Recorded using a 1976 Fender Vibrolux Reverb miked with a Royer R-121 and a Fender Rumble 200 1x15 combo miked with a Shure SM57, both feeding an Apogee Duet going into GarageBand with no EQ-ing, compression, or effects.
Clip 1: Squier Vintage Modified Telecaster Custom with Curtis Novak Tele-V bridge and JM-V neck pickups (also feeding an Ibanez Echo Shifter and an MXR Reverb), first in neck pickup position with COB bypassed, then in neck, then middle, then bridge position with COB engaged and volume control at noon, octave at 10 o’clock, and blend fully clockwise.
Clip 2: Eastwood Sidejack Baritone DLX with Curtis Novak Jazzmaster Widerange bridge pickup (and Ground Control Tsukuyomi booster at 9 o’clock), first with COB bypassed, then with COB engaged and volume at max, octave fully counterclockwise, and blend at 11:30.
Clip 3: Squier VM Tele Custom in middle pickup position, first with COB bypassed, then with COB engaged and volume at 10 o’clock and octave and blend fully counterclockwise.
RatingsPros:Fantastic octave-fuzz tones for old-schoolers, headbangers, and everything in between. Switchable buffer adds signal-chain flexibility. Cons: More affordable than originals, but still pricey. Large footprint. Documentation not very thorough. Street: $299 Prescription Electronics C.O.B. prescriptionpedals.com | Tones:  Ease of Use:  Build/Design:  Value:  |
Clean Octave Blend might be a rather confusing (or at least strangely vague) name if you’re unfamiliar with Prescription Electronics’ original 1990s C.O.B.—which now goes for upwards of $900 used. It’s actually an octave-fuzz pedal that lets you independently vary each effect (unlike, say, the original 2-knob Octavias used by Hendrix) via octave and blend knobs, respectively. (There’s also a volume/gain control.) After nearly a decade of inactivity, Prescription is again making the C.O.B. (and other previous offerings). It uses the same octave and fuzz circuits and components as the original, but has PCB-mounted pots and adds power-supply filtering and protection, as well as an internally switchable buffer.
Somewhat counterintuitively, C.O.B.’s octave effect is most potent when that control is fully counterclockwise. But what really matters is that C.O.B. sounds glorious, availing everything from dead-on “Purple Haze” ring-modulation tones in the upper registers to subtler, Eric Johnson-approved cello tones as the octave knob is turned clockwise, and a host of mellow to snarling options in between. But to think of C.O.B. as just for the classic-rock crowd would be a huge mistake: Paired with a baritone guitar and another drive pedal, it can be a positively devastating tool for bludgeoning riffs, all while maintaining healthy clarity and note definition. Either way, using C.O.B. with adjacent boosts and/or dirt pedals is a must, as they help it blossom in ways that are beautifully, viscerally awesome to behold.
Test Gear: Squier Vintage Modified Tele Custom and Eastwood Sidejack Baritone DLX featuring Curtis Novak pickups (JM-V and Tele-V, and JM-WRs, respectively), 1976 Fender Vibrolux Reverb, Ground Control Tsukuyomi mid boost, SoundBrut DrVa MkII boost/drive
The Warm Bender dishes these sounds with ease and savage aplomb. Outwardly, it honors the original MkII—a good way to go given that the original Sola Sound unit is one the most stylish effects ever built. But the 3-transistor NOS 75 MkII is only one of the Warm Bender’s personalities. You can also switch to a 2-transistor NOS 76 circuit, aka the Tone Bender MkI. There’s also a silicon 3-transistor Tone Bender circuit, a twist explored by several modern boutique builders. Each of these three voices can be altered further by the crown-mounted sag switch, which starves the circuit of voltage, reducing power from 9 to 6 volts. From these three circuits, the Warm Bender conjures voices that are smooth, responsive, ragged, mean, mangled, clear, and positively fried.
The Compact Wedge Edge
Warm Audio, quite wisely, did not put the Warm Bender in an authentically, full-size Tone Bender enclosure, which would gobble a lot of floor space. But this smaller, approximately 2/3-scale version, complete with a Hammerite finish, looks nearly as hip. It’s sturdy, too. The footswitch and jacks are affixed directly to the substantial enclosure entirely apart from the independently mounted through-hole circuit board, which, for containing three circuits rather than one, is larger and more densely populated than the matchbox-sized circuit boards in a ’60s Tone Bender. Despite the more cramped quarters, there’s still room for a 9V battery if you choose to run it that way. Topside, there’s not much to the Warm Bender. There’s a chicken-head knob for output volume, another for gain, and a third that switches between the NOS 76, NOS 75, and silicon modes. Even the most boneheaded punk could figure this thing out.
