No two fuzz pedals are alike. That's true of the sheer diversity of pedals that bear the name 'fuzz', and historically was true even within a manufacturing run. Consider that the warm, smooth Fuzz Face, the legato, sustaining Big Muff, the lysergic Fuzz Factory, and the psychotically screaming Supersonic Fuzz Gun are all among the best fuzz pedals available. Perhaps only delay has the same breath as an effect.
With that in mind, it's natural to be confused by what's available. Well, don't worry, in this guide, I will show you some of the best fuzz pedals available on the market, and hopefully save you from having to sift through a pile of stompboxes. That said, spending an afternoon trying fuzz pedals is pretty much my idea of heaven.
Fuzz is my most loved effect. The Electro-Harmonix Big Muff Pi was the first pedal I purchased with my own money. Being a noisy shoegazer, it made complete sense. That was over two decades ago, and since then, I have worked in a guitar store helping others choose the ideal fuzz for their sound. I’ll rely on that experience to make my choices today.
So, it's no surprise that the EHX Big Muff Pi takes my top spot as the best fuzz overall. I'd also recommend Behringer SF300 Super Fuzz if you want a cheap, gnarly fuzz that a beginner can experiment with. On the other end of the scale, Death By Audio’s Supersonic Fuzz Gun is a boutique noise machine that can evoke fuzzy madness when you let it loose.
I have also included an in-depth FAQ section at the end of this guide, including a How to Choose section for those just entering the world of fuzz pedals, alongside a glossary highlighting all the key terms. So if you'd like to read more about the best fuzz pedals, click the link. If you'd rather get to the products, keep scrolling.
Best overall
✅ Buy if you want a wall of sound: Perfect for a face-melting punch à la Mayonnaise on Siamese Dream and so much more!
❌ Avoid if you want more mid-range: The scooped sound isn't for everyone.
If you’re looking for the definitive fuzz sound, look no further than the Electro-Harmonix Big Muff Pi. First released in 1969, it has spent over half a century defining the sound of alternative music, shaping the iconic tones of legends like David Gilmour, Billy Corgan, and J Mascis.
At its heart, the Big Muff Pi delivers an instantly recognizable, thick, and harmonically rich wall of sound. Its signature mid-scooped character and endless sustain make it a studio staple, ideal for both singing lead lines and crushing, saturated chords. While the scooped mids can sometimes feel lost in a dense mix, pairing the pedal with a mid-forward amplifier or a transparent overdrive can unlock a versatile, powerful palette of tones.
Operation is refreshingly simple. With just three intuitive knobs, Volume, Tone, and Sustain, you can dial in usable, legendary fuzz with zero fuss. While the enclosure is admittedly huge and a significant consumer of pedalboard real estate, its rugged build quality ensures it survives the rigors of the road. Some players might seek out smaller, boutique, or more feature-heavy variants, but for the purest, most iconic fuzz experience, the original Big Muff Pi remains the undisputed gold standard. If you want the tone that built rock history, this is the only place to start.
"If you think about it, the Big Muff Pi is kind of like the Godzilla of fuzz pedals. It’s huge, unstoppable, and has enough gain to level a city. Okay, sure, it takes up half your pedalboard, but with tone this good, who cares? If you want to sound like a guitar legend and don’t mind sacrificing space, I think the Muff’s atomic roar is worth every inch."
Read more: Electro-Harmonix Big Muff Pi
Best vintage
✅ Buy if Hendrix is your man: No pedal does that ‘60s Hendrix fuzz more than this.
❌ Avoid if you struggle with nailing tones: The Fuzz Face can sound a little shrill if not dialled in correctly.
Although it's been out of production at various points, the distinctive 'smiley face' Fuzz Face pedal has been in production since the sixties. It's sought after for its responsiveness to the guitar volume knob, and ability to go from mild, bluesy grit to all-out fuzz.
The early units were made with germanium transistors; these were favourites of Jimi Hendrix. Most reissues have been silicon, on the other hand, but Dunlop – the current manufacturers – have recently released a swathe of reissues and miniature versions with germanium transistors, true to the original sound of the Fuzz Face.
