Skip to content
Search

Latest Stories

Premier Guitar features affiliate links to help support our content. We may earn a commission on any affiliated purchases.

Way Huge Stone Burner Review

The octave fuzz section from the Atreides Weirding Module gets its own star turn in a buzzing bruiser that can be absurd and beautiful.

Way Huge Stone Burner

4.6
Tones
Build Design
Ease of use
Value
Street: $169
PG Premier Gear

Pros:

Unusually flexible and sustain-rich octave fuzz. Fat, rubbery synth-like sounds. White-hot fuzz. Versatile tone and fuzz and sub octave levels.

Cons:

Can’t entirely remove fuzz or octave signal.

Our Experts

Charles Saufley
Written by
Charles Saufley is a writer and musician from Northern California. He has served as gear editor at Premier Guitar since 2010 and held the same position at Acoustic Guitar Magazine from 2006 to 2009. Charles also records and performs with Meg Baird, Espers, and Heron Oblivion for Drag City and Sub Pop.

Way Huge’s Atreides Weirding Module is one of Jeorge Tripps’ great gifts to the world. It’s a gift that keeps giving, too. The Attack Vector phaser and envelope was its first offspring. But the newest, the Stone Burner Sub Atomic octave fuzz is a killer, maybe the coolest, and probably the most practical pedal from the Atreides family. It’s an unusually useful and forgiving octave fuzz that will generate up to two sub octaves, which feature more or less prominently depending on the sub level.


This sub octave filter works in concert with the fuzz, which you can’t remove entirely from the mix, but which ranges in intensity from nasty and spitty to double-nasty and surprisingly capable of sustain. Various mixes of the sub and fuzz levels yield tonalities that stretch from synthy elasticity and fuzz bass to fractured, tectonic-scale Earth rumblings, and fuzz that sounds like a banshee gargling gravel and rusty nails. (I mean this in the most complimentary possible sense.)

The wide-ranging tone knob, meanwhile, has a profound effect on a given mix’s glitchiness, sustain, and overtone profile. The Stone Burner also responds in fascinating ways to guitar volume and tone input—sometimes emphasizing tight fundamentals and octaves in more concise and equal parts, or enhancing the more synth-like qualities of the filter. Variations in pitch from finger vibrato and whammy bars activate many ghostly responses and overtones, too. Needless to say, it is a fairly confrontational effect, but the Stone Burner is also malleable, sweet, bratty, and beautiful.


Table of Contents