A Fuzz Epic in Three Parts
Most Warm Bender customers will find their way to the pedal via MkII lust. If you arrive here by that route you won’t be disappointed. The Warm Bender’s NOS 75 setting delivers all the glam-y, proto-metal, heavy filth you could ask for. It sounded every bit as satisfying as my own favorite MkII clone save for a hint of extra compression that falls well within the bounds of normal vintage fuzz variation. My guess is that when you’re ripping through “Dazed and Confused” you won’t give a hoot.
“There’s more color and air in the NOS 76 mode.”
If the NOS 75 circuit suffers by comparison to anything, it’s the 2-transistor friend next door, the NOS 76. The lower-gain NOS 76 mode is, to my ears, the most appealing of the three. It’s the most dynamic in terms of touch response and guitar volume attenuation and delivers the clearest clean tones when you use either technique. There’s more color and air in the NOS 76 mode, too. Paired with a neck-position single-coil, it’s an excellent alternative for Hendrix and Eddie Hazel low-gain mellow fuzz that’s more like dirty overdrive. The silicon mode, meanwhile, lives on the modern borderlands of the ’60s-fuzz spectrum. It’s super-aggressive and focused, which can be really useful depending on the setting, but lo-fi, spitty, and weird when starved of voltage via the sag switch. It’s deviant-sounding stuff, but extends the Warm Bender’s performance envelope in useful ways, particularly if you hunt for unique fuzz tones in the studio.
There’s a widely accepted bit of wisdom that says most germanium fuzzes sound lousy unless you turn up everything all the way and use your guitar controls to tailor the tone. This is partly true, especially with a Fuzz Face. But in general, I respectfully disagree and present the Warm Bender as exhibit A in this defense. The gain and volume controls both have considerable range and fascinating shades of fuzz within that can still rise above the din of a raging band.
The Verdict
Some potential customers might balk at the notion of a $199 vintage-style fuzz made in China—no matter how cool it looks. But the Warm Bender looks and feels well made. The sound and tactile sensations in the three circuits are truly different enough to be three individual effects, and $199 for three fuzz pedals is a sweet deal—particularly when consolidated in a stompbox that looks this cool. There is a lot of variation in old Tone Benders, and how these takes on the circuits compare to your idea of true vintage Tone Bender sound will be subjective. But I heard the essence of both the MkI and MkII here very clearly and would have no qualms about using the Warm Bender in a session that called for an extra-authentic mid-’60s fuzz texture.
Walrus Audio’s Monumental Harmonic Stereo Tremolo is far from the only modern tremolo pedal that offers stereo panning. And it’s one of many that digitally approximates the elastic, phasey sound of brown-panel Fender harmonic tremolo. But the Monumental’s economical design and compact dimensions conjure memories of PN-2s I’ve known and missed. It brims with features an old PN-2 user could only dream of in the midst of a stereo amp reverie: the harmonic tremolo, a more traditional optical tremolo-style voice, the ability to blend the two, six wave shape options, and a subdivision switch that enables precise rhythmic variations on any given modulation pattern.
Rhythms Carved in Rock
The Monumental is, as any Walrus-watcher will know, is an evolution of theMonument, which was built around harmonic and optical-inspired tremolo voices, and features tap-tempo, subdivisions, and five waveform types. So, the big news here is the stereo capacity, presets, and the ability to blend the harmonic and optical tremolo types. You’ll pay 60 extra bucks for these extended capabilities. But if you really get into using tr-molo to its fullest potential, these are no small matters.
“The big news here is the stereo capacity, presets, and the ability to blend the harmonic and optical tremolo types.”
The Monumental uses the same-sized enclosure as the Monument V2. The only real drawback from this layout is the proximity of the tap-tempo switch to the bypass, and, as I was reminded at a jam last week, I for one, can easily miss my footswitch target if I’m deeply involved in a musical moment. That issue aside, the Monumental is impressive for the way it accommodates stereo in and out jacks, a tap and expression pedal jack, six knobs for volume, wave shape, stereo pan spread, rate, depth, and the optical/harmonic blend. The subdivision button is situated just below these and is easy to access and operate. None of it, save for the footswitches, feels cramped or difficult to navigate.