In particular, Dunlop has based this pedal on the pre-silicon Fuzz Faces that were in distribution between ’66 and ’68, delivering the softer attack and warmer clean-up that players associate with early germanium fuzz.
Although a circular pedal can be a pain for fitting on your ’board, the mini enclosure takes up far less space than the original while retaining the same simple control layout. Another valuable upgrade is the pedal’s true bypass, meaning there’s no tone suck when switched off, which is a welcome addition for tone purists running vintage-style rigs.
Best budget
✅ Buy if you’re looking for cheap thrills: This inexpensive pedal sounds surprisingly good, perfect for those venturing into the world of fuzz.
❌ Avoid if you’re heavy-footed: The plastic enclosure isn’t as sturdy as others on our list.
The Boss FZ-2 was a sturdy, excellent-sounding Univox Super Fuzz clone beloved of stoner rockers. However, parts availability resulted in it being discontinued and used prices rose out of the reach of casual players. However, somehow Behringer has managed to keep its clone of the FZ-2 in constant production. It sounds a little different, but the audience won't notice, right?
This cheap pedal sounds so good that there are guides online for rehousing it, and even people selling them pre-rehoused. That said, we did once drop a plastic Behringer stompbox down some stairs and it survived in working order, with some cracks in the case.
Another thing to mention is the onboard EQ controls. At this price point, I’d expect one control knob, with anything additional coming as a surprise, so having active treble and bass controls is an instant win in my book. Fuzz 1 gets you into FZ-2 territory, with an emphasis on the midrange, while Fuzz 2 is scooped and more Muff-esque. The Boost control is slightly unpredictable, adding up to 24dB to your signal and effectively turning this into an overdrive pedal if need be.
Finally, the pedal is buffered, but it introduces no noise issues. However, who knows if there are players out there that would not tolerate a Behringer buffer in their signal chain.
Best compact
✅ Buy if your pedalboard is packed: The original is substantial; the Nano, not so much.
❌ Avoid if you prefer less wild sounds: This pedal has lots of sounds locked away inside, but it leans more towards the crazier side of fuzz.
For thirty years, this maverick stompbox has been a playground for sonic exploration, favored by legends like John Frusciante and Matt Bellamy for its ability to push fuzz into bold, unhinged, and entirely new territories.
Unlike traditional fuzz pedals that stick to standard volume and tone controls, the Fuzz Factory invites you to manipulate transistor bias and stability. Its five knobs are notoriously interactive. A slight tweak to one can completely alter the others, rewarding players who love to tinker for hours to shape sound creatively. From smooth, dynamic Fuzz Face-like tones to thick, gated "Velcro" textures and wild, self-oscillating, synth-like squeals, the sheer sonic range is staggering.
While it certainly isn't for the faint of heart, this is a noisy, unpredictable, and brilliantly chaotic machine, it remains an incredibly inspiring tool for those willing to embrace the madness. The Vexter Series version keeps the original's legendary, expertly built circuit but swaps the hand-painted graphics for a UV-printed artwork, making the magic of the Fuzz Factory more attainable than ever. Whether you want to ground your sound in classic fuzz or launch into outer space with experimental oscillations, this pedal is an essential, endlessly fun addition for anyone who wants to push the boundaries of what a guitar rig can do.
"There aren’t many pedals that can be considered a modern classic, but the ZVex Fuzz Factory is most definitely one of them. This maverick box of saturation is deeply inspiring, massively creative, and, well, it just sounds fantastic. Of course, it’s not for everyone, especially those scared of a little noise, but the Fuzz Factory rewards those willing to experiment, offering tones that range from classic to completely unhinged."
Read more: ZVex Fuzz Factory Vexter review
Best germanium
✅ Buy if you want onboard EQ: Unlike vintage germanium pedals, the Hanami has EQ’ing available from the source.
❌ Avoid if you prefer modern fuzz: There isn’t a great deal of fuzz versatility on offer, particularly for synthy textures.
