A distinctive midrange voice and the capacity to run hot and buzzy and lower volumes distinguish this practical, flexible fuzz.
A unique fuzz voice that can be explored at wide-open volumes without being obscenely loud.
While unique, the basic voice can sound a touch narrow.
$149
DOD Chthonic Fuzz
digitech.com
While a lot of fuzzes cough up exciting sounds across their output volume and gain ranges, most sound best and most alive with gain and output controls wide open. The thing is, most fuzzes at max volume will be screamingly, overpoweringly loud. Yes, I know. That’s the point. But all that gain isn’t practical in every situation. What’s nice about the silicon Chthonic Fuzz is that you can run it as the fuzz gods intended—with gain and output volume maxed—without shaking stucco from the walls. The Chthonic is still plenty powerful, but the best sounds are available at lower volumes.
DOD says the Chthonic Fuzz is voiced for low-output pickups, and it’s easy to see how its gain structure and tone profile would work in that scheme. A quieter guitar leaves more headroom for more gain from your fuzz, and you can crank the fuzz here while operating your guitar wide open, too. The lower overall output volume, incidentally, did not push my amps in a way that left me wanting. It isn’t exclusively for low output pickups, either. A SG and Fender Tremolux turned up to eight sounded colossal, if a little toppy. If you’re looking for tonal reference, a 3-knob Tone Bender nudged to its bassier side and running at lower output volume is a close match. It’s grindier in the midrange than a Fuzz Face, and has little of a Big Muff’s low-end thunk or raw horsepower. What’s awesome about the Chthonic Fuzz is that I didn’t find many obvious parallels, and it’s really nice to try a new restaurant every once in a while.
The heavy pedal that became famous at the feet of Jonny Greenwood delivers surprises with colors that range from explosive to doomy, and yes—shreddy.
Top U.K.-build quality. Surprising range of unique distortion colors. Interesting interactions between EQ controls.
Could be too dark for shredders who rely on sizzling top end.
$249
Marshall ShredMaster
marshall.com
It’s a great irony that the player most popularly associated with the Marshall ShredMaster is probably Radiohead’s Jonny Greenwood. Clearly, Greenwood is a guitar magician. But he is hardly a shredder in the conventional sense. So, what is it about the Marshall ShredMaster that it was given such a … um … shreddy name and yet finds favor among so many not-shreddy players? As is turns out, the explanations are many. And there are plenty of reasons shredders would find much to love in this sturdy, U.K.-made pedal too.
Blast and Squish
The ShredMaster was short-lived in its original incarnation. Introduced around 1991, it was discontinued just a year later. The timing of its release explains how it would have fallen into Greenwood’s hands and shown up on the band’s 1993 debut Pablo Honey. (I’m going to bet that the ShredMaster is doing a fair bit of the heavy lifting in “Creep’s” super-crunchy choruses.) The ShredMaster shows up all over Radiohead’s other ’90s LPs too—usually paired with Greenwood’s solid-state Fender Eighty Five. This pedal/amp pairing gives us some clues as to why the relationship endured.
See, the ShredMaster has a wonderful capacity for dark, compressed tones—the kind that would probably blend well with Greenwood’s humbucker-equipped Telecaster Plus and a bright, powerful solid-state amp. But those dark and compressed tones can also work well for super-fast picking when you’ve got high-octane pickups and a high-gain amp in your chain, working as a kind of glue as you move through fast lines and legato phrases. That’s one explanation for how this pedal bridges the chasm between metal and big indie. But while the ShredMaster doesn’t have as wide a vocabulary as Marshall pedal stablemates like the Guv’Nor, it’s an impressive source of heaviness that can work across many styles.
