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Every octave fuzz you've ever played traces back to just a handful of circuits: the Octavia, the Super Fuzz, and the Tone Machine.... the JHS PEDALS Coyote Octave Fuzz doesn't originate from any of these classic topologies. The Coyote is a complete replication of the obscure and very difficult to find Moonrock Fuzz by G.S. Wyllie.

The Swell / Fuzz / Octave control is the heart of this pedal. It sweeps continuously through three distinct zones — each one a different effect.

- Swell — At its lowest setting, notes bloom in with a gated, reversed-tape quality. A slow, breathing attack that rises up from silence. The final stage of the circuit is allowed to turn on gradually, easing the signal in and creating a natural bloom that responds to your picking dynamics.
- Fuzz — At noon, a fully realized fuzz tone. Not a Fuzz Face. Not a Big Muff. The texture sits in Tone Bender territory — rich low end, aggressive mids, the kind of fuzz that handles chords. Shoegaze. Psychedelic rock. Full and powerful.
- Octave — Fully clockwise, the circuit shifts into aggressive octave-up territory. Intentionally uneven clipping emphasizes even-order harmonics, especially the second harmonic, pushing it above the fundamental to produce that snarling octave-up sound. This is pure Hendrix territory — and Glenn, who met Jimi several times in Greenwich Village, was always pointing here. He landed on it perfectly, his own way.

Roll back your guitar's volume knob and this pedal transforms. At lower settings on the Swell / Fuzz / Octave control, the Coyote becomes remarkably touch-sensitive — light picking gives you warm, controlled fuzz while digging in triggers the swell.