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Built in the image of the coveted late '70s models made famous on the Smashing Pumpkins' enormous album Siamese Dream, the Electro-Harmonix Op Amp Big Muff Reissue Fuzz summons iconic '90s snarl in a compact chassis. Renowned for its enormous, biting presence thanks to the presence of op-amps instead of transistors and three gain stages instead of four, this much-demanded Big Muff is a fast, affordable avenue to the vicious tone of a company classic.

Few stompboxes have shaped the sound of rock like the Electro-Harmonix Big Muff Pi. Fewer still have gone through as many variations while still maintaining their fan bases. From David Gilmour to Billy Corgan to J. Mascis and Dan Auerbach, the Big Muff Pi continues to be the life blood of fuzz.

Featuring an ultra-compact enclosure and the same controls for volume, tone and sustain, the Electro-Harmonix Nano Big Muff Pi brings the same creamy fuzz and distortion as the original in a pedalboard-friendly package. Built using the same Big Muff Circuitry in a nano format, this effect is a great introduction to the Big Muff World or just a great fuzz pedal that won't eat up pedalboard space or cash.

Reviving one of the company's cult favorites in a modern, compact pedal, the Electro-Harmonix Green Russian Big Muff gets you devastating low end and sludgy, searing fuzz with three knobs and a stomp switch.

• Controls: Volume, Sustain, Tone knobs, stomp switch


• Other Features: Iconic green chassis, Russian font graphic, true bypass

Containing six separate Muff circuits, the JHS Muffuletta Fuzz is one of the most comprehensive fuzzes on the market, particularly for fans of the Muff sound. The Muffuletta has the circuitry of the '73 Rams Head, The Triangle, The Pi, The Russian, The Civil War, and JHS' own modern take on the Muff circuit. Choose between each of the six circuits and then shape your fuzz using Tone, Volume, and Sustain knobs. Artists like David Gilmour, J. Mascis, John Lennon, Jack White, The Edge, Pete Townshend, Jeff Tweedy, and many more have all had at least one of these five Muffs as pedalboard staples.

Behringer has been a German professional audio equipment outfit for some time, but they didn't produce effects pedals until 2005. Their affordable line of standard effects is similar to the Boss line of stompboxes, though at entry level prices. 

A collaboration with Japanese doom legends Boris, the Hizumitas is a recreation of guitarist Wata's favorite Elk Sustainer fuzz. The Big Muff-style circuit is raw and rowdy, with enough gain and distortion to make the earth shake. As much heavy distortion and massive bass response as you desire, with the type of purring sustain you could expect from '70s V1 Triangle Big Muffs.

The Keeley Fuzz Bender is a 5 knob, 3 transistor modern fuzz using a combination of high-gain silicon and silky smooth germanium. What makes fuzz better? Active EQ. Using two gyrators as an active EQ gives you the ability to create massive fuzz tones not possible with typical square-wave boxes. Pummel your amp with over 20dB of boost/cut at 100Hz and 10K Hz. The Fuzz Bender is built around vintage Japanese germanium to create its monumental fuzz tones.

Death by Audio's Fuzz War is not for the faint of heart. You can control the tone with ease, bringing your fuzz up to a scream or down to the grimiest lows. With grungy, nasty fuzz and extreme gain, the Fuzz War creates a massive wall of sound capable of blowing any player away.

Legendary Dinosaur Jr. guitarist J Mascis has used an EHX Big Muff to define his sound since he started playing the guitar. Now, the fuzz connoisseur finally gets the beloved circuit wrapped in an enclosure that matches his aesthetic and features his signature on the face plate.

The ZVex Fuzz Factory ranks as one of the most influential contemporary pedals on the market. Though often imitated, the original Fuzz Factory remains a one-stop solution for all your unquenchable fuzz needs.