Positioned as the natural successor to ThorpyFX’s earlier fuzz designs, the Hanami Germanium Fuzz sits neatly between the Tone Bender-inspired Boneyard and the Big Muff-flavoured Fallout Cloud, while very much doing its own thing. Built around four NOS military-spec germanium transistors, it delivers a thick, smooth fuzz voice with plenty of midrange weight, but with more control than most vintage-style designs.
One of the Hanami’s standout features is its active treble and bass controls, which allow you to fine-tune the fuzz to suit different guitars and amps without ever straying into unusable territory. You can hear the pedal’s influences, as there is plenty of Tone Bender and Big Muff soul imbued into the Hanami, which, combined with the EQ’ing, makes for a finely-tuned fuzz.
There’s also a transformer-isolated input, meaning it’s far less fussy about where it sits in your signal chain than many traditional germanium fuzzes. ThorpyFX has delivered a well-built pedal and the construction is outstanding. It’s not the cheapest option on this list, but if you want low noise, serious tonal flexibility, and a refined take on classic fuzz sounds, the Hanami is a premium option that earns its place.
"With low noise and real-world tonal flexibility via the treble and bass knobs, ThorpyFx’s Hanami is a class act, delivering fat, smooth and richly textured fuzz that can attain a fierce edge."
Read more: ThorpyFX Hanami Germanium Fuzz review
Most versatile
✅ Buy if you want choices for the studio: This is a game-changer for experimenting with fuzz in the studio.
❌ Avoid if you prefer simplicity: For some, this amount of choice may be suffocating and defeat the purpose.
Fuzz pedals usually wear their influence on their sleeve. Whether it’s replicating a NYC-style Big Muff, an op-amp, or a Tone Bender, you quickly get the picture after plugging in. However, the Kerno Moho Fuzz has its sights set on the entire lot.
With five variants on offer, you’ve got sounds ranging from Satisfaction to modern synth textures, all without the use of modeling. The Moho operates using analog fuzz circuits with digital controls, mixing tradition and modernity in a genuinely cohesive package.
Talking of modernity, this pedal features a built-in ring modulator and octaver, so if you want to get experimental with your fuzz, no problem. The Mood knob allows you to travel from ’60s-era fuzz to modern sounds, blending styles along the way for an all-encompassing fuzzy experience.
Tweaking until you get the perfect fuzziness isn’t for everyone, so with 128 presets available, you can cycle through until you find the right tone for you. You can also connect an expression pedal to morph between different fuzz tones, adding to the Moho’s innovative feature set rather than feeling like another boring rehash.
With so many features and options built in, it won’t come as a surprise that the Moho is a substantial pedal. Its chassis is made from 5mm aluminum, it’s built like a tank, and the knobs are made to the same standard. Overall, if you’re looking for an authentic all-in-one fuzz, the Moho is hard to beat.
"The Kernom Moho Fuzz is a banquet table of tone, delivering everything from the thin fuzz of the early 60s right through to today’s modern, modulated, synth-like textures. There are so many options here that it’s going to take you a very long time to extract them all, and no matter what type of fuzz you enjoy, you’ll find something to love here."
Read more: Kernom Moho Fuzz review
Best experimental
✅ Buy if you like descending into madness: In true DBA-style, wild noises from another dimension are instantly achievable.
❌ Avoid if you need something tamer: This absolutely won’t appeal to traditionalists or those looking for something conventional.
The brainchild of Oliver Ackermann from noise-rock band A Place To Bury Strangers, Death By Audio make insane, off-the-wall pedals, from mind-bending reverbs and delays to oscillating fuzzes like this, which is how they made their name.
The Supersonic Fuzz Gun is their most recognizable and best fuzz pedal, and epitomizes the early DBA circuit-design strategy of 'throw parts at a breadboard until it sounds crazy.' Like the Fuzz Factory, the labels on the controls only bear a slight relation to the effect they have on the sound of the pedal.
