JHS Pedals Coyote Fuzz

£119.00

This is a New JHS Pedals Coyote Fuzz from JHS Pedals is in our Fuzz Pedals category on Just Pedals. Read More below.

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The JHS Pedals Coyote Fuzz is a one-of-a-kind octave fuzz that doesnt follow the usual script. Rather than borrowing from the classic Octavia Super Fuzz or Tone Machine family tree it recreates the obscure Moonrock Fuzz by Glenn S. Wyllie – a rare experimental design built around an unconventional transformer setup. The result is a sound that moves from strange blooming textures to thick fuzz and snarling octave-up tones all from a single control with a feel and response that stands apart from the usual vintage-inspired fuzz crowd. That simple Swell / Fuzz / Octave knob is what makes the Coyote so addictive. Turn it down for a gated reverse-style bloom park it around noon for a rich chord-friendly fuzz or crank it for aggressive octave-up bite. It also cleans up brilliantly with your guitars volume control which is unusual for any fuzz and especially rare in an octave fuzz. Run it first in your chain and into a driven amp or overdrive and youve got a pedal thats expressive weird and packed with character for psychedelic riffs garage rock blues leads and full-on experimental noise.

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Brand

JHS Pedals

JHS Pedals grew from Josh Scott’s pedal-modification work in 2007 into a Kansas City effects maker. Scott’s first original designs followed in 2008; the Morning Glory began as his reinvention of the Marshall Bluesbreaker. The JustPedals catalogue carries the Morning Glory V4 and Muffuletta, along with practical tools such as the Little Black Buffer, Buffered Splitter and Little Black Amp Box. JHS describes its guitar pedals as made in Kansas City, USA. The range mixes original drive and fuzz designs with utility pedals, so the current listings show more than a single “boutique overdrive” identity.

Category

Fuzz Pedals

Fuzz drives the signal into extreme clipping, often flattening the waveform and generating a thick spectrum of harmonics. Transistor type, bias, input loading and tone filtering create markedly different responses, from loose and velvety to gated, spluttering or octave-rich. Some circuits interact strongly with pickup impedance and guitar volume, while others include buffers or blends for a more consistent response.