EHX expands on the evil architecture of the Boss HM-2.
Excellent high-gain sounds. Much more versatile than you might expect. Flexible control set.
Extra controls can make some fundamental tones harder to find.
$176.66
Electro-Harmonix Hell Melter
ehx.com
The manual for Electro-Harmonix’s Hell Melter proclaims that “a good starting point is to turn all knobs … to their maximum positions and play the heaviest riff you’ve got.” That bit of instruction, and the pedal’s semi-satanic $176.66 price tag, should give you a hint about what the Hell Melter is designed to do. But underneath all that underworld-oriented swagger is a pedal that—like the Boss HM-2 that inspired it—covers more sonic ground than you’d expect.
Chainsaw Massacre
The first hint at the Hell Melter’s versatility is in its control panel. Many pedals favored by metal players simply have volume, tone, and gain controls. The Hell Melter, on the other hand, features eight knobs: distortion, master, high, low, mid, dry, a knob for dialing in specific midrange frequencies, and a noise gate control. There is also a toggle switch for normal or burn mode (the latter is a more open, less compressed voice), a bypass footswitch, and a second footswitch for a boost circuit.
The Hell Melter, of course, is designed to produce the “chainsaw” distortion tone that is characteristic of Swedish death metal, and right off the bat you can feel the aggression the pedal is capable of. Using an Ernie Ball/Music Man Axis Sport and a Mesa/Boogie Trem-O-Verb combo, I used the suggested “everything all the way up” setting and was greeted with the evilest tone you can imagine. But there was still a ton of clarity with everything maxed. Output from the 6th string is defined and packs a wallop, and power chords are razor sharp. The built-in noise gate is an excellent extra that can keep things amazingly noise-free throughout the carnage.
“For all the ominous imagery, the Hell Melter is no one-trick pony.”
For all the ominous imagery, the Hell Melter is no one-trick pony. After all, David Gilmour dabbled with the Boss HM-2. Punk producer supreme Kurt Ballou is a fan of the HM-2 as well, which should tell you something about the range of the Hell Melter, which has a more versatile control set. Sure enough, classic-rock guitar sounds are easy to find and sound impressive. In this context, I liked using the dry level knob to blend in more clean, natural guitar tone. This makes individual notes even more articulate while sacrificing little in the way of aggression. The Hell Melter also offers what can sometimes seem like infinite sustain. And with a bit of delay, bends sound especially lyrical.
While you might suspect that the boost function is akin to tossing gasoline on an already raging fire, it’s actually quite useful for delineating between rhythm and lead sounds. The transition between the two modes feels seamless. There’s no pop when you engage it, and the factory-set boost level is perfect for adding drama without spinning out of control. If you need a little more or less boost, there’s an internal trimmer.
The Verdict
Though you might expect some allusion to darkness and evil to wrap up this review, “fun” is actually the first word that comes to mind when I consider the Electro-Harmonix Hell Melter. If metal styles are your thing, the Hell Melter probably has more gain than you’ll ever need. But the pedal’s controls mean you can sculpt anything from trebly thrash sounds to warmer, more mid-focused classic-metal vibes. The Hell Melter hits the mark on the price-to-performance ratio, too. And at that devilish price, which includes a power supply, the Hell Melter is a steal.
- Electro-Harmonix East River Drive Review ›
- Electro-Harmonix Soul Food Review ›
- Electro-Harmonix 5MM Review ›
Billy Strings' signature dreads are distinguished by a 25" scale and wider nut width.
Delicious, dynamic fuzz tones that touch on classic themes without aping them. Excellent quality. Super-cool and useful octave effect.
Can’t mix and match gain modes.
$349
Great Eastern FX Co. Focus Fuzz Deluxe
Adding octave, drive, and boost functions to an extraordinary fuzz yields a sum greater than its already extraordinary parts.