At least half the joy of the Supersonic Fuzz Gun is that it sounds completely unlike something a large manufacturer would make. It goes without saying that this pedal isn’t for the vintage enthusiast, or player searching for fuzzy tones of the ‘60s, quite the contrary. It's dirty, it's punk, and its design is more about the artistic intent of the creator than anything as dull as engineering rules.
Best multi-purpose
✅ Buy if you like your fuzz with a quirk: Sometimes, throwing in another effect will influence your playing in unexpected ways.
❌ Avoid if you want something harsher: Fuzz, for some people, is all about destructive noise-making; there are better options out there if you sit in that camp.
With the Six Zero, ThorpyFX wanted to tip its cap to Sixties-era guitar. Although tremolo and fuzz may sound bizarre at first, back in the day, those were the only two effects that existed for most players. What they’ve created is a pedal that can stand alone as a fuzz or tremolo, but is much sweeter when combined.
The fuzz is based on an original MKI Tone Bender circuit, using silicon transistors rather than germanium. The tremolo follows an early Dan Coggins design, which is a more choppy, square-wave character than a smooth, pulsing wobble associated with traditional tremolo.
The fuzz is bold and authoritative rather than shrinking into the background, with plenty of output on tap and an attack control that shifts the character from gated, sputtery textures to thicker, saturated sustain. It doesn’t clean up in the traditional way with your guitar volume control, so it’s best suited to players who want their fuzz very much present.
The tremolo really comes into its own when interacting with the fuzz, adding everything from a phase-like throb to full-on rhythmic chopping. It does need to sit early in your signal chain, but if you’re after something a little left-field that still feels rooted in vintage sounds, the Six Zero is a characterful option that is incredibly addictive once you get started.
"Quirky in a very good way, the Six Zero puts two effects in one box that, while both excellent for individual use, are greater than the sum of the parts when combined."
Read more: ThorpyFX Six Zero review
Most durable
✅ Buy if you value durability. After all, this is a Boss pedal we’re talking about.
❌ Avoid if you want true bypass. Disappointingly, this pedal only offers buffered bypass.
The Waza Craft series took the pedal world by storm when it was released back in 2014 and Boss has steadily added to this popular range ever since. These premium Boss pedals are constructed in Japan using the highest quality components and feature the classic sounds of the original pedals and switchable modes for customized tones.
The Boss FZ-1W is a surprisingly versatile fuzz, managing to switch effortlessly between modern and vintage tones. The modern mode is voiced for a bright, articulate sound, with a significant amount of gain, while the vintage setting of the FZ-1W delivers the classic tones of the early '60s. We’re talking warm, woolly fuzz that can sometimes be tricky to dial in if you’re not careful.
Boss’s use of silicon circuitry is less traditional compared to the original Tone Bender it’s aiming for, but with the addition of a tone control, it offers more versatile control options than a faithful ’60s Tone Bender would. Plus, silicon circuitry tends to be more dependable, a design ethic we know Boss loves sticking to.
So if you are looking for a deceptively versatile fuzz that’s built like a tank, then the Boss Waza Craft FZ-1W should most definitely be on your list of pedals to try.
How to choose a fuzz pedal
If you’re new to fuzz pedals and all the jargon is confusing, this section is for you. Calling upon 20 years of being a self-proclaimed ‘fuzz-head’, these are the three most important points you should consider when making your next purchase. I also used this approach in my day job while working in a guitar store for the best part of a decade and found that, when considering these points, a player’s choice was better informed.
Transistor type
You’ll often hear people talk about two main transistor types when it comes to fuzz pedals, silicon and germanium. Ultimately, these are just the semiconductors used to create the desired sound within a fuzz pedal, however they do generally have different tonal characteristics.
Silicon transistors typically sound brighter, more controlled, and more modern, but can sit on the harsher side. Germanium transistors, on the other hand, are more traditional and tend to sound warmer, with greater responsiveness to changes made using your guitar’s volume knob, although they are more susceptible to temperature changes.
