Description
Brand new pedal from JHS!
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A new breed of octave fuzz based on a lost circuit that belongs to no known lineage. Three effects all contained across one knob. A tribute to an unknown pioneer who deserved to be famous.
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An octave fuzz topology that has never been replicated for production — until now
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One knob sweeps through three distinct effects: swell, fuzz, and octave
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Exceptional touch sensitivity and volume-knob cleanup — rare for any fuzz, unheard of in an octave fuzz
Every octave fuzz you've ever played traces back to just a handful of circuits: the Octavia, the Super Fuzz, and the Tone Machine. The Coyote doesn't originate from any of these classic topologies. The Coyote is a complete replication of the obscure and very difficult to find Moonrock Fuzz by G.S. Wyllie, a reclusive North Carolina builder who sandcast his own enclosures, etched his own boards, and designed a unique fuzz utilizing a transformer in an unconventional way that sounds like nothing else — the product of wild experimentation combined with solid electrical engineering fundamentals. Here's what makes it strange: the circuit has a transformer, but it's not doing what transformers do in other octave fuzzes. It's not creating the octave at all. Glenn put it somewhere else entirely, where it acts more like an inductive element, shaping how the fuzz stage responds and contributing to the swell, fuzz, and octave character of the control. We've never seen anyone do this. The result is a texture and feel that doesn't exist anywhere else. He never mass-produced them. He passed away in 2014, still building. This is our tribute to Glenn and the wily circuit he left behind.
Put it first in your chain. Play it into another overdrive or an overdriven amp — that's how almost every iconic octave fuzz tone was created. Clean amps work, but the sound in your head usually has some overdrive after the fuzz.
Neck pickup, above the twelfth fret — that's where the octave effect is most pronounced. Humbuckers push the swell and octave harder. Single coils give more clarity. Both sound great.
Glenn S. Wyllie grew up in New Jersey, learned to read schematics from his electrical-engineer father by age twelve, and built his first fuzz pedal at seventeen after hearing "Satisfaction." He met Jimi Hendrix several times in Greenwich Village during that era — and never stopped chasing that sound.
He settled in the Appalachian foothills of North Carolina — woodstove heat, a dog named Simon, a Hendrix poster on the door, and metal guitar shapes hanging from the trees in his driveway. He worked at a local music store, played guitar in a band called Muletrain, and built pedals one at a time for anyone who found him.
His work ended up on recordings and stages with Paul Simon, Bruce Springsteen, Stevie Wonder, David Byrne, Joan Baez, and dozens more — played by NYC guitarist Mark Stewart, who called Glenn an "unacknowledged American master." Glenn should be talked about alongside Mike Fuller, Paul Cochrane, AnalogMan Mike, Zachary Vex, and Dave Barber — the pioneers of boutique. But nobody knows his name.
We couldn't find his family to tell them about this project. We tried. He's as elusive in death as he was in life. A true coyote.
Specs:
- Volume: Controls the output volume. Left is less, right is more.
- Swell / Fuzz / Octave: Sweeps through three distinct zones. Fully counterclockwise: gated swell with blooming, reversed-tape character. Noon: full, rich fuzz. Fully clockwise: aggressive octave-up with snarling harmonics.
Specs:
- True Bypass
- 9VDC Center Negative, 5mA
- 2.6" X 4.8" X 1.6".
DO NOT USE MORE THAN 9VDC.