Voodoo Lab Superfuzz

The rare Jordan Electronics Bosstone (circa 1968) is considered by many to be the ultimate vintage fuzz. The Voodoo Lab Superfuzz starts with this classic fuzz design and adds unique tone and resonance circuits to create an amazing new array of fuzz tones.

The tone control delivers a wide spectrum of midrange and bass timbres, everything from an extreme gain scooped tone through a raucous, bluesy, prominent mid voicing. The resonance control is a sub-harmonic booster that lets you add an aggressive bottom end not typically found on fuzz pedals. Attack varies the gain from rich and creamy to outrageous.

Superfuzz features:
Classic ‘60s fuzz sounds
Unique Resonance and Tone controls
True bypass switching with LED
Hand built in the U.S.A.
5-year warranty

Toadworks Barracuda Analog Flanger

Barracuda Analog Flanger

In the Spring of 1977, millions of music fans rushed home to throw the new Heart album "Little Queen" on their record players. What they heard was one of the most explosive and powerful guitar riffs in the history of Rock & Roll.

The men playing that riff were Howard Leese & Roger Fisher, and the magic behind that sound was a custom-made analog flanger unit. Working closely with Howard Leese, ToadWorks has created an authentic, accurate emulation of the original custom-made flanger used on the 1977 smash-hit "Barracuda".

ToadWorks USA is proud to announce the Winner of the coveted Guitar Player Magazine Editor's Pick Award, the Howard Leese Signature Model analog flanger, Barracuda

Pigtronix PolySaturator

Pigtronix PolySaturator is a compact yet pwerful distortion featuring an extra-wide gain range coupled with precision tuned graphic EQs and a Class A, J-FET front end. The PolySaturator produces everything from vintagy tweed style break up to outrageous over the top screaming high gain shred tone. It is extremely low noise and can be used as a lead channel or in front of your amp's lead channel.

Unprecedented touch sensitivity and overall range of distortion tones is achieved through multiple gain stages, and active EQ, perfectly balanced to give the musician enhanced control and expression using picking dynamics alone.

The PolySaturator can do gritty, edge-of-overdrive sounds, but crank up the gain and you will be assaulted by face melting ultra-high gain tone that will please shredders and shoegazers alike with impressive string to string clarity. Our unique JRC4558D powered EQ circuits provide 12 db / octave active filtering over three distinct audio bands. This powerful EQ structure combined with our solid-state of the art approach to tube emulation, allows the musician to dial up wildly diverse and satisfying textures of analog distortion.

For those guitarists who are looking to graduate beyond outdated overdrive designs, the PolySaturator presents a flexible and affordable alternative that will outperform any other boutique or mass production distortion pedal available.

Great on guitar, bass and synthesizers!

Retro Sonic pedals

RETRO SONIC PHASER.
The Phaser is based on the classic 4 stage Script circuit with a few additions for a more versatile pedal. Along with the Rate, the Retro-Sonic Phaser has a Depth control which allows you to dial in the intensity of the effect, as well as a level control to match unity gain, or even provide a little boost if desired. All pedals will have a matched set of FETs for the best possible phasing experience, and of course True Bypass is standard.

RETRO SONIC DISTORTION.
The Retro-Sonic Distortion pedal is based on an LM308 op-amp design, and features true bypass switching, with Distortion, Tone and Level controls. Together, these provide a wide range of tonal possibilities, from subtly distorted blues tones through to classic rock and metal.
As added flexibility, Retro-Sonic has incorporated two internal trim pots to allow adjustment to the frequency response of the gain structure. This gives Distortion users the option to tailor the overall response of the pedal to taste, by reducing or increasing the mix of high or low end content. More tonal flexibility can be explored through multiple clipping options via a 3 position mini toggle switch, which selects symmetrical-diode, asymmetrical-diode, or LED clipping.
The Retro-Sonic Distortion is a professional quality effect pedal that recaptures the much sought-after "vintage vibe." It is a truly versatile and musical pedal design that responds to touch, producing a big, natural, harmonically rich tone that works with any guitar-pedal-amp configuration.

