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KMA Machines’ take on the ‘70s cult Jordan Boss Tone fuzz, the Fuzzly Bear, returns – and it’s looking lean and mean

Having recently revised and updated its Wurm HM-2 style distortion pedal to make it more pedalboard friendly, KMA Machines has once more dug into its archive to reissue a classic design, with the Fuzzly Bear silicon fuzz enjoying a makeover.

The Fuzzly Bear is a classic from the KMA lineup. Based on the ‘70s Jordan Boss Tone fuzz pedal, it was the first stompbox KMA ever put into production, and offered a wide range of fuzz tones, adding a bias control and a gussied up circuit that gave it a much improved low end (some players complain of the Jordan Boss Tone being a little reedy.)

All those tones – from thick, dynamic overdrive to full on bear-pelt fuzz – are present and correct here. But with some crucial improvements to the enclosure. 

The Fuzzly Bear 2 has top-mounted jacks, is more compact, has two very cool LEDs that light up the bear’s eyes when the effect is engaged, relay-based silent switching, and improved electronics. 

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KMA Machines Fuzzly Bear 2

(Image credit: KMA Machines )
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KMA Machines Fuzzly Bear 2

(Image credit: KMA Machines )
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KMA Machines Fuzzly Bear 2

(Image credit: KMA Machines )

It has four controls. There’s Volume, a Skin/Meat bias control allowing users to tailor just how sharp they like the teeth and claws, and a Gain control that really does require a little attention in how you set it. 

Set fully counterclockwise, the Gain control yields beefy drive, with more note clarity and separation. As you turn it up, the fuzz tones thicken, amassing quite the pelt by the end of the knob's travel, with KMA promising some weird magic when that Gain is dimed.

“The pedal’s smooth, warm and cozy decay turns into a starved and gated fuzz sound that almost gives a ghost octave, pseudo trumpety kinda vibe,” says KMA. “Perfect for classic tunes of yesteryear.” 

Well, indeed. The new and improved Fuzzly Bear 2 is out and about in a woodland near you, priced $199 / £149. See KMA Machines (opens in new tab) for more details.

Jonathan Horsley has been writing about guitars since 2005, playing them since 1990, and regularly contributes to publications including Guitar World, MusicRadar and Total Guitar. He uses Jazz III nylon picks, 10s during the week, 9s at the weekend, and shamefully still struggles with rhythm figure one of Van Halen’s Panama.