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, but don't blame us if fuzz becomes an obsession for you too!
We've included some in-depth buying advice at the end of this guide, so if you'd like to read more about the best fuzz pedals, then click the link. If you'd rather get to the products, then keep scrolling.
Best fuzz pedals: Our top picks
With its careful balance of gnarly fuzz on tap, as well as the ability to be dialed back to suit many styles of playing, the Electro-Harmonix Big Muff (opens in new tab) has to be our top recommendation – and the affordable price makes it even easier to recommend. Specifically, though, we are big fans of the op-amp reissue, which until recently was only available via boutique pedal builders, DIY kits, or trading your right arm for an original model. If you’re looking for that classic Smashing Pumpkins sound, this is truly the best fuzz pedal.
If you fancy going a little wilder, the original madcap fuzz is probably what you seek. Used by the likes of Robert Fripp, Matt Bellamy, Rivers Cuomo, Buckethead, Stephen Carpenter, St. Vincent, Jack White, and J. Mascis, you're in good company with the ZVex Fuzz Factory (opens in new tab) on your pedalboard. The controls may not really describe what they do, and yes, it has been known to pick up radio transmissions, but that's all part of the charm of this insane, inspirational and totally weird fuzz pedal.
Best fuzz pedals: Product guide
Although many household names have used the Big Muff over the years, perhaps the band most associated with the pedal is Smashing Pumpkins. On their 1993 classic Siamese Dream, they gatecrashed the grunge party with their 'guitar army', and had legions of guitarists scratching their heads as to how to make that sound.
Of course, part of the answer was 'a lot of overdubs', but when the word got out that Billy Corgan had used a Big Muff on the record, the pedal became hugely sought after overnight. Unfortunately for wannabe sound-a-likes, Billy's Big Muff was actually an unusual vintage op-amp version.
Due to availability of parts, the design of the Big Muff shifted over time, and the op-amp version, which was a completely different circuit from the quad-transistor original Big Muff, was comparatively rare. Billy had just gotten lucky that he picked up that specific version from a pawn shop.
Until recently your only option was a boutique clone, rare original, or building your own, but luckily EHX recently reissued it, so you too can bask in its fuzzy glory.
Using a combination of germanium transistors, feedback loops and controls that allow the user to mis-bias the circuit inside, the Fuzz Factory is versatile in a way that most pedals simply aren't. Want to reduce the input voltage so the pedal breaks up into oscillation? Go right ahead. Feed the output from one block back into itself? Sure thing!
For this reason, it was a breath of fresh air when released, and gave Z.Vex the foundations on which to build an empire of the unusual.
In terms of sounds, it's in the Fuzz Face family tree, so it's possible with some tweaking to get a quite sedate blues lead tone out of the pedal, but of course it shines when it's a screaming ice-pick of velcro-fuzz mayhem.
Even now, when there's seemingly more pedal companies out there with each passing day, there's something simple, elegant, and thrillingly iconoclastic about the humble Fuzz Factory.
Despite having an IC on the board instead of discrete transistors, the Swollen Pickle's IC is just a transistor package, making it a variant of the regular Big Muff instead of the op-amp Big Muff, as some assume.
With quality components, a buttery-smooth footswitch and controls for scooping the mids and changing the voicing, as well as a couple of internal trimpots for further tweaking, the Swollen Pickle offers more tone tweaking options than almost any Big Muff-like pedal on the market.
Though the internals have changed drastically over time, the wedge-shaped silver NYC Big Muff is the most iconic and best fuzz pedal that EHX have produced. It's now available in a Nano enclosure.
Chances are you've heard this on countless recordings, and if you're looking for a huge wall-of-sound fuzz, then it's probably the Big Muff that you're thinking of.
The only thing to be aware of is that the Big Muff has been in production since the end of the '60s, so knowing exactly which Muff sound you're after – Russian, Triangle, Op-amp – will help you in getting the exact sound in your head.
However, if you're not sure, then you can't go far wrong with the NYC classic.
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.
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's dirty, it's punk, and its design is more about the artistic intent of the creator than anything as dull as engineering rules.
A spin-off of a pedal called the Gatekeeper that Brady Smith made under the name Little Axe Effects before founding OBNE, the Haunt was one of their first creations. A highly tweakable and somewhat extreme fuzz, they're relatively secretive about the circuit topology.
It's transistor-based, which probably puts it somewhere in the extended family tree of the Big Muff, but that's less important than the sounds – everything from more middle-of the road fuzz to ripping velcro and gated sputter. If you want a pedal that's weird, but not DBA levels of weird, then the Haunt could well be the fuzz for you.
The Janus is a bit of a sneaky addition to this list, as it's technically not just a fuzz. One side is a fuzz with a joystick to control the fuzz level and tone, while the other is a tremolo with joystick to control the rate and depth of the trem.
Besides looking cool, the joysticks are useful features if you're using the Janus in the studio, or – shock horror – on a table, for synthesizers.
The fuzz side is essentially the Walrus Jupiter, a fuzz pedal based on the Big Muff with a series of mods to the clipping options and bass. Apart from the artwork being cool, the Jupiter isn't the most exciting fuzz around, but in the Janus it's a different, radically more expressive beast.
Ohio-based pedal makers, EarthQuaker Devices are well known for their unique take on classic circuits, with the Hoof being arguably one of their most popular pedals - and for good reason. Drawing inspiration from the iconic green Russian Big Muff, the Hoof employs a hybrid Germanium/Silicon design for a unique sound and unparalleled temperature stability.
This harmonically-rich fuzz made its debut way back in 2005 and has been in production ever since, appearing on the pedalboards of everyone from Dan Auerbach of the Black Keys to Dallas Green of Alexisonfire and many more.
So if you find yourself looking for a unique take on an iconic pedal that’s become a modern classic in its own right, then it’s worth checking out the EarthQuaker Devices Hoof - but be warned, it may never leave your ‘board.
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 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.
So if you are looking for a 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.
Best fuzz pedals: Buying advice
What is a fuzz pedal?
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Where an overdrive or distortion pedal generally works by amplifying the guitar signal using an op-amp and then applying either soft clipping - think Tube Screamer - or hard clipping, like a ProCo RAT, a fuzz pedal usually works by either mis-biasing transistors or amplifying them so much that they clip and create that fizzy, distorted sound.
Of course, there's some crossover. The original ProCo RAT's signature clipping sound was largely its LM308 op-amp being driven into nearly triangle-wave clipping. The fact it had hard clipping diodes after the amp stage was more important to the later models that used a different op-amp.
On the other side, the Electro-Harmonix Big Muff gets its signature sound mainly due to two soft-clipping amplification stages, which in terms of topology makes it closer to a drive, even as its square-wave signal screams "fuzz!"
What influences the tone of a fuzz pedal?
A lot of things can change the tone of a fuzz pedal. There's the obvious stuff, like the EQ profile of any components placed in the signal path, and whether there's an EQ control on the pedal itself. The type of transistors matters too, with germanium transistors being heat-sensitive, unpredictable, 'warm', 'wooly' and 'spluttery', while on the other hand silicon transistors are more predictable in mass-manufacture, but come across as a bit 'colder' and 'sharper'.
Finally, there's the intent of a fuzz pedal to consider – are you looking for a smooth sound, or are you seeking out the equivalent sound of a hole being torn in a partition wall? Where an op-amp based circuit tends to have a limited number of designs that will work, transistors are more lenient – at least in the sense that they will often make noise in unpredictable ways even when not used in the way the manufacturers intended.
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