RETRO SONIC EIGHT O EIGHT.
The Eight-0-Eight Overdrive is a faithful recreation of the original TS-808 Tube Screamer circuit and features the JRC4558D op-amp. Its overdrive circuit provides the same tone as a vintage '808, noted to provide tube like overdrive effects while retaining the guitars original tone.
Being a ground up build rather than a modified pedal has allowed us to provide some feature benefits up front.
FEATURES:
- The unit is built with metal film resistors and caps for the best fidelity possible.
- The opamp is mounted in a socket so that you can swap engines easily.
- An internal trimpot allows for adjustment to the amount of bottom end content present. The range is from stock TS to nearly flat (no flaby-ness wanted). The mids are not taken away, the bottom is brought up. A nice feature that lets you decide what the right amount of low end is.

These pedals are IN STOCK now. Contact Tym guitars for these or any other pedal in the Retro Sonic range.

The Epiphone Crestwood ET200 series

The Crestwood was launched in 1958 by Epiphone. The guitar was a double cutaway solidbody construction in mahogany with dual New Yorker pickups, three-on-a-side headstock and a pickguard with the Epiphone logo. In late 1959 the guitar was renamed the Crestwood Custom and the body's edges were rounded off and the pickguard go different design. In 1961 the New Yorker pickups were replaced with minihumbuckers, the dot markers were replaced with oval markers and the pickguard lost its Epiphone logo. By 1963 the body got a slightly longer upper horn, a six on-a-side headstock and the gold plating were replaced with nickel plating. Epiphone also launched the Crestwood DeLuxe which can easily be described as a three pickup version of the Crestwood Custom, it also featured an ebony fretboard with block inlays. The Crestwood DeLuxe was discontinued in 1969 and the Crestwood Custom the year after.

These ET 200 series were introduced a year later in 1970 made by Matsumoku in Japan when Epiphone moved production to the far east. Based on a very similar body shape with 3 a side headstock similar to the original late 50's/early 60's style. They featured 2 fairly powerful chrome or gold plated full size humbuckers and either a bridge and stop tailpice, wraparound (rare) or vibrato as fitted to other Aria guitars of the time. They were offered with either chrome or gold hardware in all forms and with "inlayed" or printed logo headstocks. These were well made (as fans of the Matsumoku factory will know) and had bolt on necks available in both rosewood and maple fretboards. The models consisted of the same basic guitar with different levels of binding and inlays with the higher number designation (ie: ET275/278/290) having a bound neck and headstock with block inlay fretboard.

Matsumoku got around the bolt on neck "hanging out" of the body so far, like the originals by having a "tongue" under the neck pick up, much like a Mosrite. I LOVE the necks on these Crestwoods and I think they're a great alternative if you can't afford an original. They have a real "SG" tone and are nice and light. We've had a few of these through the shop over the years and they still amaze me when they come in. They were offered in bass versions as well with similar features.
I own pretty much the whole line up of the original solid body Epiphones from this era inc a Crestwood deluxe and I still have a couple of these 70's Matsumoku made ones in that collection.

Tym strings

In our never ending effort to offer more to our customers we have great quality USA made strings under the Tym brand name starting at $10 a pack, less with quantity orders. These are imported and made into packs of common gauges but we can do custom gauges on request.
We currently do 9-42, 10-46, 10-54, 11-48, 11-52 and 13-56 in nickel electric guitar all for $10 a pack and 45-105, 50-110 in nickle and 45-105 in stainless for bass at $30 a pack. Phosphor bronze acoustic coming soon.

Voodoo Labs Pedal Power 2 Plus

Filter, regulate, isolate, and protect!
Pedal Power 2 Plus does it, and does it well, because any less will degrade your pedal’s performance. Players everywhere upgrade to Pedal Power 2 Plus because it powers what conventional power supplies can’t. Pedal Power 2 Plus is hand made in the U.S.A., comes complete with cables, detachable AC power cord, a 5-year warranty, and simply makes you sound better!
POWERING PEDALS IS EASY. MAKING THEM SOUND GREAT ISN’T.
Isolation is more than fixing ground loops.
Ground loops cause hum, and the solution is to break the unwanted ground path. Isolation is the best way to do it. Unlike other power supplies, Pedal Power 2 Plus isolates EVERY output. This eliminates tone robbing interaction between units. Now you can properly power everything from vintage overdrives to modern digital marvels that others just can’t!
Proprietary balanced transformer makes it possible.
A typical transformer, like those used in a wall wart, creates a large magnetic field that causes hum in any audio path near it. Pedal Power 2 Plus uses a custom designed, ultra-low noise toroidal transformer, with separate balanced windings for every output. Now even the most sensitive pedals can be dead quiet.
Switching power supplies aren’t for everything.
What’s good for charging a cell phone is NOT good for your pedals. While digital switching power supplies are small and inexpensive, they also generate unpredictable transients and extraneous noise. Pedal Power 2 Plus uses an audiophile quality linear supply for consistently stable, clean, pure power.
Pedal Power 2 Plus Features

9/12V (x4) – Standard 9V and 12V Boss ACA
With each one of these four outputs delivering 100mA, you can easily power any 9V battery-operated pedals. Boss pedals that specify the PSA adapter operate at 9V like most other pedals. Boss pedals that require the ACA adapter operate at 12V which can be selected via switches underneath the Pedal Power 2 Plus. Any one of these outputs can be individually selected to run at 9V or 12V.