Because the ShredMaster can seem dark at EQ levels that, on other pedals, would translate to fairly even response, it’s important to get a feel for how the bass, contour, and treble controls work together. Of these, the contour is probably most critical. At settings in the clockwise half of its sweep, it adds a bossy midrange—PAF humbuckers gain a trashy metal edge but single-coils can sound a touch cloudy and fizzy. Left-of-center settings scoop the mids, sound more amp-like, and let more detail shine through. For most of my experiments I preferred to live in this zone.
In general, toppier treble settings also sound best. They enable single-coils to growl and will enhance sustain in humbuckers—giving bridge pickups a feral edge or, in the case of neck PAFs, a smoky heaviness that works well even with considerable volume and tone attenuation. (In general, the ShredMaster isn’t super responsive to changes in guitar input.) One should not be afraid to use a lot less bass from the ShredMaster either. While it can add welcome heft to a scooped, treble-heavy setting, it’s often a source of fogginess that puts a damper on the pedal’s most exciting and dynamite sounds. A good practice is to park the bass at noon, dial up treble and contour to levels that make your guitar sing best, and then add or subtract bass to taste.
The Verdict
Marshall wasn’t misleading us when they gave the ShredMaster its name. Its compressed, high-gain capabilities make the pedal a great partner for fast fretwork. But what any open-minded player will discover is that the ShredMaster, in spite of its name, can play many roles. It can lend heaps of mass and enhance sustain, as well as add a singing or stinging side to leads, or menace to a tame signal that needs to cut and slice on demand. And while its $249 price tag exceeds that of many pedals that drive an amp to nastiness, the ShredMaster’s unique voice and high-quality, U.K. build suggest it’s a pedal that could serve at the front line of any studio pedal collection or as a fixture on a board—offering both gigantic distortion tones and many exciting surprises over the course of a long and useful life
Marshall BluesBreaker, DriveMaster, The Guv'nor & ShredMaster Demos | First Look
A tribute to classic pedal designs, but with a unique twist. Wampler dives into the world of germanium diodes, which has often been called the "key" to the original Klon circuitry's distinctive sound.
The allure of that original overdrive had a lot to do with a very specific “secret” germanium diode, dubbed “unobtanium” by the original creator, Bill Finnegan. It was said that these diodes were the heartbeat of the coveted tone, but they had run out long ago. Despite this Wampler fans have been asking Brian to create a Tumnus using the exact vintage diode from the original.
After a massive hunt, Brian found a small stash of these elusive diodes and used them to create a limited-edition run of pedals - the Germanium Tumnus. This pedal will satisfy both the pedal connoisseur and those seeking a new workhorse on their board. The Germanium Tumnus retains all the usability of its golden sibling but introduces an extra level of aggression, an “Alien Silver” finish, and premium red anodized knobs.
The Germanium Tumnus’s streamlined 3 control knobs (Volume, Gain, and Treble) are designed to allow you to quickly dial in your tones. Set the gain around 9 o’clock for a beautiful smooth overdriven boost and at noon for a fuller-voiced, meaty drive. Turn the gain all the way up for a brutal, yet creamy overdriven tone.
Stack it with another pedal to help push or shape the total amount of gain, use it as a standalone overdrive, or as a slightly dirty boost to push the front end of your amp over the edge. Just like the original Klon, this pedal is not a “true bypass”.
This edition is steeped in a level of exclusivity with a tone that’s set to become legendary. This stash of “secret diodes” is limited, giving you a rare opportunity to own a piece of tone-shaping history. But once they’re gone, they’re gone and this pedal will be discontinued.
Features
- Built-in USA
- High-grade components selected for superior sound and response
- Special edition of Wampler’s best-selling Tumnus Overdrive
- Volume, Gain, Treble controls
- Premium textured “Alien Silver” finish and anodized controls
- Vintage-specification clipping diodes for extra bite and sizzle
- Dimensions: 1.3” x 3.6” x 2” in size (38mm x 63.5mm x 50mm)
- Power draw: 19mA at 9V
- 9V power jack – DC supply only, no battery connection within
- Includes a limited 5-year warranty
- Wampler-quality construction