Category
It’s also important to narrow your choice down to a fuzz ‘category’. Broadly speaking, fuzz pedals can be grouped into a few distinct tonal camps: Fuzz Face, Tone Bender, Big Muff, or ‘modern’.
Fuzz Face and Tone Bender-style pedals occupy the vintage corner of the fuzz world and often sound woolly or trebly, with strong responsiveness to your guitar’s volume control. Think The Rolling Stones or Jimi Hendrix. The Big Muff sound, by comparison, typically features scooped mids, huge sustain, and a thick, heavy wall-of-sound fuzz. Think Dinosaur Jr or Smashing Pumpkins.
Modern fuzz pedals often blend elements of these classic designs, while adding features such as octave effects, gating, or even synth-like textures. This is, of course, a generalisation, but if you have a rough idea of the sound you’re chasing, this rule of thumb should help steer you in the right direction.
Controls
Lastly, consider the controls you want onboard. Traditional fuzz pedals don’t usually offer much in the way of EQ, if any at all. If you like shaping your sound directly from the pedal, it’s worth looking out for more flexible control layouts. Some fuzzes include bias controls to alter the operating voltage, while others add mid-scoop or compression-style options. Ultimately, there’s no right or wrong here, the pedal world is your oyster, and there are plenty of fuzz pedals available that range from dead simple to deeply tweakable, depending on your preference.
FAQ
What is a fuzz pedal?
Like explaining other guitar effects such as as overdrive or distortion, it can be tricky to nail down what fuzz actually is. Unlike the others, its name is almost onomatopoeic, meaning the word itself sums up the sound it creates. Technically, fuzz is an effect that produces a thick, buzzy tone by heavily clipping the audio signal.
To get a bit more technical, a fuzz turns a smooth sine wave into a clipped, square-like wave, producing high levels of saturation and sustain. Fuzz typically adds harmonics to your tone as a result of this harsh clipping, resulting in the gnarly, noisy effect we know and love.
Fuzz, overdrive, and distortion - what’s the difference?
So, what’s the difference between these three effects? Summing them up as noisy, noisier, and noisiest is perhaps the easiest way to think about them. However, if you want a better understanding of what’s going on under the hood, let me attempt to explain.
Basically, all three rely on signal clipping to achieve their sound. Starting with a smooth sine wave, overdrive clips the signal gently, distortion clips it more aggressively, and fuzz clips it the most, pushing that smooth wave into something closer to a square shape.
Sonically, overdrive sounds the lightest, replicating the sound of a tube amp being pushed at higher volumes. Distortion is the next step, with more saturation and compression, and a generally tighter, crisper sound than fuzz. Fuzz is clipped even further, sounding less precise and losing some clarity. It can descend into complete buzziness, often resembling the sound of a blown-out speaker.
What’s the difference between germanium and silicon fuzz pedals?
Both are semiconductors that help produce the sound of a fuzz pedal, but they react in slightly different ways. Germanium is the more traditional option, and players often attribute a warmer, smoother fuzz character to it. However, germanium components are more temperamental and can be affected by changes in temperature, meaning consistency can vary.
Silicon components, on the other hand, are more stable, generally brighter, and can come across as a little harsher to the ear. Silicon is considered more modern in character, and fuzz pedals capable of tighter, more aggressive, or synth-like tones typically rely on this type.
What is an op-amp fuzz?
An op-amp fuzz differs from other fuzz pedals by its electronic construction. Standing for operational amplifier, this type of circuit uses op-amps instead of traditional transistors, such as silicon or germanium, to produce the tone. An op-amp is an integrated circuit, meaning the components are housed together on a single chip rather than built from discrete parts.
Sonically, op-amp fuzz pedals tend to produce a very thick, compressed wall-of-noise style fuzz. The most famous example is The Smashing Pumpkins on Siamese Dream, where Billy Corgan used an op-amp Big Muff to achieve the saturated, aggressive fuzz tone the band is now known for.
Where should a fuzz pedal go in a signal chain?