9V (x2) – High Current 9V and Line 6 Modelers
These two outputs each deliver 250mA allowing you run high current draw effects like the Boss DD-20 Giga Delay or Line 6 DL4 Delay Modeler. Via switches underneath the Pedal Power 2 Plus, these two outputs can be separately configured for regulated (Boss Twin Pedals) or unregulated (Line 6 Modelers) power allowing you to run both units if so desired. These outputs can also power any standard 9V effects as well.

9V (x2) – Standard 9V With Battery Sag Control
These outputs each have an available 100mA of power, but also allow you to SAG the voltage from roughly 4V to 9V. This feature can be enabled via the bottom panel switches. The SAG control is mostly useful for transistor-based fuzz, octavia, and distortion circuits, as most modern opamp designs are minimally affected by variations in supply voltage. We recommend turning SAG off if you’re going to run digital pedals like delay, chorus, and reverb.

18V/24V – Using Custom Cables
All of the outputs on the Pedal Power 2 Plus (and the original Pedal Power) are completely isolated allowing you to create different voltages. You can run effects like the current MXR Flanger by combining two 9V outputs to create a single 18V supply. By switching two outputs into 12V ACA mode, you can join them together to create a 24V output for powering numerous Electro-Harmonix stompboxes including the Deluxe Memory Man.
These pedals are IN STOCK now. Contact Tym guitars for these or any other pedal in the Voodoo Labs range.

Toadworks Redux

ToadWorks Redux is a guitar effect pedal takes the concept of delay in a whole new direction - two directions, actually. Redux is an Modulated Echo, providing a combination of single, phased and multi-tap delays all in one very small package. Redux has been tested and used with a wide range of amplifiers, including tube, solid state and hybrid, and the results are always the same. If regular old delay is leaving your tone flat, Redux will make it fly.

ToadWorks Redux is a unique digital delay with exceptional clarity, long delay time, and nearly infinite repeats. It's uniqueness comes from an asynchronous second delay signal merged with the original delay. This pairing creates a slightly time-shifted signal, producing a subtle phase-shift effect on the delayed signal only - the original signal is unaffected.
The switch turns the effect on and off, the Delay knob controls the time between repeats, the Repeat knob controls the amount of regeneration, the Offset knob increses/decreases the secondary delay time in contrast to the primary delay (you may also click this control completely off, leaving only the primary delay), and the Mix knob controls the overall delayed/clean signal ratio.
Redux features a true-bypass circuit, keeping your tone crystal clear ad infinitum. Each pedal is carefully manufactured by hand, using only the finest components.

The Tym Screaming Tremors

Here it is folks. The new Tym Tremolo pedal.
This is the classic Electronics Australia trem circuit from the '60's, again, but why not. It's a GREAT subtle, yet strong amp/valve like trem. With an improved design and added volume.
This trems been done before and is still being by many with good reason but I've added an input volume control for more scope. The circuit has been modded for more internal gain and the volume pot allows more variance for running gain pedals before or after the trem. If you want to overload the input, turn the volume up. If you want a more subtle trem signal, back the volume off and let the fuzz flow in.

The rate and depth controls are as per normal with just a whisker more speed on the rate. It is of course housed in my hand made custom stainless steel enclosures with Switchcraft jacks and standard Boss style 9V adaptor plug.

Artwork is again done by the great Tone and sits in beautifully beside the Human Fly for horror themed artwork. This trem will be available with other circuits so you can tailor your fuzz/trem needs in one pedal. You can also add the Muff tone control for even more scope.
This will be available in the next couple of weeks. These and all the other Tym pedals are available through Tym guitars.

