Way Huge's new stompbox offers level controls for both fuzz and sub octave signals.
The Way Huge Smalls Stone Burner Sub Atomic Fuzz is designed to "put you in touch with your freaky side. It’ll have you threatening the world with searing fuzz in one moment and generating earth-shaking low end in the next." - Way Huge
The fuzz and sub octave signals each have their own level knobs. The Sub 1/Sub 2 switch lets you choose just how low your tone can go. Volume and Tone controls round out this pedal’s insidious interface.
Mr. Huge designed the Stone Burner Sub Atomic Fuzz as your all-purpose companion—"bring it along for everything from robot mating season to skullduggery in the Mojave Desert. Have some fun, and explore the outer reaches of your sanity. Fire up the Way Huge Smalls Stone Burner Sub Atomic Fuzz, and get weird. But remember to protect your eyes..." - Way Huge
- Fuzz and sub octave FX combine to create weird, wild tones
- Choose between one or two octaves down
- Level controls for both fuzz and sub octave signals
- Volume and Tone controls round out an insidious interface
The Way Huge Smalls Stone Burner Sub Atomic Fuzz is available for pre-order now at $169.99 from your favorite retailer. Ships 9/15/23.
Get the full story here:
A beloved early boutique OD returns smaller and, just maybe, even sweeter.
Well-built and easy to use. A quick route to harmonic-rich, succulent, tweed-style overdrive.
Most won’t miss the lack of any EQ knobs, but some players might desire the added level of control.
Way Huge Red Llama MkIII Smalls
The Red Llama overdrive was among the very first production boutique overdrives when it was released in 1992. And high resale prices for the original and the full-sized reissue say a lot about players’ ongoing affection for the circuit. Outwardly, the Red Llama MkIII Smalls looks like a newer, smaller rendition of the popular Red Llama overdrive. And, if you’re into overdrives and saving space, that’s a good thing. But size reduction isn’t all that’s going on here. As Way Huge tells it, Jeorge Tripps decided to mark the 30th anniversary of the original’s release by scouring supplies of available components to find those that would make this a faithful recreation. How successful was Tripps? Well, we don’t know how much that part-sourcing effort had to do with it, but the sound and feel of the MkIII suggests he hit his mark.
Like the original Red Llama, the MkIII has just two knobs, for drive and volume. “What, no tone control!?” Fair question. But while the MkII and the limited 25th Anniversary rendition did feature a tone control, those who have played the tone-knob-less original know that the circuit acquits itself quite well as-is thanks to a balanced frequency range that most guitarists don’t feel the need to tweak. Such austerity makes even more sense here on the bijou Smalls enclosure: a brushed-aluminum red metal box that measures just 4" x 2 ¼" x 1 3/8". The rest of the equation is, obviously, pretty simple. There’s a footswitch for on/off (true bypass), an indicator LED, and a center-negative 9VDC jack between the top-mounted input and output. All in all, this little brick feels rugged and well built, and it’s sized to maximize space on your pedalboard without tipping into the “mini-pedal” bracket.
Although it’s been around for three decades, and a plethora of feature-packed overdrives have hit the scene since it first appeared, the Red Llama somehow still sounds just right when you plug it in and go at it. I checked it out with a Fender Telecaster, Gibson Les Paul, Friedman Dirty Shirley Mini, and a silver-panel Fender Princeton combo. And at every turn, the MkIII quickly reminded me what was so likable about Tripps’ design in the first place (or, to be more specific, Tripps’ reworking of Craig Anderton’s Tube Sound Fuzz circuit from a 1977 Guitar Player magazine DIY project, which was his initial inspiration).
The Red Llama’s core sound, which is often billed as “harmonic tweed overdrive,” is thick, juicy, and chewy. There’s a nice tactile sense of compression in the attack, too, but never at the expense of articulation. And there’s plenty of clarity even when you dial up the drive nice and high. The Red Llama is definitely not a Tube Screamer derivative in terms of sound or design roots. But it covers some of the same territory if you’re looking to get away from the ubiquitous green meanie, and it shares a TS’s ability to add cranked-tube life to amps at lower volumes. It’s also the kind of pedal you can keep on constantly and a very effective way of boosting an amp at the edge of breakup into more toothsome overdrive. The drive control has a good, useful range, too, rolling from fat-boost to a hairy high-gain OD that sounds almost like a warm fuzz when you push it. And the volume (aka output) can easily shove an amp’s front end to the point of distortion.
The Red Llama MkIII Small’s juicy, succulent, and dynamic overdrive make it suited for just about any rig in any style. And when a lot of ODs have started to sound very same-ish, it’s remarkable that it remains so distinct, characterful, and loveable—even after 30 years.
Way Huge Red Llama Overdrive MkIII Demo | First Look
There’s just something about the grit on those repeats.…
There’s definitely a place for those pristine, perfect digital delay units, but when you need to hear a bit of degradation on the repeats there’s only one way to go. Here’s a look at 10 different analog boxes that range from simple and funky to expansive and weird.
MXR M169 Carbon Copy
The sparkly green time machine is a dead-simple way to get classic bucket-brigade tones. It includes a top-mounted switch for modulation, two internal trim pots, and up to 600 ms of delay time.
This stereo box ups the ante with eight custom Maxon MC4107D bucket brigade ICs, which equals up to 900 ms of delay. The circuit is designed with a bit of an EQ bump plus dynamic distortion on the repeats for a vintage vibe.
Boss DM-2w Waza Craft Delay
A reissued classic that not only faithfully recreates the original version from ’84 but allows you to switch to a custom mode that increases the delay time to 800 ms. Plus, the pedal features both wet and dry outputs and expression pedal input.
Way Huge Smalls Aqua Puss MkIII
The latest iteration of Jeorge Tripps’ ubiquitous circuit not only packs analog tones into a smaller enclosure but can rock self-oscillation and tape-style echo. The top-mounted jacks also help on crowded pedalboards.
Electro-Harmonix Deluxe Memory Man Nano
For decades the large-format DMM was a staple on pedalboards across the world. This smaller version aims to cop all the vibe and mojo of its ancestor. It not only features the same delay, chorus, and vibrato modes as the original but gives you full control over modulation speed.
J. Rockett Audio Designs Clockwork Echo
A collaboration with Howard Davis, who created the Deluxe Memory Man, this fully featured pedal includes an independent boost circuit, dual expression pedal inputs, stereo outputs, and a deep modulation section.
Ibanez Analog Delay Mini
Only the essentials are present in this new mini pedal. Along with tiny controls for repeat and blend, the larger knob allows you to control time on the fly. As with most analog outfits, you don’t get a ton of delay time, but up to 600 ms is on tap.
Chase Bliss Thermae
As with all of Joel Korte’s creations, the Thermae is way more than a simple analog echo box. It has a wealth of customizable options including a pitch shifter, MIDI, expression pedal support, and synth-like sequencer tones.
TC Electronic Echobrain
At only 60 bones, this stripped-down analog delay not only will be easy on your wallet, but also on a cramped pedalboard. It maxes out at 300 ms but has a vintage-style BBD chip and comes in a road-ready chassis.
Zach Broyles teamed up with John Snyder of Electronic Audio Experiments to create this fully analog delay that is built around a pair of MN3205 chips and features tap tempo. If you use the time knob, the pedal maxes out at about 600 ms, but the tap tempo allows you to push it a bit more.