One should never feel petty for being a musical-instrument aesthete. You can make great music with ugly stuff, but you’re more likely to get in the mood for creation when your tools look cool. Great Eastern FX’s Focus Fuzz Deluxe, an evolution of their très élégantFocus Fuzz, is the sort of kit you might conspicuously keep around a studio space just because it looks classy and at home among design treasures likeRoland Space Echoes, Teletronix LA-2As, andblonde Fender piggyback amps. But beneath the FFD’s warmly glowing Hammerite enclosure dwells a multifaceted fuzz and drive that is, at turns, beastly, composed, and unique. Pretty, it turns out, is merely a bonus.
Forks in the Road
Though the Cambridge, U.K.-built FFD outwardly projects luxuriousness, it derives its “deluxe” status from the addition of boost, overdrive, and octave functions that extend an already complex sound palette. Unfortunately, a significant part of that fuzzy heart is a Soviet-era germanium transistor that is tricky to source and limited the original Focus Fuzz production to just 250 units. For now, the Focus Fuzz Deluxe will remain a rare bird. Great Eastern founder David Greaves estimates that he has enough for 400 FFDs this time out. Hopefully, the same dogged approach to transistor sourcing that yielded this batch will lead to a second release of this gem, and on his behalf we issue this plea: “Transistor hoarders, yield your troves to David Greaves!”
The good news is that the rare components did not go to waste on compromised craft. The FFD’s circuit is executed with precision on through-hole board, with the sizable Soviet transistor in question hovering conspicuously above the works like a cross between a derby hat and B-movie flying saucer. If the guts of the FFD fail to allay doubts that you’re getting what you paid for, the lovingly designed enclosure and robust pots and switches—not to mention the pedal’s considerable heft—should take care of whatever reticence remains.
Hydra in Flight
Just as in the original Focus Fuzz, the fuzz section in the Deluxe deftly walks an ideal path between a germanium Fuzz Face’s weight and presence, a Tone Bender’s lacerating ferocity, and the focus of a Dallas Rangemaster. You don’t have to strain to hear that distillate of elements. But even if you can’t easily imagine that combination, what you will hear is a fuzz that brims with attitude without drowning in saturation. There’s lots of dynamic headroom, you’ll feel the touch responsiveness, and you’ll sense the extra air that makes way for individual string detail and chord overtones. It shines with many different types of guitars and amps, too. I was very surprised at the way it rounded off the sharp edges made by a Telecaster bridge pickup and AC15-style combo while adding mass and spunk. The same amp with a Gibson SG coaxed out the Tony Iommi-meets-Rangemaster side of the fuzz. In any combination, the fuzz control itself, which boosts gain while reducing bias voltage (both in very tasteful measure) enhances the vocabulary of the guitar/amp pairing. That range of color is made greater still by the fuzz’s sensitivity to guitar volume and tone attenuation and touch dynamics. Lively clean tones exist in many shades depending on your guitar volume, as do rich low-gain overdrive sounds.
The drive section is similarly dynamic, and also quite unique thanks to the always versatile focus control, which adds slight amounts of gain as well as high-mid presence. At advanced focus levels, the drive takes on a fuzzy edge with hints of Fender tweed breakup and more Black Sabbath/Rangemaster snarl. It’s delicious stuff with Fender single-coils and PAFs, and, just as with the fuzz, it’s easily rendered thick and clean with a reduction in guitar volume or picking intensity. The boost, meanwhile, often feels just as lively and responsive—just less filthy—lending sparkle and mass to otherwise thin and timid combo amp sounds.
Among this wealth of treats, the octave function is a star. It works with the fuzz, drive, or boost. But unlike a lot of octave-up effects, you needn’t approach it with caution. Though it adds plenty of the buzzing, fractured, and ringing overtones that make octave effects so wild and distinct, it doesn’t strip mine low end from the signal. The extra balance makes it feel more musical under the fingers and even makes many chords sound full and detailed—a trick few octave effects can manage. With the fuzz, the results are concise, burly, and articulate single notes that lend themselves to lyrical, melodic leads and power chords. In drive-plus-octave mode, there are many hues of exploding practice-amp trash to explore. The boost and the octave may be my favorite little gem among the FFD’s many jewels, though. Adding the octave to boosted signals with a generous heap of focus input yields funky, eccentric electric-sitar tones that pack a punch and are charged with character in their fleeting, flowering state.
