under control.
The Hoof has a limited quantity of coloration, which many people find appealing. It’s not completely translucent, but it’s also not completely coloured. It does, however, have an incredible amount of gain and volume. This is the signal you should use if you wish to completely destroy it.
JHS Muffuletta Fuzz Guitar Effects Pedal
- Crammed with 5 all analog recreations of classic Big Muff tones and a JHS...
- The JHS Muff is a take on the classic circuit that is more powerful and...
- The 73 Rams Head is best known for having a scooped mid range, less gain,...
Since more than 50 years ago, guitarists have utilized a variety of The Big Muffs. It can be challenging to decide which model of that storied pedal to buy at times. JHS’s Muffuletta is a tiny, user-friendly digital pedal that combines all of the fuzz effects from the Big Muff range.
The Muffuletta is possibly the most comprehensive pedal on this list, recreating six analog fuzz circuits in a single digital pedal. You would need to spend a lot of money and look all over the place for the appropriate pedals in order to create these 6 circuits. These recognizable fuzz tones have been faithfully recreated by JHS and are now accessible with the turn of a knob. The conventional 3-control configuration, which consists of volume, sustain, and control parameters, can then be used to modify these presets.
The Muffuletta comes with 6 fuzz circuits; what are they for? The Civil War setting comes first. This has a bright tone, spikes middle frequencies, and low gain. Second, we have the PI, possibly the most well-liked Big Muff circuit, with a ton of aggression. The 73 Rams Head, on the other hand, has a dark tone, low gain, and some midrange reductions. The Triangle comes next; it has a robust bass end and is articulate. The Russian is the sixth circuit, a classic fuzz tone that is purposefully chaotic. The JHS 2015 is our last option; it offers a ton of power, a ton of mid-range, and very little compression.
Guitarists that enjoy chopping and switching up their sound regularly throughout a set should give the JHS Muffuletta serious consideration. If you are familiar with effects pedals, it could alter your sound despite the fact that it offers so many options that it can get overwhelming. The JHS Muffuletta is a highly intricate fuzz pedal that combines 6 pedals into one. It’s fun to explore with the settings that this pedal offers, and it’s useful both on stage and in the studio.
EarthQuaker Devices Hoof V2 Germanium/Silicon Hybrid Fuzz Guitar Effects Pedal
- Fuzz Guitar Effects Pedal with Hybrid Germanium/Silicon Circuitry...
The EarthQuaker Devices Hoof has a lot of horsepower. The fact that each Hoof is fully analogue and handcrafted adds to its attractiveness. It uses a germanium transistors and silicon hybrid circuitry, similar to a few others on the list, to give a high-quality vintage sound as well as a ripping modern fuzz. It all depends on how you adjust the knobs on this attractive, well-built chassis with real bypass switch.
With the Tone and Level knobs, there’s nothing new to say, but with the others, things get interesting. The Fuzz knob is a basic distortion knob for cranking up the gain to produce more of the effect. When used in conjunction with the Tone knob, the Shift knob is a fantastic addition.
If you want a more vintage sound, lower the Tone to obtain a warmer fuzz with less high-end, or leave it at the right to keep the high-end and keep the sound more modern. However, if you want a more modern sound, you can lower the Shift, which is a mid-contour. This means you can scoop or raise the mids for further warmth while keeping the highs the same. It’s up to you to keep the muck under control.
The Hoof has a limited quantity of coloration, which many people find appealing. It’s not completely translucent, but it’s also not completely coloured. It does, however, have an incredible amount of gain and volume. This is the signal you should use if you wish to completely destroy it.
Wampler Velvet Fuzz V2 Guitar Effects Pedal
- Designed with all the character, power, and tone of a classic fuzz and with...
- Features two completely different clipping options, not just the basic...
- Capable of achieving those classic fuzz big tones that compress massively...
The goal with the Wampler Velvet Fuzz wasn’t just to produce a new distinctive fuzz sound; it was to compress a whole signal chain of sounds into one pedal, including some of the best alternatives available. Brian Wampler nailed it when he wanted this to sound like the top fuzzes pushed through a stacked EL34 tube amp. If you prefer the sounds of David Gilmour or Eric Johnson, then this could be the pedal for you.