Diamond Memory Lane 2

The Memory Lane 2 is not a 'hybrid delay' or 'analog voiced' delay. Featuring NOS (new-old-stock) MN3005 BBD (bucket brigade delay) chips running at 15V the Memory Lane offers high headroom and superior sound quality with a 100% analog signal path.
The Memory Lane 2 expands on the innovations of the original Memory Lane offering several new features requested by players and a new twist that further bridges the feature gap between analog and digital delays while retaining the warmth and unique sound of bucket brigade delay devices.
With this newly revised version of our highly acclaimed analog delay pedal players now have the ability to control delay time via an expression pedal input, footswitch between two independent delay times: one set via the Delay knob, the other set using the tap tempo footswitch function. In addition, we've added a dotted 8th note setting for producing 'U2 style' rhythmic delays.
Slapback mode- We've also added a 'slapback' switch to the back of the pedal which allows DLY1 to be set to a single repeat while DLY2 can have as many as you like further enhancing the useability of the pedal.
Spaceship mode- many players loved the way the original Memory Lane could easily be coaxed into self oscillation, but for some players it was a little too easy. We've reduced the sensitivity of the default mode for higher feedback (more repeats) before self oscillation but for the players who are into those jet-fuled, screaming self oscillation sounds, there's an internal switch to enable 'Spaceship mode". In this mode the Feedback path is even more sensitive than the original Memory Lane- fun, fun, fun!
Feature List:
- 550 ms approx analog delay time using
2 NOS MN3005’s running at 15V
- expression pedal input to control analog delay time
- tap tempo footswitch control of analog delay time, with dotted 8th note setting for rhythmic delays
- footswitch between 2 completely independent delay times: one set using tap tempo, one set using Delay knob
- vibrato modulation depth and speed controls
- tilt EQ in delay / feedback path provides subtle control
over frequency spectrum of repeats (from increasingly
dark repeats to flat to increasingly bright repeats)
- 'kill-dry' delay only output for amplifiers with
parallel effect loops
- inserting cable into delay only output jack automatically
removes delay signal from mix output giving separate
direct only and delay only outputs
- true bypass operation for mix/direct output
- pristine signal paths using premium opamps,
polypropylene caps and metal film resistors
- expression pedal input to control feedback level
- ability to use standard 1/4" stereo to two 1/4"
mono insert cable in expression pedal input to insert
an effect or chain of effects into the feedback loop
(can also be used to insert a standard volume pedal
as feedback control)
- LED flashes for visual feedback of delay time
- self-oscillating feedback path with ability to shape
via feedback EQ in realtime
- analog voltage supply internally regulated to 15V for
low noise operation and increased headroom in line level
effect loops
- rugged genuine Hammond aluminum diecast enclosure
- DC adapter included











End of life notice: the Memory Lane 2 is unfortunately nearing the end of it's lifespan. The supply of NOS Panasonic MN3005 chips we use is becoming very limited and very expensive. Luckily, we've managed to stockpile a modest supply which will allow us to continue building Memory Lane 2 for a short time but when they're gone... they're gone!

Zvex Super Hardon VEXTER series

The famous Super Hardon boost is now available in Vexter series.





The Vexter series differs from the Handpainted version in that it has a silkscreened enclosure and a shorter warranty period. This effectively lowers the price point, and makes both production easier for Z.Vex and allows the effect to become more accessible to musicians.
The Vexter Super Hardon contains the same circuit as the original pedals, with the inclusion of modern touches such as an indicator LED and DC power jack for powering the fuzz with an adapter.
See my previous post about the Super Hardon for more info. Contact Tym guitars for prices and availability.

Violent Soho Tele Jr

I first met these guys before they had released anything and I loved 'em before I ever heard them. Their passion for music and unquestionable work ethic was a breath of fresh air in the local music scene, and they are a great bunch of guys. When I finally heard their first self funded EP I was totally hooked. Their naive "grunge pop" charm was infectious, and those "hooks" !!
They were using pretty crappy gear, as young bands do. No name guitars and cheap amps. I knew there was a better sound there for them, we just had to find it.
The first guitar I gave them was a '65 Fender Jaguar with neck binding and dots that I had "Cobained" with Seymour Duncan JB in the bridge and DiMarzio in the neck. Toggle switch and 3 knobs finished it off. James recorded the album in Wales with Gil Norton with this guitar and still uses this guitar live today.

