Skreddy Pedals Issues the Cognitive Dissonance MkIV

A new take on a classic fuzz sound.

Carson City, NV (October 9, 2018) -- Always a fan of Pink Floyd, Marc was also impressed with the way Pete Cornish was able to reproduce the character of David Gilmour’s old Big Muff from the 1970’s and make a road-worthy version of it suitable to the rigors of touring. In that vein, the Skreddy Cognitive Dissonance MkIV is a new take on the old fuzz sound. The philosophy of the MkIV is maximum refinement—silky and articulate and perfectly balanced. You will hear the distinctive character of the Big Muff style fuzz but without any overwhelming artifacts imposed over your guitar’s tone or your playing style.

The last Cognitive Dissonance, the MkIII, was discontinued in 2015, and we are pleased to announce it is once again available under this new moniker. That’s right; this is actually a re-issue of the MkIII. So if you missed out on the MkIII, I highly recommend giving the Skreddy Pedals Cognitive Dissonance MkIV a spin. It is snarling yet silky, sustaining yet articulate, and capable of soaring fuzz while remaining tight with a neutral tonal footprint.

Skreddy Pedals has long been known for the musicality of their guitar effects. Their first fuzz pedal release, the Mayonaise (sic), was a loving recreation of the first-edition Big Muff Pi* (named, of course, after a favorite Pumpkins song). Since that initial offering, Marc has branched out into several creative directions over the years, from crafting fuzzes and overdrives based on the specific sounds of classic rock albums to recreating the tones of his beloved vintage tube Echoplex and his second-hand script-logo Phase 90, among other things.

*Big Muff Pi is a trademark of Electro-Harmonix

For more information:
Skreddy Pedals

Flexible filtering options and a vicious fuzz distinguish the Tool bass master’s signature fuzz-wah.

Great quality filters that sound good independently or combined. Retains low end through the filter spectrum. Ability to control wah and switch on fuzz simultaneously. Very solid construction.

Fairly heavy. A bit expensive.


Dunlop JCT95 Justin Chancellor Cry Baby Wah


Options for self-expression through pedals are almost endless these days. It’s almost hard to imagine a sonic void that can’t be filled by a single pedal or some combination of them. But when I told bass-playing colleagues about the new Dunlop Justin Chancellor Cry Baby—which combines wah and fuzz tuned specifically for bass—the reaction was universal curiosity and marvel. It seems Dunlop is scratching an itch bass players have been feeling for quite some time.

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  • Develop a better sense of subdivisions.
  • Understand how to play "over the bar line."
  • Learn to target chord tones in a 12-bar blues.
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Playing in the pocket is the most important thing in music. Just think about how we talk about great music: It's "grooving" or "swinging" or "rocking." Nobody ever says, "I really enjoyed their use of inverted suspended triads," or "their application of large-interval pentatonic sequences was fascinating." So, whether you're playing live or recording, time is everyone's responsibility, and you must develop your ability to play in the pocket.

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