Soaring Skyward
It’s good that Walrus added presets to the Monumental, because while it can often seem subtle, the deeper you venture into the possible textures, the more detail and difference you hear among them. Waveforms like the square and sine wave sound great at low- and medium-depth settings. Other options benefit from a more-aggressive depth setting. I tended to like the optical and harmonic tremolo voices in their purest forms, but you can find many intricacies to probe and unravel in the blended settings. Some of those differences might go missing in the wash of a dense arrangement, but when they breathe in more spacious musical settings they are lovely. This is especially true when you use the pedal in stereo.
If you don’t intend to use the Monumental in stereo, you should carefully consider whether the presets and blendable voices merit the extra expenditure. For many, they will. But using the Momumental in mono alone means missing out on some of the pedal’s most infectious sounds. While square, sine, sawtooth, and random waveforms sound particularly exciting here, the other waveform types bubble and percolate all over the stereo field, often sounding percussive in optical mode and woozy in harmonic settings. Maximum depth settings sound particularly immersive. You can also enhance the effects of a dramatic stereo spread by equalizing your two amps differently. I boosted the bass and removed most of the treble from a black-panel Fender and did the inverse with a Vox-style amp for my stereo experiments. The resulting combination of detailed pick attack, strong transients, and peaky top-end popping over a fat, rubbery foundation sounded liquid and surreal—even with the pronounced treble peaks in the mix—making an already basically rich tremolo voice sound extra three-dimensional. By the way, yes, I tried the “How Soon Is Now” riff through a stereo setup. And yep, it sounded fantastic.
The Verdict
At $279, you will want to ask yourself how much tremolo you intend to use before you invest in the Monumental. There are certainly simpler ways to swamp-rock. The Monumental also lives at the more expensive end of its category—coming in a little pricier than pedals like the Keeley Hydra and the crazy-feature-rich EHX Super Pulsar. But there’s no contesting the high quality of this USA-made pedal or the thoughtful way the sounds within were conceived. And studio rats and texture obsessives that love the sensation of swimming in a stereo field may find the Monumental worth every penny.
Walrus Audio Monumental Stereo Harmonic Tap Tremolo - Orange
Unlike the simplest sustain pedals, the Layers enables the player to significantly mutate sustained notes and textures. You can add blends of delay and chorusing that aren’t perceptibly either effect, which creates uncommon-sounding stacks and waves of guitar sound. The Layers pedal takes practice to use with precision, but even partial command of its time-warping capabilities makes it rewarding to use, and it’s relatively easy to dial in chaotic—or fluid and ordered—sustain and harmonizing effects to suit your whims.
Blink Twice If You Understand
Dive straight into Layers without a peek at the quick-start guide and you might fast end up swimming in washes of repeats and harmonic tangles. At first, it might not even be apparent what a layer is supposed to be, particularly because the delay and modulation effects can be so prominent. Essentially a layer is a snapshot of the sound you’re playing as you trigger the effect—either by pressing the soft-relay footswitch or by dynamic picking, depending on where you set the threshold control. (This type of functionality will be familiar to players that use envelope filters.) From there, you can control the length of the layer with the decay control, the wet/dry mix, and the rate at which the layer becomes audible, with the attack knob. By getting a feel for these functions, you can use Layers to predictably create droning and harmonizing accompaniment to what you play. But several additional features enable dramatic alteration of the shape and color of your layers. The “single” button allows switching between a default mode, in which as many as three layers can play concurrently, and another that allows only a single layer at a given time.
A set of secondary functions for each knob are activated by holding down either the single or sub-octave button, which primarily transposes layers down an octave. Options here include the ability to adjust the modulation time, modulation blend, delay time, diffusion (between more or less cavernous ambience), and the amount of dry signal sent to the delay effect, which makes the echoes dirtier and more prominent. The footswitch does triple duty. A single click activates a layer, clicking and holding sustains a layer for as long as you hold the switch, and clicking twice clears layers and puts the pedal in bypass. Functions like dry/wet signal splits, stereo operation, and control via external pedals are also available.Third-Eye Super Vision
The features listed here make the Layers seem more imposing than it is. As I said at the top, you may stare at the pedal a lot to see when the attack threshold is crossed or see which layers have been activated in the multi-layer mode. But the longer you work with Layers, the more you can do by feel. Getting a feel for what rate of swell and decay are right for a given guitar part can change from tune to tune, which makes the absence of presets a slight inconvenience. But it’s not terribly hard to make these adjustments in between tunes or even on the fly, when you’re comfortable. If you elect to go with a single set up and stick with it, you can still add much dynamic control depending on where you set the threshold. Configuring the pedal with a low- to medium-sensitive threshold, three available layers, conservative mix levels, and more generous delay times means you can move between gentle passages where you ride over misty, slow-fading overtone backgrounds or forceful, blown-out ones—all by varying pick intensity. It’s a much more interesting way to build quiet-to-loud dynamics than just switching on, say, an extra drive pedal and reverbs simultaneously. And that flexibility can help you respond to a live performance with extra sensitivity to the mood of a piece. (By the way, it bears mentioning that Layers is often more effective at the start of an effects chain, where it will respond most directly to your input.)