The Verdict
It’s hard to imagine adding extra footswitches to the Focus Fuzz Deluxe without sacrificing its basic elegance and proportions, and without elevating its already considerable price. Certainly, there would be real utility in the ability to mix and match all three excellent gain modes. On the other hand, the output level differences between fuzz, drive, and boost are pretty uniform, meaning quick switches on the fly will shift texture and attitude dramatically without delivering an ear-frying 30 dB boost. And though it’s hard not be tantalized by sounds that might have been, from combining the fuzz and/or boost and drive circuits, the myriad tones that can be sourced by blending any one of them with the superbly executed octave effect and the varied, rangeful focus and output controls will keep any curious tone spelunker busy for ages. For most of them, I would venture, real treasure awaits.
Patterns can be viewed as boring or trite, but a little bit of creativity can turn them into bits of inspiration.
Chops: Intermediate Theory: Intermediater Lesson Overview: • Learn different ways to arrange scales. • Combine various sequences to create more intersting lines. • Solidify your technique by practicing unusual groupings of notes. Click here to download a printable PDF of this lesson's notation. |
I want to offer some food for thought on making sequences musical. Using sequences in our playing helps develop our musicianship in various ways. It can help us tune into the fretboard, develop melodic ideas all around the neck, and further our improvisation and compositional skills. So, spending time with sequences is certainly not time wasted. Please note that I sometimes use the word “rule" in this column, this is only a pointer to keeping on track of our exploration of these concepts. The intellect is very useful, but intuition is where the creativity comes from. When in balance lots of great things can be done. Let's get stuck in!
It's simple to play a scale from bottom to top, or top to bottom, but we can develop a sequence by shuffling these notes around. In Ex. 1 we have a C Major scale (C–D–E–F–G–A–B) played in thirds followed by a sequence highlighting the diatonic triads of the major scale. By following a “rule" we can develop many different sequences. The options are endless and a little overwhelming.
Click here for Ex. 1
Lets start by simply combining an interval sequence with an arpeggio sequence. In Ex. 2, the first two beats of the first measure feature ascending thirds. This is then followed by a triad arpeggio starting from the third note on the string. The next set of thirds then starts on the “and" of beat 4. The entire sequence is a seven-note pattern that is created by combining two thirds and a triad. It gives us a nice bit of rhythmic displacement as the phrase is now starting in a different place in the measure.
Click here for Ex. 2
Ex. 3 is a descending idea in A minor that basically flips the sequence we looked at in Ex. 2. Here, we are starting with two descending thirds before the triad. I'm using pull-offs and economy picking to articulate the triads. This one works well over D minor as well if you want a D Dorian (D–E–F–G–A–B–C) flavor.
Click here for Ex. 3
You can see the effectiveness of combining different sequences and groupings of notes to create interesting runs. It's also really effective for making phrases. In Ex. 4 we take a small fragment from Ex. 3 and change the rhythm. In the sound example I repeat this a few times over some implied chords in my bass line: Am, F, and Dm. It's great to get more from one line by seeing the different chord types you can play it over.
Click here for Ex. 4
In Ex. 5 we're going to start using fourths and fifths. It starts with an ascending A minor triad (A–C–E) before leaping to the 9 (B) and then hitting a G major triad (G–B–D). A similar pattern leads into the C major triad (C–E–G). Throwing in these wider intervals alongside triads is very effective for creating a dramatic sounding runs.
Click here for Ex. 5
For our next example (Ex. 6), we will take fragments from Ex. 5 and space them out a bit. I wanted once again to show how these sequence ideas can also be helpful for developing melodic phrases. Once we have a cool sequence or fragment, all we need to do is be creative with how we play it. We can change the rhythm, harmonic context, dynamic, and much more.
Click here for Ex. 6
Before we move on, it's important to remember that we can add colorful notes to our triads. Let's begin with some seventh-chord arpeggios. Ex 7 features are diatonic seventh arpeggios in G minor (functioning as a IIm chord) to get a Dorian sound.
