NAMM '10: Guild D-55, F-50 Jumbo Custom Koa & More

Way Huge didn’t leave much to the imagination when it branded this fuzz the Doom Hammer. But that doesn’t mean it's without surprises. Jeorge Tripp’s latest design is based on an op-amp Big Muff that he modified for a client in the 1990s—primarily with the aim to tighten the low end. You hear Tripps hit that target when you play the Doom Hammer alongside other Big Muff types, which are massive in the low end and can sound comparatively sprawling in that frequency. But rather than merely heavy, the Doom Hammer’s combination of taut lows and the pronounced midrange one associates with op-amp Big Muffs is nasty, buzzy, punky, and brash. For all the desert-rock swagger in the name, the Doom Hammer is just as effective at lending contrast to heavy bass in a mix. And for any stoner rock power trio that has had to work against a wall of bottom-end sludge on stage or in the studio, it’s a practical and intriguing solution.