Luke wasn't "picky" but knew what he wanted sound wise, just didn't know how to get it. For him I built a "Tele Jr"
The Fender Tele is beautiful in it's simplicity and is a great touring guitar as it's tough and simple. Luke "seemed" to like P-90's and I LOVE wraparound bridges, when they're done properly. The sustain and tone you get from having the string tension ON the bridge is like no other system. So, the answer was simple. Cross a Les Paul Jr with a Tele !! The formula was set. The tone was right. It was simple and great. The light alder body crossed with the high output Seymour Duncan P-90 and wraparound bridge was perfect for big, fat rock guitar.

The extra scale length at 25.5" gave clearer tone and made the P-90 react very nicely to feedback. I went for the big "CBS" style headstock as I think they look tougher and have better tone/sustain (yeah, I know !!) with a hard maple neck and rosewood fretboard.
Simple was the order of the day and I stripped it right back to bare essentials. The bridge pick up is all that was needed so everything else went. The guitar has a volume pot and 2 output jacks. Luke doesn't run 2 amps , but there's nothing worse than having to drag around a guitar on tour with a dodgy output jack, so there's a spare.


Here's the same guitar back in for a set up after a year of solid touring through the US. The first one was smashed in a moment of over zelous excitement on stage. I still have the neck and headstock (2 pieces) here somewhere. The second was "lost" in Sydney just before they left for overseas so this third one was rather quickly built to go on tour. The advantage of the Tele design is it's ease of assembly and the lack of headstock angle makes it much more "tourable" than a Les Paul Jr. There's plenty of Youtube footage and pics of this guitar on the net being abused. It's still Lukes (and one of mine) favorite formula for a simple, rock 'n' roll machine.

Ampeg Scrambler

ORIGINAL SCRAMBLER. In 1969 Ampeg roared into the effects world with the Scrambler. It was, and still is, distinctively unlike other distortion units of the time, and it doesn't appeal to everyone. Built like a tank in a heavy cast casing, part of the circuitry was potted in epoxy for copy protection. The sound of the unit is a mixture of strong fuzz with a bit of octave up and sometimes slight ring modulation. The Texture control ranges from an almost normal-sounding fuzz to one that brings to mind giant mosquitoes on steroids. The Balance control mixes in variable amounts of straight signal. The effect can be very extreme. Imagine sound gushing out of a firehose and splattering against the wall.
The Scrambler was not a commercial success for Ampeg, and perhaps 2500 units were produced, making it one of the more collectible effects.

REISSUE SCRAMBLER. The New Scrambler Series Pedals are based on the cosmetic design of the original Ampeg Scrambler pedals from 1969. The SCP-OD is the reissue of the Original Scrambler, and features a distortion circuit that adds upper octave harmonic content while blending a unique overdrive effect into the signal. It's great for both guitar and bass
Analog man says "These were reissued by AMPEG in the summer of 2005. Made in the USA just like the originals. We were skeptical so we bought one to test. Below it's on the left, with one of our original Scramblers on the right. The originals have gone for $1000 on ebay so we were really happy to get a chance at some reissues...
Upon testing, we were amazed as the reissue had more output volume than the original, with the same awesome fuzzy sound with upper octave. And we think the tone of the reissue is even better - thicker and stronger.
We were sold, and now offer them to you for your enjoyment.
The New Scrambler Series Pedals are based on the original cosmetic design of the Ampeg Scrambler pedal from 1969. The SCP-OD is the reissue of the Original Scrambler. It features a distortion circuit that adds upper octave harmonic content, while blending a unique overdrive effect to the signal. These pedals feature die-cast housings and True Bypass circuitry. A Scrambler is not for smooth blues or the faint of heart - it's a NASTY sounding fuzz but you can tame them a little if needed."
We currently have one of these re-issues in stock at Tym guitars.

Amwatts amps

Amwatts strives to build the best vintage style instrument amps and speaker cabinets, using the highest quality available materials. Mark builds his amps and speaker cabinets to bring you the vintage tones of Blues & Rock ‘N’ Roll you've wanted. I want you to get excited and WANT you to play our products from the moment you hear them. Because when you sound good, you play good. He works with customers to give them what they are looking for in the style of amps and cabinets he builds. In these days of mass production, he prides himself on hand crafting amps and cabinets for tone, quality and longevity.
Amwatts currently has in it's line

THE "JUKE" HARMONICA AMPLIFIER
Named in tribute to Little Walter, the "Juke" amplifier is designed to alleviate feedback and volume issues that have hampered harp players. It has been developed, tuned and tested with some of the finest harp players in Australia.
The "Juke" amp is matched to a harp's tonal frequencies and is compatible with a microphone's high impedance. It can compete unmiked with the onstage volumes of guitarists and drummers without annoying feedback.
The "Juke" has a big fat bluesy 'honk' without muddying the tone of the harp. Nice bottom end combined with a midrange growl. A cutting top end without ice pick squeal.
It covers a wide range of tones from the crisp clean feel of a laid back Sonny Boy Williams to the swamp house overdrive of a big Texas shuffle. Amwatts aim is to make the finest harp amp available today.