Why should guitar players have all the fun? Electro-Harmonix delivers the warmest, fuzziest low-end goods imaginable with the Bass Big Muff Pi. While taking the best of the old "Green Box" Russian Muff and the 1970s Big Muff Pi, EHX steps up the bottom with the Bass Big Muff Pi and optimizes this fuzz machine for bass guitar. It's a little easy to get out of control with this beast, so a direct output of the dry signal is available to blend in with the harmonic madness.

Sporting the same iconic circuitry that made its larger predecessor famous but housed in a compact chassis, the Electro-Harmonix Little Big Muff captures all the legendary fuzz tone while saving space on your board. Built with high gain and designed for maximum sustain, this effect is an ideal choice for anyone looking to get into the world of Muffs while saving some cash.

Sporting the same muscle as the standard Big Muff Pi with the addition of a three-way tone wicker switch for light or heavy treble boost, the Big Muff with Tone Wicker combines classic fuzz tones with added versatility. From classic to fierce, the Tone Wicker serves up fuzz any way you want it.

The Dunlop FFM3 Jimi Hendrix Fuzz Face Mini puts the same exact circuit JHF1 into a compact, pedalboard-friendly enclosure. The smooth, singing sounds of this fuzz were a major part of Jimi's signature sound. A couple modern appointments (aside from the size) like an AC power jack and battery compartment door bring this vintage tone into the 21st century.

The Hoof Fuzz is EarthQuaker Devices' flagship fuzzbox, becoming a fast favorite among musicians of all stripes shortly upon on its initial release. Its loosely based on the green Russian-style muff circuit and features a hybrid germanium/silicon design, with NOS germanium transistors that are hand-matched to exacting specs for consistency from pedal to pedal. Tonally, the Hoof promises a wide gain range enhanced by its shift knob, which works with the tone control to alter the pedal's frequency response—whether that's cutting out low-mid mud, boosting highs for a glassy top-end, or adding stoner rock sludge. Whatever your fuzz needs, the versatile and shapeable Hoof can accommodate you.

Mutating your signal into a vicious square wave fuzz and sending it through a universe of modulated oscillation and subharmonics, the Earthquaker Devices Data Corrupter transforms your guitar into a three-voice mono synth space monster.

Master Oscillator: Up to three octaves above input with eight octave interval positions and two unison roots




Subharmonic: Up to three octaves below input with eight octave interval positions and unison or oscillator root




Frequency Modulator: Rate knobs and Glide/Vibrato switch (Can only be used w/ Master Oscillator or Master Oscillator and Subharmonic together




Voice Mixer: Blends levels of Square Wave Generator, Oscillator, and Subharmonic




Other Features: All-analog signal path, relay-based true bypass switching

Get everything from (relatively) tame to wild tones out of this no-fuss boutique fuzz. Use the Bias knob to introduce a sputtery, gated effect. The Fuzz knob itself offers a full range of usable amounts. And if you'd like a bit more low-end, switch the Fat toggle on. (Find the rest of JHS' 3 Series for affordable, essential effects.)

Part of Dunlop's signature artist reissues of the original Dallas-Arbiter Fuzz Face, this one employs a BC108 silicon transistor instead of germanium. Not to be confused with the 1987 - 1993 JH2 Jimi Hendrix Fuzz Face reissue. This newer version is also produced in "mini" form for the space-savers out there.

The JHS Bender is based off of the 1973 Sola Sound Tonebender. But instead of that vintage circuit's germanium transistors, JHS uses modern silicon transistors selected to match that vintage sound. If you're a fan of the fuzz tones of Led Zeppelin, Jeff Beck, and Mick Ronson—but don't want to pay vintage prices—the JHS Bender is perfect for you.