Click here for Ex. 7
Ex. 8 is a little gratuitous of me. It begins with an idea made of several different concepts. First, we start with an Am7 arpeggio (A–C–E–G), then descend down an A5 arpeggio. I follow that up with diatonic thirds and end with a pedal-point sequence. If that's not enough, we then take this bigger idea and fit it around a chord progression. I move it to G7, Dm7 and then I break my “rule" slightly and outline notes of a C6 arpeggio (C–E–G–A). However, it does keep the same melodic contour of the initial idea. I used my ear and fretboard to guide me. It's always healthy to have a fine balance between intellect and intuition.
Click here for Ex. 8
We dig into C harmonic minor (C–D–Eb–G–Ab–B-C) for Ex. 9's monster two-measure lick. It sounds evil! In composing this phrase, I kept to the basic concept of finding seventh-chord arpeggios within C harmonic minor in the 8th position. I followed my ear as well as my slowly developing intellect. However, if you look closely you can see I was following a mini chord progression through this line. We start out with a CmMaj9 arpeggio (C–Eb–G–B–D) in the first beat, followed by a G7b9 arpeggio (G–B–D–F–Ab). Here we have a very strong Im-V7 movement in C minor. I then move back to our CmMaj9 arpeggio and in the second measure we start descending down an Eb augmented triad (Eb–G–B). This is then followed by more CmMaj9 goodness.
Click here for Ex. 9
Ex. 10 is now taking Ex. 9 and extending it into a cool flamenco-inspired melody. The rhythms in this were inspired by the incredible Paco De Lucia. I follow the sequence from the previous example almost exactly, but I use a bit of artistic license to repeat certain fragments to fit into a “top line" or “head"-style melody.
Click here for Ex. 10
My aim here isn't to give you one rule to follow but instead to encourage you to take the sequences you know and love and start getting more out of them. Enjoy and stay safe!
Neutrik’s Timbre plug, made for toggling between capacitors.
This follow-up to May 2025’s column shows you a few basic techniques to inject some capacitance into your rig.
Hello, and welcome back to Mod Garage. This month, we will dive into the details of how to add additional guitar-cable capacitance—the right way. Time to get started!
Let’s begin with some typical additional capacitance values that certain lengths of cable (or capacitors) can bring to your system:
• 10’ vintage coiled cable (approx. 3 meters) -> 1 nF
• 15’ vintage coiled cable (approx. 4.5 meters) -> 1.5 nF
• 20’ vintage coiled cable (approx. 6 meters) -> 2.2 nF
• 30’ vintage coiled cable (approx. 9 meters) -> 3.3 nF
• Ritchie Blackmore-style, ultra-long vintage coiled cable -> 4.7 nF
I listed standard values here, so you should have no problem getting caps to match them in any local electronics store or online; the type of cap doesn’t really matter and will mostly be dominated by size, but I’ll share more about this in a minute.
Let’s quickly summarize the first installment of this column from last month’s issue: From a technical point of view, added capacitance shifts down the resonance frequency of the pickups, so they sound fatter, especially when using overdrive. This is exactly the reason why a lot of distortion and fuzz boxes with a vintage voicing use an additional cap at the input section; the resulting overdriven tone is fat and warm.
This month’s mod, which involves adding a capacitor to your signal, works best with vintage-flavored single-coil pickups (approximately 2.4 H inductance) or a typical old-school PAF-style pickup (approximately 3.8 H inductance). Modern high-output pickups are often sporting inductances of 6 H to 8 H, and don’t sound very good with this mod—when adding more cable capacitance to such pickups, the result is a dull and wooly tone without any clearness and definition. If you want to make your single-coil guitar sound more Les Paul-ish, you should try a 4.7n capacitor. It will shift the resonance frequency of your single-coil pickups down to the typical PAF ballpark, making for a very cool and usable old-fashioned guitar tone. It might feel a little muffled when playing clean, but ultra fat and punchy when using overdrive! In general, values higher than 4.7n are not recommended.
We have two options for where to install our cap.