50s TWEED AMPS
The 50s TWEED range of guitar amps are based on circuits that came out of Fullerton, California. The originals had a warmth of tone that produced the sounds that helped shape Rock 'n' Roll. Clean and rounded, and when pushed they became compressed and crunchy.
The early circuits had problems. Some suffered AC hum from heater filament circuits. They were also prone to parasitic oscillations due to positioning of certain components (sounds like a mosquito is chasing the notes or a rattle in the amp). They also became flubby when the amp was driven hard (too much bottom end). This flubbiness increased when using P90 or humbucker pickups.
THE AMWATTS VERSION:
Amwatts 50s TWEED amps are based on these original circuits but remove the problems without changing the tone. AC hum is removed. A redesigned layout is used to eliminate oscillation. Values of certain components are changed to decrease the flubbiness. Not all of it is removed, as the amp would then lose it's tonal character and become sterile.
The Amwatts 50s TWEED models have the tone of the originals but are balanced to handle the pickups and effects of the modern era.

SPEAKER CABINETS
Amwatts started building speaker cabinets in early 2002. The aim was to build a compact sized 2 x 12" cabinet with a big, full and rounded sound. Most modern cabinets are built with either plywood or compressed woods. Plywood is made up from layers of thin sheets of wood and the grain of each layer is at a 90 degree angle to the next layer. Grain doesn’t flow in one direction. Using this type of material cuts top end frequencies and slightly dulls the cabinet.
Amwatts cabinets are made with hand selected pine. The wood resonates with the speakers giving a fuller, richer tone and brings out a broader frequency range from your amp. Dovetailed corners give strength and rigidity, making the cabinets durable for hard gigging. Solid 30mm hardwood bracing around the baffle board adds to the strength and resonance of the cabinet. Speakers are mounted on a high grade ply baffle board.
Mark is also in the process of developing reproduction models of early and rare 40s Fender models, based on actual original models owned by Amwatts. Amwatts products are lovingly hand built on the Gold Coast in Queensland, Australia.
These great amps can be tested at Tym guitars retail shop.

Naut Cases

Nautcases prides itself on specialised customer service and high quality custom design.
With over twenty-two years experience in using transit cases, Jason "naut" Gendrolius (owner & proprietor) made his first case twenty years ago and has a unique insight into what is necessary protection for your goods in transit.
Designing cases to client's specific needs, Nautcases uses the highest quality hardware and materials available; combining a rigid exterior with custom cut padded interiors to protect your valuables. Nautcases produces high quality cases in all sizes and quantities for a multitude of purposes.













Nautcases designs and manufactures for a wide variety of clients; ranging from being commissioned to overhaul Australian band Silverchair's entire transit case range, delivering tradeshow display transport cases for Furuno Australia all the way to creating a unique computer case solution for Queensland Work Cover.


Nautcases prides itself on being able to deliver quality, be it manufacturing cases for Qantas Airlines or creating a case for your first guitar. Please refer to our client list for a detailed summary of our customers.
Nautcases can also refurbish, repair or upgrade your existing cases.


Tym guitars uses and recommends these high quality custom made cases.

The Way Huge Swollen Pickle

The most sought after and corpulent Way Huge pedal is back with new features and it still has "more fuzz than a moldy peach!"
With added controls The Swollen Pickle MkII surrenders super high-gain fuzz with copious amounts of smooth low-end to all who dare plug into it. With a twist of the SUSTAIN control, you're taken from mild crunch to Armageddon! The FILTER control retains its trademark insane range of heavily band-pass-filtered tones distinguished by remarkable girth and sizzle, and the LOUDNESS puts out enough volume to clobber any amp!
Newly added features include a tone stack SCOOP control that elicits classic Swollen Pickle mid-scoop or flat mid-frequency sweep, and a CRUNCH knob to adjust the compression intensity of the fuzz. Finally, under the hood, the Swollen Pickle MkII has two internal mini controls: VOICE sets the intensity of the external SCOOP control from light to heavy mid cut, and CLIP varies between two sets of clipping diodes for smooth or opened fuzz sustain.
INTERNAL CONTROLS
These controls are for fine-tuning to your guitar and amp rig:
Voice - sets the intensity of the external SCOOP control
Clip - varies between smooth or opened fuzz sustain
CONTROLS
LOUDNESS - generates enough volume to clobber any amp
FILTER - adjusts the range of heavily band-pass-filtered tones
SUSTAIN - releases masses of heavy violent fuzz
SCOOP - sweeps between mid-scoop to flat mid-frequency
CRUNCH - alters the compression intensity of the sustain
FOOTSWITCH - toggles the effect on/bypass (blue LED indicates effect is ON)
This and all the other Way Huge pedals are available now at Tym guitars.