The DOD Carcosa Fuzz pulls from the playbook of vintage Maestro silicon fuzz boxes from the 1970s...but don't go and think that this pedal is just another clone. Switchable "Hali" and "Demhi" modes take this pedal from a bright, subtle fuzz to unbridled destruction, both of which can be extensively manipulated with the unique "Before" and "After" controls. These unassuming knobs work interactively to bias the fuzz with a number of sweet spots between both dials. When the Carcosa is really ripping and the treble gets to be a bit too much, simply roll around the hi-cut control to tame it down or even lop off the entirety of the high frequency spectrum for a lo-fi stoner rock sound from another era.

The classic Big Muff Pi is perhaps the most widely-used fuzz pedal ever built, and the Electro-Harmonix Deluxe Bass Big Muff Pi adds a new world of control and a deep frequency response tailored specifically for bass guitar. Dial in the crossover controls to hone in your tone, blend the dry signal back in for more impact, and bring the built-in gate to the party if you've got absurd amounts of gain happening and don't want any feedback.

Seattle grunge greats Mudhoney named their debut album after two fuzzes: the Big Muff and the Super-Fuzz. Originally built by Shin-Ei and sold under a number of brand names, including Univox, the Super-Fuzz is a gnarly octave-up fuzz unit. JHS' Supreme is an exact replica of an original Univox Super-Fuzz. Like its predecessor, the Supreme offers rich, screaming fuzz tones with an octave-up overtone. And the switchable "JHS Mode" lets you get an even more pronounced octave effect, if you dare.

Featuring the iconic Fuzz Face chassis and streamlined controls for volume and fuzz, the Fuzz Face Germanium is an industry standard effect at home on any pedalboard. Based on the iconic original Fuzz Face favored by Hendrix, Gilmour and Allman, this pedal goes from light grit to full-on buzz with ease. Perfect for blues, stoner rock, or funk.

Referred to as the "Triangle" Muff because of its signature volume, sustain, and tone knob layout, the original circuit was the very first Muff EHX made back in 1969, kicking off a line of fuzz pedals that would quickly become ubiquitous with the brand and a favorite among guitarists across a wide range of genres.

The Electro-Harmonix Nano Bass Big Muff Pi, though a mouthful to say, brings the huge sound of the Big Muff Pi to a smaller size, calibrated just for your bass. You can tailor your bass' sound using the Nano Bass Big Muff Pi's Volume, Sustain, and Tone knobs, and use the Dry switch that will give you even more tonal options by mixing your unity-level dry bass signal in with the distortion from your pedal. Get the classic Big Muff fuzz, whether you simply plan on adding minimal grit to your tone or creating a full-on onslaught of bass fuzz, using the EHX Nano Bass Big Muff Pi.

Already on its way to classic status, the Black Russian Big Muff is favored by many players for its great bass response and nearly infinite sustain. This Muff is great for leads or thick wall-of-sound fuzz. Grab one now as these Muffs are only going to get more valuable with time.

The JHS Pedals The Crayon is an overdrive pedal that is a smaller version of the JHS Colour Box pedal and emulates the distorted tones of a guitar plugged directly into a vintage British studio preamp, most notably heard in the guitar intro to The Beatles’ “Revolution.” Featuring master, pre-volume and EQ knobs, as well as a high-pass filter switch, the pedal is capable of fuzz, distortion, and overdrive tones.

The MXR Blue Box became the go-to octave effect and a gear icon after Jimmy Page used it for his solo in "Fool In The Rain." It's incredibly simple - two knobs for Output and Blend - one of those pedals that just does its thing and sounds good without a ton of dialing in. It tracks your notes and doubles with a two-octave down copy, providing a bassy, raw feel. Put it front of a fuzz and stand back.

The Caroline Guitar Company is a boutique pedal maker based in South Carolina, the Shigeharu Fuzz is a limited edition take on their Olympia fuzz that features Japanese style graphics and red knobs.  

Featuring simple controls for volume and boost and a switch for an octave or fuzz effect, the Fulltone Octafuzz is a versatile pedal based on the original TychoBrahe Octavia. Made famous by Hendrix and capable of of an octave up with a fuzzed edge for experimental sounds, this pedal is perfect for stoner rock, doom, or metal.