There have been some very amazing examples of fuzz tone history, especially those generated by running a fuzz into a screaming stack, typified by their depth, ferocity, and smoothness. The Velvet Fuzz, a pedal that blends the best of vintage fuzz character, power, and tone with the sound of an EL34-powered stack, is based on this concept.
You’ve got your standard Volume, Fuzz, and Tone controls (with the tone labelled as Brightness). There’s also a switch to toggle between ‘Big’ and ‘Tight.’ On the Tight preset, keep the Fuzz knob turned down to get just a trace of dirt, or move to Big and turn the Fuzz all the way to get some insanely forceful clipping. You can potentially land somewhere in the middle. Because of the Big / Tight switch, this pedal has a lot of versatility.
Big creates a rich and black fuzz reminiscent of the 1960s and 1970s. Tight transports you to a world of brighter sounds with more clarity, which we’ve learned to enjoy in the modern era. Of course, the Brightness knob in the mix allows you to create your own unique sound. It’s been said that if you enjoy Eric Johnson’s sound, you’ll love this pedal.
Death by Audio Fuzz War Pedal w/ Power Supply
- VOLUME - (The little ramp graphic) Controls the overall output volume of...
- FUZZ - Controls the drive or gain of the fuzz circuit. At it's lowest...
- TONE - A specially designed multi-curve shaping filter which changes the...
Death By Audio’s Fuzz War pedal keeps things simple while also improving them. This pedal creates a huge distortion while allowing your original notes to reverberate. You can also use additional fuzz to obliterate them.
When you name your pedal Fuzz War, you’re sending a message to the world that you’re not playing around. And it takes no prisoners as soon as you put in Death By Audio’s work. In this three-knob box of dirt, there’s no room for nuance or subtlety; instead, you get a bludgeoning bombardment of wonderful noise.
However, it’s still a versatile beast. Every small adjustment to the knobs throws you into a new universe of aural rage. Sure, it’s not the most courteous pedal out there, but if you’ve had your fill of classic, low-gain fuzzes and just want to blow some air around, the Fuzz War will win any war you throw at it.
Your volume control is the tiny knob with the horizontal ramp below it. The Fuzz knob is where things get very interesting. When you flip the knob completely counter-clockwise, you’re effectively turned off. The Tone knob can still be used as an EQ, and the volume can be used as a boost. As you turn the knob clockwise, you’ll progress from overdrive to standard and thick distortion, and finally to joining the ranks of the fuzz war’s guitar soldiers.
The Tone knob on this guitar is also unique. Instead of a traditional high-frequency roll-off, it’s referred to as a “multi-curve shaping filter” here. It performs the same functions as standard Tone knobs, but it also alters the timbre of the signal to help emphasise the bass, mids, or highs, depending on where you place it. This is a beautiful and high-quality pedal that has quickly risen to the top of the fuzz game. If you’re feeling adventurous, give it a shot.
Way Huge Swollen Pickle Jumbo Fuzz MKIIs Guitar Effects Pedal (WHE401S)
- Smaller, more pedalboard-friendly housing
- Take your signal from mild crunch to high gain Armageddon
- Scoop, Crunch, and internal Voice and Clip controls for fine-tuning fuzz...
Despite the fact that the Swollen Pickle has an IC on the board instead of discrete transistors, the IC is only a transistor package, making it a version of the standard Big Muff rather than the op-amp Big Muff, as some suppose. The Swollen Pickle offers more tone adjusting choices than nearly any Big Muff-like pedal on the market, with to high-quality components, a buttery-smooth footswitch, controls for scooping the mids and modifying the voicing, as well as a handful of internal trimpots for extra tinkering.
Jim Dunlop FFM2 Germanium Fuzz Face Mini Distortion
- Based on mid '60s Fuzz Faces with slightly mismatched germanium transistors
- Legendary Fuzz Face tones in a pedalboard-friendly housing
- Status LED, AC power jack & battery door
The distinctive’smiley face’ Fuzz Face pedal has been in manufacturing since the 1960s, despite being out of production at times. It’s prized for its ability to go from moderate, bluesy grit to all-out fuzz and its responsiveness to the guitar volume knob.
The first units used germanium transistors, which were Jimi Hendrix’s favorite. The majority of reissues have been silicon, however Dunlop – the current producers – has lately issued a slew of reissues and miniature versions using germanium transistors, which are true to the Fuzz Face’s original sound.