The most honest answer is wherever you think sounds best after experimenting. However, most players will place fuzz near the beginning of their ’board, particularly if they’re using Fuzz Face-type circuits. This style of fuzz works best with a high-impedance signal, which is achieved directly from your guitar’s pickups, so placing it first makes the most sense.
That said, many modern fuzz pedals feature true bypass or other design elements, such as transformer-isolated inputs, that allow them to be placed more freely in the signal chain. Personally, I think a Big Muff sounds great almost anywhere, and for me it works particularly well after other gain stages, such as an overdrive pedal.
Do fuzz pedals work better with single-coil or humbucker pickups?
Like many things with guitar, this is ultimately subjective. There are pros and cons to using both single coils and humbuckers with fuzz. Single coils tend to offer more dynamics and expression, and there’s a very appealing unpredictability when they interact with fuzz, bringing out the best in both. That said, single coils can become a little shrill with fuzz if you’re not careful.
Humbuckers, on the other hand, tend to respond in a more stable way. They give fuzz a much meatier low end, but can sometimes sound a little murky, making note definition harder to retain. P-90s often strike a balance between the two, adding extra low end while still retaining enough bite and clarity when fuzzed out.
What fuzz pedal is best for rock?
If you’re into classic rock, germanium fuzz pedals are a great place to start, particularly Tone Benders or Fuzz Faces. These are the styles used by players such as Jimi Hendrix, The Rolling Stones, and Led Zeppelin. For modern rock, Big Muff-style fuzz pedals are often the go-to, and if you’re chasing tones associated with Smashing Pumpkins or Jack White, you’ll likely have the best luck there.
Every rock player has their own distinct flavour, so experimentation is key, but these are solid rules of thumb to get you started.
What fuzz pedal is best for shoegaze?
Shoegaze players typically gravitate toward Big Muff-style fuzz pedals, thanks to their huge sustain, scooped mids, and ability to create dense wall-of-sound textures. When paired with reverb and delay, a Muff can sit underneath your playing and fill out the mix without getting in the way of melodic lines.
That said, modern shoegaze often blends traditional fuzz with more experimental sounds. Fuzz pedals that include octave effects, gating, or synth-like textures can add movement and character, especially when stacked with modulation. Ultimately, shoegaze is all about atmosphere, so the best fuzz is one that sustains well, stacks nicely with other effects, and encourages you to get a little lost in the noise.
Glossary
- Bias: This is a control found on some fuzz pedals that adjusts the operating voltage of the circuit. Changing the bias can shift the sound from smooth and sustained to gated, sputtery, or broken-up textures.
- Big Muff: A classic fuzz circuit known for its heavy saturation, long sustain, and scooped midrange. Often associated with wall-of-sound tones in rock and shoegaze.
- Clipping: This is the process of cutting off the peaks of an audio waveform. In fuzz pedals, heavy clipping is what creates saturation, sustain, and harmonic complexity.
- EQ: These are tone-shaping controls that adjust bass, midrange, and treble frequencies. Some fuzz pedals have minimal EQ, while more modern pedals offer extensive tonal shaping.
- Fuzz Face: A vintage-style fuzz circuit famous for its responsiveness to a guitar’s volume knob. Typically warm, dynamic, and best placed early in the signal chain. Hendrix was well known for using one.
- Germanium Transistor: A type of early semiconductor used in fuzz pedals. Germanium fuzzes are often warmer and more responsive, but can be inconsistent and affected by temperature.
- Impedance: This is a measure of how a pedal interacts electrically with other gear. Some fuzz pedals, especially Fuzz Face designs, require a high-impedance signal directly from the guitar.
- Op-Amp (Operational Amplifier): An integrated circuit used in some fuzz pedals instead of separate transistors. Op-amp fuzzes tend to sound thicker, more compressed, and more aggressive.
- Signal Chain: The order in which pedals are connected between the guitar and amplifier. Placement can affect how a fuzz pedal behaves and sounds.
- Silicon Transistor: This is a more modern semiconductor used in fuzz pedals. Silicon fuzzes are typically brighter, more stable, and consistent than germanium designs.