Ever wanted to have five tweakable fuzzes in one pedal? Then look no further than the Death By Audio Apocalypse. This fuzz and disotortion pedal five distinct fuzz modes along with a sweepable EQ to change up your tone, and the standard volume and drive knobs. From metal tones with a scooped circuit to octave-up sound to a smooshed, high-gain wall of fuzz, the Apocalypse proves an incredibly versatile, flexible fuzz and distortion, giving you a plethora of options to choose from.

The Monterey Rotary Fuzz Vibe from Keeley is a multi-effect pedal meant to capture the classic sounds of the '60s, and the tones of Jimi Hendrix in particular. This pedal combines a vintage-tinged octave fuzz circuit with a rotary speaker emulator and vibrato. The result is a pedal that can achieve all-time classic guitar tones, yet is versatile enough to create something entirely new.

Built with a compact design, LED display and fuzz circuitry based off the classic Dallas Arbiter Fuzz Face, the Dunlop Band of Gypsys Fuzz Face Mini brings classic germanium fuzz in a modern, compact package. Designed to emulate Hendrix's classic tone with Band of Gypsys from '69, this pedal is great for psychedelia, garage or stoner rock.

Electro-Harmonix packs a plethora of sound-shaping possibilities into a small space with the Cock Fight Talking Wah & Fuzz stompbox. Set the filter frequency halfway up its travel for a classic "cocked" wah sound, flip the switch to "Talk" for a vocoder-like speech effect, and fuzz the whole thing up with signature EHX gain and sustain. For more on-the-fly control, patch your favorite expression pedal into the party and step into a whole range of tones not typically available in one effect.

The Joyo JF-12 Voodoo Octave is a tripped-out fuzz pedal with more extensive tone control and a switchable octave-up feature. Run through a range of seething fuzz sounds, sculpting as needed with the tone control as well as a mid-cut switch for a more modern "scooped" sound. When it's time to come into a big lead or melody line, stomp onto the Octave Up switch for some serious upper harmonic push that gets really weird really quickly -- in the good way. Rounded out by a sturdy, road-worthy enclosure and true bypass, the Voodoo Octave is an awesome inexpensive option for anyone in need of an octave fuzz.

The Dunlop Germanium Fuzz Face Mini (FFM2) is a smaller version of the their popular Fuzz Face reissue that saves precious pedalboard real estate. This pedal uses slightly mismatched germanium transistors as opposed to matched silicon in the blue version for a vintage tone that packs plenty of bite.

The Vezzpa joins Beetronics' beloved range of high-quality fuzz and dirt pedals. This time around, the sting is so sharp they had to upgrade the bee imagery to a wasp. The Vezzpa's op-amp fuzz circuit gives you two great options in one compact pedal: the sputtery, gated fuzz of the Fuzzzz channel or the searing octave-up fuzz of the Stinger. With some creative footswitch toggling, you can easily zip between the sounds or let loose sporadic bursts of searing fuzz.

The Hawaiian Pizza Fuzz features just three knobs, which by tweaking each, can reveal overdriven tones of classic Dumble, tweed, and British amplifiers, as well as thick, Big Muff-style fuzz and grungy gated dirt.

Featuring a clipping switch for germanium or silicon modes and an additional switch for low or high inputs, the Black Arts Toneworks Pharaoh is a multi-foliate boost/fuzz/distortion that can act as a jack-of-all-trades on your pedalboard. Capable of retaining and enhancing a guitar/amp's tone or going to full-out fuzzed distortion, this pedal is an ideal choice for blues, stoner rock, or psychedelia.

A lean, mean, fuzz machine, Fulltone's '69 MkII serves up the company's iconic fuzz tones in a sleeker housing perfect for pedalboards. The rich, highly customizable fuzz runs the gamut of blues, rock, and metal tones perfect for the likes of The Black Keys, The White Stripes, or Queens of the Stone Age.

