bae audio

A dual stomp that explores some classic British fuzz circuits.

Los Angeles, CA (April 12, 2018) -- BAE Audio, manufacturer of premium analog hardware built to vintage specifications, will bring its full line of products to this year’s Musikmesse in Frankfurt, Germany. BAE Audio will highlight classic products like its 1073 line, 1084, and 10DCF, as well as products launched more recently like the 500C compressor, R53 horizontal 500 series rack, Hot Fuzz guitar pedal, and the latest offerings by BAE subsidiary UK Sound, including the new 176 compressor. The booth offerings are topped off by the debut of a brand new fuzz pedal: the Royaltone. Musikmesse, which attracted more than 50,000 visitors in 2017, runs from April 11th to April 15th.

“We always enjoy bringing our latest and greatest products to Musikmesse,” says BAE Audio and UK Sound CEO Mark Loughman. “It’s an opportunity to connect with our international customers and show them what we’ve been up to back in North Hollywood. While our baseline product range covers all the of the studio essentials that help our users achieve the time-honored analog sound of their favorite records, we keep growing the array of tools and textures we offer for studio or live use. It has never been easier to feel the magic of the BAE analog sound in every facet of your workflow.”

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Colorsound Overdriver-, Tone Bender-, and Rangemaster-inspired sounds unite in one mean, malleable box.


Vintage fuzz can be a tricky business for modern players. It’s easy to be lured by legend and lore, only to discover that the archaic fuzz you pined for is a hard-to-handle little monster. BAE’s Hot Fuzz strikes a crafty balance between authentically wild and musically manageable—thanks to a responsive tone stack, a gain range that moves from mellow to mean, and a Rangemaster-inspired boost that adds subtle texture shifts or heaps of attitude.

Though BAE says the Hot Fuzz's design has Colorsound Overdriver origins, its basic voice bears many sonic similarities to the Tone Bender family. It’s crackling hot, sings at high gain settings, and delivers tones that run from scooped and nasal to stinging, depending on the guitar and how you set up your volume and tone controls. The powerful tone controls also suggest a Tone Bender MKIII or MKIV heritage, but Hot Fuzz’s dials are much more evolved. They add complex bass tones and sizzling highs that never compromise the essence of the authenticity of the vintage fuzz voice. The Rangemaster-derived “hi freq boost” section is a massive bonus. On it’s own, it adds subtle-to-robust volume and treble boost that’s awesome with tube amps verging on breakup. Mixed with the fuzz it’s positively vicious—adding body, menace, and even snorkely cocked-wah tones depending on the setting.

Test gear: Fender Jaguar, Fender Stratocaster, Fender Telecaster Deluxe, Silverface Fender Bassman, Fender Champ

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The company's first stompbox combines classic '70s fuzz with vintage top boost.

North Hollywood, CA (November 23, 2016) -- At the 141st AES Convention, BAE Audio [AES booth 1101], a manufacturer known for its high-quality preamplifiers, equalizers, and compressors built to classic specifications, has announced that its first guitar stompbox, Hot Fuzz, is now available. The Hot Fuzz is a dual-stomp effects pedal that combines the power of a classic top boost with a premium '70s-style fuzz. While BAE Audio’s preamplifiers and DI boxes are already popular with guitar players, this marks the first product intended specifically for guitar players by the company.

The genesis of the Hot Fuzz began with a personal quest for a long-lost tone by BAE Audio CEO Mark Loughman. “I’m a guitar player myself, and I didn’t feel like there was a stompbox on the market that captured the singing sound of a classic '70s fuzz, the kind that just cuts right through the mix,” Loughman said. He delved deep into '70s-era fuzz technology in his quest for the right tone and was ultimately able to isolate the key components and locate suitable transistors to recreate it. “My reference point was the lead guitar tone on the Isley Brothers version of ‘Summer Breeze,’ and I would say we nailed it,” Loughman says.

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