Layers can be subtle. I enjoyed using low mix levels, long decay settings, a permissive threshold, and slow-ramping rise times to create hazy harmonizing trails. I also loved the avalanches of deeply modulating, colliding, and completely unsubtle soundwaves you can slather over a still-coherent melody. Loopers will love building stacks of rising, falling, swelling, and swirling passages of all of these textures that roll like storm clouds. In fact, a two-pedal setup of Layers and a looper will make a simple guitar and amplifier weirder and more otherworldly by orders of magnitude.
The Verdict
The Layers inhabits a sweet middle ground between a simple single-function sustain pedal and overflowing loopers or multi-delays. And though you can utilize very prominent harmonizing voices, it’s generally grainer, less loaded, and more unique than a shimmer reverb. It’s these very uncommon voices and sounds, as well as a capacity for intuitive operation, that make Layers so alluring.
It would have been easy for Wampler to simply make a Mostortion clone and call it a day, but they added some unique twists to the Mofetta pedal. While the original Mostortion had a MOSFET-based op amp, it actually used clipping diodes to create its overdrive. The Mofetta is a fairly accurate replica and includes that circuitry, but also has a toggle switch for texture, which lets you choose between the original-style diode-based clipping in the down position and multi-cascaded MOSFET gain stages in the up position.
Luscious Low Gain and Meaty Mid-Gain
The Mofetta’s control panel is very straightforward and conventional with knobs for bass, mids, treble, level, and gain. The original Mostortion was revered for its low-gain tone and is now popular among Nashville session guitarists. Wampler’s tribute captures that edge-of-breakup vibe perfectly. I enjoyed using the pedal with the gain on the lower side, around 9 o’clock, where I heard and felt slight compression that gave single notes a smooth and silky feel. I particularly enjoyed the tone-thickening the Mofetta lent to my Ernie Ball Music Man Axis Sport’s split-coil sound as I played pop melodies and rootsy, triadic rhythm guitar figures. The Mofetta has expansive headroom, and as a result there’s a lot of space in which you can find really bold, cutting tones without muddying the waters too much. Even turning the gain all the way off yields a pleasing volume bump that would work well in a clean boost setting.
There’s a lot of space in which you can find really bold, cutting tones without muddying the waters too much.
Switching the texture switch up engages the MOSFET section, introducing cascading gain stages that elevate the heat and add flavor the original Mostortion didn’t really offer. Classic rock and early metal are readily available via the MOSFET setting. If you need to stretch out to modern metal sounds, the Mofetta probably isn’t the pedal for you. Again, the original Mostortion was, first and foremost, a low-to-mid-gain affair, so unless you’re using it as a boost with a high-gain amp, the Mofetta is not really a vehicle for extreme sounds.
One of the Mofetta’s real treats is its responsiveness. Even at higher gain settings the Mofetta is very touch sensitive. You can tap into a wide range of dynamic shading just by varying the strength of your pick attack. I enjoyed playing fast, ascending scalar passages, picking with a medium attack then really slamming it hard when I hit a high climactic note, to get the guitar to really scream.
The Verdict
Wampler is a reliably great builder who creates pedals with a purpose. I own two of his pedals, the Dual Fusion and the Pinnacle, and both are really exceptional units. The Mofetta captures the essence of the Mostortion and makes it available at an accessible price. But even if you’ve never heard or played an original Mostortion, you’ll appreciate the truly versatile EQ, touch sensitivity, and the bonus texture switch, which expands the Mofetta’s range into more aggressive spaces. The wealth of dirt boxes on the market today can make a player jaded. But Wampler pushed into a relatively unique, satisfying, and interesting place with the Mofetta.