- Sustain: The length of time a note continues to sound after it’s played. Fuzz pedals often increase sustain by heavily compressing the signal.
- Tone Bender: A type of early British fuzz circuit that produces a raw and aggressive character. They are often associated with classic rock and early psychedelic music.
How we choose products
Here at Guitar World, we are experts in our field, with many years of playing and product testing between us. We live and breathe everything guitar and bass related, and we draw on this knowledge and experience of using products in live, recording and rehearsal scenarios when selecting the products for our guides.
When choosing what we believe to be the best fuzz pedals available right now, we combine our hands-on experience, user reviews and testimonies and engage in lengthy discussions with our editorial colleagues to reach a consensus about the top products in any given category.
First and foremost, we are guitarists, and we want other players to find the right product for them. So we take into careful consideration everything from budget to feature set, ease of use and durability to come up with a list of what we can safely say are the best fuzz pedals on the market right now.
Read more about our rating system, how we choose the gear we feature, and exactly how we test each product.
Meet the experts
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Guitar World boasts over 44 years of expertise and stands as the ultimate authority on all things related to guitars. The magazine and website feature expertly written gear round-ups and top-quality, authoritative reviews penned by a team of highly experienced industry professionals.
Guitar World's inaugural print issue hit the shelves in July 1980, and ever since, it has been captivating players and enthusiasts with engaging lessons, insightful interviews with the biggest guitar heroes, and priceless buying advice for newbie players.
Furthermore, GuitarWorld.com continues this legacy online and serves as the hub of the world's foremost authorities on guitar playing. The site not only hosts content from Guitar World but also showcases articles from respected publications such as Guitarist, Total Guitar, Guitar Techniques, and Bass Player. With a reach extending to 3.8 million players each month, GuitarWorld.com is a go-to destination for guitar fanatics globally.
Below, you'll find more information about the expert author of this guide.
Alex Lynham is a gear obsessive who's been collecting and building modern and vintage equipment since he got his first Saturday job. Besides reviewing countless pedals for Total Guitar, he's written guides on how to build your first pedal, how to build a tube amp from a kit, and briefly went viral when he released a glitch delay pedal, the Atom Smasher.
I'm Guitar World's Senior Deals Writer. In this role I create and maintain the 200+ buyer's guides you'll find on the site, find the best deals on guitar products for our readers, and test the latest gear. My reviews have been featured in prominent publications including Total Guitar, Future Music magazine and MusicRadar.com.
During my career, I have been lucky enough to talk to many of my musical heroes, having interviewed Slash and members of The Offspring, Foo Fighters, Sum 41, Thrice, and more. Prior to joining the Guitar World team, I worked in music retail, at Kenney's Music in Dundee, Scotland. For a decade, I advised everyone from absolute beginners to seasoned pros on the ultimate gear for their needs, from beginner acoustic guitars, to top-end modelers.
Ross has been a music lover and guitar player since the age of 8. He has spent the five years since graduating from university working in music retail, selling guitars, amps and more. Ross is particularly interested in electric guitars, pedals and amplifiers and his current rig includes a trusty 2009 American Standard Stratocaster and Vox AC30S1 with a few Walrus Audio and Way Huge pedals in between.
Latest updates
11/09/26: This guide has had another major update, adding the classic EHX Big Muff Pi as our current top choice and the ZVex Fuzz Factory for the best compact category. 05/02/26: The guide has been updated to include four new pedals: ThorpyFX Hanami Germanium Fuzz, Kernom Moho Fuzz, ThorpyFX Six Zero and Electro-Harmonix Bender Royale. We've selected a trio of pedals to include in a quick list at the top of the guide and verdict panels have now been included where applicable. Each product now features "At A Glance" panels showing you the pros and cons of each pedal. There's also a new glossary, updated and expanded FAQs and a 'How to choose' section to help with your purchasing decision. Finally, there's the addition of the a 'Meet the experts' section highlighting the authors of the guide.
Read more
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