When a mystic fuzz of lore is the only pedal that will do, the Earthquaker Devices Park Fuzz Sound stands as an effects Excalibur. Painstakingly recreated from the original pedal produced by Jim Marshall's Park Effects, the Park Fuzz Sound is a perfect fit for stoner rock, dirty blues, or metal.

Featuring controls for pulse width, tone and volume, the ZVex Mastotron is a silicon-based pedal perfect for the guitarist who wants a fuzz accent on their pedal chain. Built for precise sculpting, the Mastotron is a little pedal with a big presence.

Sporting a rugged steel chassis, knobs for volume and saturation onset, and a wild triumvirate of gain, treble and compression knobs for a wide spread of grinding, experimental tone, the Fairfield Circuitry Unpleasant Surprise presses gated fuzz past all convention for one of the strangest and most inventive pedals on the market. Reminiscent of a robot gone AWOL or a buzz saw hacking through a circuit board, this little monster is the perfect addition for any bass, guitar, or synth player who thinks "abrasive" isn't far enough.

The DOD Meatbox is a subharmonic synth pedal that adds room shaking low end to any guitar or bass. With the original FX32 Meatbox from the '90s becoming increasingly in-demand on the used market, DOD has crafted this reissue in an updated housing. The modern Meatbox features straightforward controls for Octave, Sub, Low and Output - giving you precise control to dial in the type and tone of bass reinforcement you need.

The Electro-Harmonix Deluxe Big Muff Pi is an expanded, highly-tweakable version of the classic Pi fuzz. Taking the ubiquitous sound of the standard Big Muff and adding a whole new world of control, the Deluxe Big Muff Pi goes where vintage Muffs simply cannot. A sweepable mid-shift EQ with separate switch lets you stomp into cutting tones for solo sections, offering a different texture from your standard sound. You can even plug in an expression pedal to control the center frequency and get a moving filter happening on the fly. An attack control brings clarity back to your sound, even at extreme gain levels. Little too much noise in your signal? Bring the onboard gate to the party and tame it with ease. Also switchable on the Deluxe Big Muff Pi are a fixed bass boost and a high/low gain setting, making this version of the Muff the most versatile yet.

The Dunlop Silicon Fuzz Face Mini (FFM1) is a smaller version of the their popular Fuzz Face reissue that saves precious pedal board real estate. This pedal uses matched BC108 silicon transistors as opposed to germanium.

Bringing together two custom-crafted overdrive and fuzz circuits in one chassis with versatile features like a 10dB two-band EQ and Buzz switch that kicks in snarling vintage style high-end fuzz, the Beetronics Royal Jelly is a majestic combination of two effects with plenty of tricks hanging in the hive. Designed in tandem with the man who built the legendary Electro-Harmonix Deluxe Memory Man, the Royal Jelly is made to deliver a wide breadth of tone from fat fuzz to searing dirt box punch.

Two takes on the classic Sola Sound Tone Bender in one, the Ramble FX Twin Bender boasts double the circuitry in one compact chassis, lending you the sounds of Jimmy Page, Jeff Beck, and more. With the flick of a switch, the Twin Bender can alternate between the MKII and MK1.5 circuitry, the latter of which uses one less transistor for a cleaner, clearer sound. Change up your tone with a 3-way toggle switch that will boost your mids, fatten up your sound, or keep it plain and simple. Along with the classic Level and Attack controls, there are small knobs to fine-tune bias, which controls the NOS germanium transistors, and impedance, which takes you from lower gain to full-blown Tone Bender madness.

The Bliss Factory and is a collaboration between Chase Bliss Audio and Zvex. It's a two-germanium-transistor fuzz described as "a souped-up Fuzz Factory with digital control and a resonant lowpass filter." The pedal was created in support of Reverb's first feature-length documentary, "The Pedal Movie," on the history and culture of effects pedals.