Zvex Fuzz Factory

The Fuzz Factory is based on, yet vastly expands the tonal palette of, classic fuzztone designs from the 1960s. Invented in the mid 1990s, the pedals are mostly handbuilt and painted in Minnesota, United States, with a budget line being manufactured in Taiwan.
The basis for the Fuzz Factory is a traditional fuzz effect circuit using New old stock Germanium Transistors, as used on the Fuzz Face, the seminal device used by Jimi Hendrix and many others during the late 1960s/early 1970s. The Fuzz Factory innovates by use of internal feedback loops and component-level bias adjustments to achieve unprecedented control, or deliberate lack thereof, of the distorted signal. Designed by electronic trial-and-error, closely tied to circuit bending, the controls of the Fuzz Factory are highly interactive, and represent a wide spectrum of tonal ability, often extending into self-oscillation and noise. Many musicians find the promise of near-infinite new sounds and textures inherent to the device to be inspiring to their music, and the Fuzz Factory has a well-known following among professional guitarists.
The Factory has 5 knobs, 2 of which are only suggestions of what parameter(s) they actually control. From left to right:
* "Volume" (output level)
* "Gate" (transistor bias)
* "Compression" (transistor bias)
* "Drive" (input level)
* "Stability" (supply voltage)















Custom Finishes
Each unit is handpainted, and while there is a stock design that adorns most models of the pedal, there have been several variations released in limited quantity, including sparkle finishes, kanji finishes (writing and labelling of controls are in Japanese kanji characters), Korean finishes (all controls labelled in Korean), and so on. These limited runs of custom paintjobs underscore the handmade, one-of-a-kind nature of the devices. From the earliest incarnations of the device in the mid 1990s, Jason Myrold painted all Fuzz Factories leaving the Z. Vex shop. Briefly during the mid 2000s the artist Laura Bennett assumed painting duties.

Vexter Series Fuzz Factory
In December of 2004, Z.Vex released a new model of the Fuzz Factory, called the Vexter Series Fuzz Factory. The Vexter series differs from the Handpainted version in that it has a silkscreened enclosure and a shorter warranty period. This effectively lowers the price point, and makes both production easier for Z.Vex and allows the effect to become more accessible to musicians. The Vexter Fuzz Factory contains the same circuit as the original Fuzz Factory pedals, with the inclusion of modern touches such as an indicator LED and DC power jack for powering the fuzz with an adapter. As of August 2006, Vexter series Z.Vex pedal subassemblies are completed in Taiwan, but a large portion is still done in Minnesota.
A Few Famous Zvex Fuzz Factory Manglers Include: Nels Cline of Wilco, Matthew Bellamy of Muse, Robert Fripp, Steven Drozd and Wayne Coyne of The Flaming Lips, John Frusciante of The Red Hot Chili Peppers, Trent Reznor, J. Mascis, Stephen Carpenter of Deftones, Sharin Foo of The Raveonettes, Billy Gibbons of ZZ Top, Stephen Malkmus of Pavement and The Jicks, David Sylvian, Jack White of The White Stripes and The Raconteurs and MANY, MANY MORE.

The Tym Fuzzilla 666.

This ones been a while coming, but it's finally here. This is the Tym clone of the legendary, awesome, fantastic 6 transistor Shen-ei/Univox SuperFuzz.

The Univox SuperFuzz in this form is a fuzzbox produced by the Shen-ei company in Japan in the early 70's and sold in the US under the Univox brand name, primarily for use with the electric guitar or bass. SuperFuzz pedals have become highly sought after, and have developed a fanatical following, exalted by many as the "Holy Grail" of fuzz pedals. The Tym Fuzzlla 666 is based on the original unique fuzz tone with an octave fuzz using two germanium or silicon diodes to produce the square wave clipping and 6 NOS C945 transistors.