On the Guitar Cable
This is the easiest location to add additional capacitance to your system, with several mod options:
1. The lightest mod ever isn’t a mod at all—it’s to simply buy a vintage guitar cable and plug it in whenever you need it! I don’t know of any company that offers modern guitar cables with intentionally high capacitance.
2. The Neutrik company offers a special angled plug, called the Timbre Plug, that you can solder to any guitar cable of your choice. The plug has a 4-way rotary knob on top to toggle between different capacitors. In addition to a bypass setting, the plug offers capacitances of 1nF, 2.2nF, and 3.3nF, letting you simulate different cable lengths on the fly.
3. You can add an additional capacitor to any guitar cable of your choice to convert it into a “longer-sounding” cable. You simply open one of the plugs to solder the cap between the hot and ground—that’s it. Small, 2.5 mm contact spacing ceramic caps are easy to put into a standard plug and are your weapon of choice here. It’s essential to only add the additional cap to one of the two plugs, but it doesn’t matter if you plug this side into your guitar, an effect, or your amp. This method allows you to build yourself some cables that simulate their older, longer relatives.
You can add an additional capacitor to any guitar cable of your choice to convert it into a “longer-sounding” cable.
Photo courtesy SINGLECOIL (https://singlecoil.com)
Inside the Guitar
You can also add a cap (or several) inside your guitar if you only need this mod for one instrument. If you’re looking for added capacitance with all your guitars, you’d be better off choosing one of the techniques mentioned above.
1. The easiest way is to solder your additional capacitor directly to your volume pot; this way it has a fixed value that can’t be changed and is always engaged. This operation is very simple to do, and you can use regular-sized caps for this.
You can add a cap (or several) inside your guitar if you only need this mod for one instrument.
Illustration courtesy SINGLECOIL (https://singlecoil.com)
2. If you want to make the cap switchable, such that you can run it either bypassed or engaged, you can install a SPST mini toggle switch or use half of a push-pull or push-push pot, which usually sport a DPDT switch underneath.
This drawing shows how to make your additional cap switchable.
Illustration courtesy SINGLECOIL (https://singlecoil.com)
3. If you want to use more than one cap to simulate different cable lengths, your weapon of choice is a rotary switch, setting up a kind of Gibson Varitone wiring without the inductor. Because we are switching capacitances, it is essential to run an additional 10 meg resistor in parallel to each of the caps, and to use a make-before-break, not a break-before-make, rotary switch to prevent loud popping noises when using the switch while your guitar is plugged into an amp. Leave the first lug of the rotary switch open for the bypass position without an additional cap.
If you want to use more than one cap to simulate different cable lengths, use a rotary switch.
Illustration courtesy SINGLECOIL (https://singlecoil.com)
4. If you want to make this mod even more flexible, you can add an additional “cable simulator pot” to your system. The pot should have the same resistance as your volume pot, and should be wired to your volume pot. This way, for example, you can add a 3.3nF or 4.7nF cap to the extra pot, and dial in as much cable capacitance as you like.
You can also add an additional “cable simulator pot” to your system.
Illustration courtesy SINGLECOIL (https://singlecoil.com)
On the Pedalboard
The idea of putting a rotary switch or cable-simulator-pot solution into an external unit to create a kind of extra-capacitance stompbox to use with all of your instruments is just around the corner, and yes, it’s possible! However, I don’t recommend this, because it’s physically located after the volume pot in the guitar, which means less volume (no unity gain) and less high end. But don’t worry: If you are looking for a pedalboard solution to simulate different cable lengths (which, as we defined earlier, means to shift the resonance frequency of the pickups), there are some active solutions on the market offering such a feature, usually in combination with a boost or buffer functionality. To name just a few, you should look into the Seymour Duncan Pickup Booster, Stellartone Micro Pedal, or the i2e Audio AG1.0 The PURR. Along with some other brands, these pedals will do the trick, and they’re not difficult to build if you are looking for a DIY solution.
So far, I’ve received several emails from readers asking for some more DIY guitar tools, so next month, we will look into some sustainable and environmentally friendly DIY guitar helpers—all of which you can build yourself easily by upcycling things you already have at home. Stay tuned!
Until then... keep on modding!