A new addition to the Legends of Fuzz series puts the boss back in Boss Tone.
A ’60s-style fuzz that excels at punky chords. Distinctive but classically buzzy voice. Cool metallic compression. Attractive enclosure. High-quality build.
Lacks some of the seat-of-the-pants chaotic side that makes many mid-’60s fuzzes a gas.
$179
JHS Plugin
jhspedals.info
Though it sounded mean and magnificent, the original Jordan Boss Tone enjoys little of the mystique that distinguishes its more famous ’60s fuzz contemporaries. Its awkward, ill-conceived enclosure—a small box that you plugged directly into a guitar—ensured that players looked to more practical alternatives. Had it come in a pedal as handsome and sturdy as JHS’s homage to the Boss Tone, the Plugin, fuzz history might have been very different.
The JHS Plugin offers two takes on the original Boss Tone’s voice. One is more vintage correct. The other, which is activated by a small push button on the side, uses a hard-clipping stage to achieve a louder, more robust, mid-forward version of the traditional tone. Both voices are distinctive. And, in general, the Plugin sneers with bad attitude. It’s snarly, delightfully acerbic, and loud. It’s also compressed in an almost contemporary sort of way, which enhances sustain and helps chord fundamentals and overtones remain intact and safe from crumbling into fractured fuzz muck. Compared to a silicon Fuzz Face, it is more compressed, buzzier, and nastier. But it dishes less sizzling top end than a silicon Fuzzrite. For many ’60s fuzz freaks, that middle path will be ideal. And in the loud, boisterous, and mid-boosted modern mode, the Plugin takes on a proto-metal rudeness that bridges the raw reediness of mid-’60s fuzzes and Black Sabbath mass.
The answer is only a DIP switch—or two—away. The PG Tsakalis AudioWorks Molecular Boost review.
Recorded using a Schroeder Chopper TL into a Revv D20 and Avatar 12” cab miked with a Shure SM57 feeding a Focusrite Scarlett going into Logic with no EQ-ing, compression, or effects.
Rhythm: Mid-boost mode with gain at 10 o’clock
Lead: Treble boost mode with gain at 2 o’clock
RatingsPros:Many more usable tones and options than a simple clean boost. Tiny footprint. Switchable buffer and true-bypass modes. Cons: The high-mid setting can get a bit too trebly for single coils. Street: $178 Tsakalis AudioWorks Molecular Boost tsakalisaudioworks.com | Tones:  Ease of Use: Build/Design:  Value: |
The basic premise of a boost pedal could fit on a bumper sticker: Whatever you feed it comes out louder at the other end. Well, the Tsakalis Molecular Boost certainly does that. But it does a lot more, and calling it a boost sells this compact, one-knob wonder short. The secret sauce lies in the four small DIP switches on the left side. With a quick flick of a switch or two, the Molecular Boost moves between four different EQ curves (treble boost, high-mid boost, mid boost, and an all-frequency boosted “clean” mode). The gain, meanwhile, ranges to +18 dB.
The secret sauce lies in the four small DIP switches on the left side. With a quick flick of a switch or two, the Molecular Boost moves between four different EQ curves (treble boost, high-mid boost, mid boost, and an all-frequency boosted “clean” mode). The gain, meanwhile, ranges to +18 dB.
The clean boost mode is rich and full of body, and creeping past noon, you hear many additional overtones bubble to the surface. The mid- and high-mid boost settings are punchy and bright. And though the high-mid setting was a little too thin for my particular setup (a Schroeder T-style and Fender Hot Rod Deville) it would probably be a great fit for dark humbuckers. The ability to control the gain via expression-pedal is a welcome bonus, as is the internal switch that enables you to select true bypass, or use the Molecular Boost as a buffer. The Molecular Boost may be mini, but its impressive capabilities are a big deal.
Test Gear: Schroeder Chopper TL, Fender Modern Player Jaguar, Fender Hot Rod DeVille