The controls on the Tym 666 are Volume (Balance), Tone (Octave) and Gain (Expander) and the original two position 'tone' switch, which gives a unique feature that engages at around 1khz filter that "scoops" the mids, giving a very fat, almost bassy tone, has been changed to a second stompswitch plus the usual on/off stomp. The other unique feature of this fuzz is that it has full-wave rectification of the circuit that produces a slight upper octave as well as a lower octave. This also gives the sound a lot of compression and gives a mild ring modulator effect.

As used by Pete Townshend of The Who, Poison Ivy of The Cramps, Mark Arm and Steve Turner of Mudhoney, J Mascis of Dinosaur Jr., Billy Corgan of The Smashing Pumpkins (Although he was much more famous for using the Fender Blender and the Big Muff), Fu Manchu, Adam Yauch of The Beastie Boys and many, many more.

Like all my pedals this is all housed in one of my custom handmade stainless steel enclosures with switchcraft jacks and "Boss" style 9V adaptor. There will be a Fuzzilla 666 deluxe in the sideways enclosure that has the BigMuff tone stack added for even more fuzzy pleasure. Stay tuned.
This 666 version is added to the current "little brother" Fuzzilla which is my homage to the GREAT Companion/Shen-ei FY2 using 2 old stock C945 transistors. This pedal was THE original Japanese fuzz pedal also sold as the original Univox SuperFuzz in the US. I have added a toggle switch for "Mothra" or "Gamera" which goes from std FY2 with a slight boost to bring it up to bypass volume (the original dropped in volume like most early fuzzes) to an FY2 with tone control and more boost. Volume and gain are the only other things you'll need.
Both of these circuits are GREAT fuzz circuits with lots of bottom end and fuzzy goodness without the real "crackle" of most 60's fuzzes. There's a good reason they are now both so famous in fuzz collector and "tone knob" circles.

Check out these and all our other great pedals at Tym guitars.

The Tym "FAMP" guitar combo

That's right folks, sleepless nights and stupid discussions with friends that usually start out like "imagine if you could ...... " has come up with this idea. My unhealthy obsession with making things that other people would laugh at has bought it to life. Are you sick of dragging around great big, heavy amps to practice ? Sick of packing your amp carefully in the back of your car and dragging it out when you get home ? Well ........... as far as I know this is THE FIRST time anyone has been silly enough to try this.

This is the prototype of the new Tym amp made for practice and/or touring. Completely self contained once locked up with nothing to catch or break off and ....... this amp CAB is made out of high density foam, yeah, you heard right.
It's a 50W guitar combo, with 60W 12" speaker IN A HIGH DENSITY FOAM CABINET and it weighs under 9 KG. My 2 year old can pick it up.

Once the amp is closed up after using there is nothing exposed. No protruding handles, latches, knobs, jacks, switches etc to break off. You open the back to play it. You close it and lock it and throw it on a plane, in the back of a ute ........... whatever, and nothing breaks. It bounces around 'cause IT'S MADE OF FOAM.

The amp is the Tym 50W solid state with Tym designed and hand made preamp stage and PCB 50W power stage. It's essentially the same amp we built recently for Tone from GuitarNerd. We were fascinated by the EH Freedom amp and built a Tym version in an old Goldentone cabinet. When I showed Tone this FAMP version, his response was "OK, NOW YOU'VE GONE TOO FAR!" It could have been lighter but I refuse to use switch mode power supplies in my amps. They just don't have the bottom end and sound any good so this has a "proper" toroidal transformer with plenty of headroom which adds to the weight, but delivers better tone.

The cab had to be light and "damage proof" because we didn't want to use tolex or hard cases to save on weight, so, after talking to my good friend Naut from Naut cases who works in foam and has a CNC machine, the cabinet was born. The foam is then coated in a thick, waterproof "skin" as used on PA and some speaker cabinets to protect it and stop it tearing. Metal corners aren't needed because if you drop it, it just bounces. There are no exposed handles and the grill cloth has security mesh between it and the speaker so you can't damage the speaker. You can stand on it and it's fine. You could kick it down the street (Tym guitars does not endorse or recommend kicking an amp down the street), and it will still work.

It really does sound great, especially with a boost or fuzz in front of it and we're already working on a 100W version that will be the same size and only about 1/2 KG heavier.

Great for practice, touring, playing live, using as a footstool (Dave) ......... whatever. Did I mention it's made of foam and it's less than 9 KG's !!