Pairing PNP and NPN transistors in one chassis for a spectrum of tone spanning warm overdrive to speaker-blowing distortion according to pick attack, the Land Devices HP-2 instantly adds coveted even-order harmonics and destructive tone to your rig. Built to emulate the same pedal loved by the legendary Steve Albini, the HP-2 expands on the original's delectable tone with a streamlined two-knob layout for harmonics and level and a nifty two-way switch that kicks in a diode lift for room-rattling sound. An affordable option for a truly novel effect on any board.

Zvex's flagship Fuzz Factory just got an upgrade with the Zvex Fat Fuzz Factory. Using the original Fuzz Factory's design but adding a sub switch, the Fat Fuzz Factory opens up your fuzz to give you a killer, thundering bottom end. The Fat Fuzz Factory lends itself particularly well to use with a bass, though it shreds with equal power when used with a guitar.

Housed in a formidable green all-metal chassis and built with Russian Cold War-era circuitry, the Electro-Harmonix/Sovtek Big Muff Pi is a transition-era powerhouse fuzz that sounds and looks like a tank. Big, mean, and green, the Sovtek Big Muff Pi is for guitarists looking to get ahead in the fuzz arms race.

Featuring COSM modeling technology designed to emulate the sound of classic fuzz pedals, the Boss FZ-5 is a frugally priced pedal that doesn't sacrifice on quality. Built with modern techniques that capture vintage tone, the FZ-5 is the perfect fuzzy marriage of new and old.

DOD's FX69B replaced the FX69 in their lineup in '98, providing an updated circuit and redesigned chassis. The Grunge FX69B is a super high-gain preamp that provides heavy, screaming distortion and can be shaped using four clear-cut controls: Loud, Low, High, and Grunge. It's intuitive, it's grungy, the DOD Grunge FX69B will give you hyper-distorted sounds.

More than just a few simple component updates, the Way Huge Swollen Pickle mkII Jumbo Fuzz packs the same amp-melting snarl you know and love with new features for carving out tone. Added Scoop and Crunch mini knobs let you slap the midrange right out of the mix for classic sounds and compress your tone into a finely-tuned arrow of sonic mayhem.

As one of the most iconic fuzz pedals of the '60s, the Fuzz Face brought a smile to every Jimi Hendrix fan. The JHS Smiley is the company's take on this classic circuit. From biting mid-range tones to searing high-gain sustain, the Smiley offers the same range of luscious fuzz tones. The added "JHS Mode" lets you select an even higher gain setting, taking you into the territory of modern, sputtery, gated fuzz.

The Earthquaker Devices Acapulco Gold brings girtty, no-nonsense amp distortion in the streamlined package of a compact chassis and single gain knob for effects from a beefy drive to searing smack. Deceptively simple, this little stompbox covers a tonal gamut from classic rock stank to stoner metal snarl with the flick of a wrist.

Inspired by the Maestro Bass Brassmaster octave fuzz, the Malekko Barker ASSMASTER delivers the same octave overdrive and distortion but in a totally quiet and controllable pedal. With an expression jack for control, three knobs, and two switches for tonal shaping, overtone shaping, harmonics, and dry/wet mix, the B:ASSMASTER brings on the fuzzy distortion for basses.

The Catalinbread Fuzzrite takes a classic silicon transistor circuit from the 1960s and gives it a modern spin. With a bigger, thicker sound than many vintage fuzzes, the Fuzzrite can also give some love to the treble range of your tone with the "Depth" control. As with all of the best fuzz pedals from yesterday or today, the Fuzzrite sounds best when it's completely dimed for a raging, buzzing fuzz sound.

The FZ-2 Hyper Fuzz by Boss packs two unique fuzzes into one compact unit while boosting gain. It can recreate a traditional fuzz sound, but it also has the capacity to generate a more modern distortion. With two tone controls, you can adjust to your heart's content until you achieve the perfect, precise tone you're looking for.