Old Blood Noise Endeavors Haunt Fuzz Pedal
- 9VDC - 2.1mm negative center pin adapter.
- 20 mA draw.
Brady Smith’s Little Axe Effects label manufactured a handful of copies of a gated fuzz called the Gatekeeper before launching OBNE. Based on the Gatekeeper’s sound snippets available, it appears that a tuned and perfected version of this pedal went on to become the Haunt, one of OBNE’s earliest pedals.
We’re not sure what the specific topology of the Haunt is because it’s a circuit from a lesser maker. We do know that it’s transistor-based, and as a result, it’s presumably in the extended family tree of the Big Muff or Tonebender. Regardless matter what’s behind the hood, the Haunt is a versatile pedal with plenty of crazy to go around if you really want to get crazy. If you want even more control over your fuzz tone, OBNE recently released the Alpha Haunt, which has a parallel ‘enhance’ circuit and a three-band active EQ with sliding knobs.
Walrus Audio Janus Fuzz Pedal
- Dual Joysticks w/ 3-way Toggle
- Independent Volume Controls, Blend Control
- Mode SwitchBass Boost Switch
The Walrus Audio Janus isn’t exactly a fuzz, but it’s close. It’s a fuzz and a tremolo, with some of each’s characteristics controlled via joystick. The joystick controls the fuzz intensity and tone on the fuzz side, and the depth and pace of the tremolo on the tremolo side.
The joysticks are unexpectedly handy for studio use or experimentation, such as producing strange effects while re-amping or having a bandmate adjust the controls while you play. We’ve seen some players set up the Janus on a table or on a music stand for live use, and if you’re also a keyboard player, it could be helpful for that as well, where you could just slap it on top of your synth. The fuzz section of the pedal is a Walrus Jupiter, which is a Big Muff-based fuzz featuring switches for changing the bass response and clipping possibilities. The Jupiter is a well-modified Big Muff on its own, but it’s with the Janus that it really shines.
Electro-Harmonix Nano Big Muff Guitar Distortion Effects Pedal
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Volume, Tone, and Sustain knobs, as well as a strong stomp-switch, are all on the EHX Nano Big Muff Pi. Unlike the original, which is a huge pedal that takes up a lot of space on the pedalboard, the Nano Big Muff Pi is a compact pedal that only requires 9V of power to work (if you want to use a 9V battery, simply unscrew the bottom plate). The pedal’s construction is sturdy, and it’s true-bypass, so it won’t interfere with the guitar’s natural tone when it’s turned off.
So, what exactly does the trio of knobs do? To moderate the Big Muff’s massive fuzz sound, turn down the Volume knob, or use it to push your sound over the level of your amp. The Tone knob alters the brightness dramatically. Setting it to the lowest setting darkens the tone and adds bass, practically giving it a low-fi growl (while maintaining great sustain). We prefer to use the tone knob when playing chords to introduce harmonics that make chords sound relatively clear and defined (or as defined as feasible considering the Big Muff’s purpose). When playing with other musicians, the Tone control ensures that you don’t get lost in the mix.
The Sustain knob, last but not least, allows you to modify the amount of sustain and distortion. Actually, it’s worth noting that the Big Muff Pie has a ton of sustain, which means your notes will ring on and on for a David Gilmour sound. While a lot relies on your instrument and amp configuration, regardless of how the knobs are set, it’s unmistakably the iconic Big Muff sound. Listen to Rocket – Big Muff by The Smashing Pumpkins all the way through. In fact, for lovers of Billy Corgan and The Smashing Pumpkins, this pedal is critical to achieving that tone.
The Big Muff will sound neat and lo-fi if you roll the Sustain all the way back, maintain the Tone around 1 or 2 o’clock, and give it some volume. When the Sustain reaches 9 o’clock, things start to get exciting. The results you get from your Big Muff will be affected by the pickups in your instrument. In comparison to humbuckers, single coils will surely bring out more clarity in the pedal. In comparison to a Les Paul, we like the tone of a Strat/Tele through the Big Muff. However, if massive, thick fuzz is your style, matching humbuckers with it will not disappoint. Rolling back the volume on your guitar cleans up the sound while yet retaining the vocal sustain.