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Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

1981 Inventions DRV No. 2 (LED Mod)

One of the most talked-about distortion pedals in the boutique world — in its most unique configuration yet. Welcome back to Edge of Breakup.

The 1981 Inventions DRV No. 2 Blackout, running in LED clipping mode, pairs with the Kauer Guitars Electroliner — Lollar Sixty-Four Stratocaster pickups — into the vintage 1957 Fender Tweed Princeton 5F2-A with a re-coned vintage Jensen P12Q. The JAM Pedals RetroVibe MK.4 joins from 05:18.

The DRV2 is builder Matt's new standard circuit and enclosure — heavily textured black powder coat, slightly raised logo, long pointer black knobs. But the real story is what's happening inside: this unit runs LED clipping, specifically white LEDs, Matt's current personal favorite iteration of the circuit — and it changes the pedal's character in meaningful ways.

With standard diode clipping, the DRV has a familiar compression and softness at lower gain. LED clipping rewires that entirely. At zero gain the pedal is cleaner, firmer, more open — barely clipping clean, genuinely one of the most beautiful tones this circuit produces. More output, less compression, striking clarity on complex chords that lets the Lollar Sixty-Fours breathe fully. Explored from cranked Gain with Volume at amp unity (00:23), increasing DRV volume to slam the amp harder from 01:36, brighter tones with the Cut knob lowered from 03:23, and lower gain territory with Drive at noon from 04:26. Opening the CUT knob all the way is one of the great discoveries with this circuit — an unexpectedly excellent sound that rewards experimentation, explored at 05:56.

The DRV V2 circuit itself was over a year in development. Originally engineered by Jon Ashley of Bondi Effects, subsequently redesigned by John Snyder of Electronic Audio Experiments — who also worked on the LVL circuit. Quieter, more efficient, capable of running at 9V or 18V via internal switch. Hand assembled in Nashville, Tennessee.

Into a 5-watt, single 6V6 Class A Tweed Princeton with a vintage Jensen P12Q providing warm, mid-focused alnico character, the LED-clipped DRV2 finds a sweet spot a higher-wattage amp might never reveal. The JAM Pedals RetroVibe MK.4 brings its all-analog photocell-and-bulb Uni-Vibe character back into the chain, with tap tempo, ramping, and Chorus/Vibrato modes.

This is a rig built around the edge. Every knob setting tells a different story.

🎛️ 1981 Inventions: https://1981inventions.com 🎸 Kauer Guitars: https://www.kauerguitars.com 🎛️ JAM Pedals: https://www.jampedals.com

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🎸 Kauer Guitars Electroliner | Lollar Sixty-Four Stratocaster Set 🎛️ 1981 Inventions DRV No. 2 Blackout (LED Clipping) | JAM Pedals RetroVibe MK.4 🔊 Vintage 1957 Fender Tweed Princeton 5F2-A | Re-coned Vintage Jensen P12Q

Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

Cunningham Amps Supa Fuzz | Guitar Pedal Demo

Cunningham Amps Supa Fuzz: Handmade New Zealand fuzz. A shell-pink relic Kauer. Lollar Sixty-Four single coils. A 5-watt tweed Princeton pushing a re-coned vintage Jensen into the room. And a photocell Uni-Vibe swirling through all of it. Welcome back to Edge of Breakup.

The Cunningham Amps Supa Fuzz runs into the Kauer Guitars Electroliner — Lollar Sixty-Four Stratocaster pickups — feeding a vintage 1957 Fender Tweed Princeton 5F2-A with a re-coned vintage Jensen P12Q, with the JAM Pedals RetroVibe MK.4 along for the ride.

The Cunningham Supa Fuzz is Auckland builder Tim Cunningham's faithful interpretation of the legendary Sola Sound Supa Fuzz — the circuit that sits between a Tone Bender and a Fuzz Face in character, used to define British rock tone in the mid-to-late 1960s. Tim builds each Supa Fuzz by hand, one at a time, in a heavy-duty sand-cast Olivetti-style enclosure that nods directly to the original hardware. Each pedal is individually voiced to its specific trio of NOS germanium transistors — no two are the same. Explored from cranked Attack with Volume at amp unity (00:17), boosting fuzz volume to slam the amp into compression from 01:11, and Attack and Volume both maxed at 03:03, with guitar volume lowered for clarity at 03:37.

The 1957 Fender Princeton 5F2-A is about as stripped-down and honest an amp platform as exists — single 6V6 power tube, 12AX7 preamp, 5Y3 rectifier, 5-watt Class A circuit with a smooth negative feedback loop keeping the breakup warm and musical. This unit has been fitted with a re-coned vintage Jensen P12Q in place of the original 8" speaker — an alnico-magnet, mid-focused 12" that was found in some of the most revered tweed-era American amps, giving a bigger, fuller low end and warm upper-mid bite.

The Lollar Sixty-Four Stratocaster set brings pre-CBS 1964 character — scatter-wound, wax-potted, Alnico 5 magnets degaussed to vintage spec. Prominent mids, clear treble, full piano-like attack — everything the classic Fuzz Face circuit was designed to work with.

The JAM Pedals RetroVibe MK.4 joins from 04:08 — the latest generation of JAM's celebrated all-analog Uni-Vibe, staying true to the photocell-and-bulb topology of the original 1960s units while adding tap tempo, a ramping function, and expression pedal control. Built in Athens, Greece.

This is a rig built for feel, not features. Every element in the chain earns its place.

🎛️ Cunningham Amps: https://www.cunninghamamps.co.nz
🎸 Kauer Guitars: https://www.kauerguitars.com
🎛️ JAM Pedals: https://www.jampedals.com

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🎸 Kauer Guitars Electroliner | Lollar Sixty-Four Stratocaster Set
🎛️ Cunningham Amps Supa Fuzz | JAM Pedals RetroVibe MK.4
🔊 Vintage 1957 Fender Tweed Princeton 5F2-A | Re-coned Vintage Jensen P12Q

Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

Benson Amps Benmaster – with Filtertrons! | Feat. Gronlund Guitars SC-18

Germanium fuzz. Germanium boost. A tube-driven Uni-Vibe. And one of the most coveted boutique amps ever made. Welcome back to Edge of Breakup.

An all-Benson Amps signal chain — the Benson Germanium Fuzz and Germanium Boost, through the Effectrode Tube Vibe, into the Benson Benmaster. The Gronlund Guitars SC18 with TV Jones TV Classic Filter'Trons carries the tone throughout.

The Benmaster is Benson's masterful take on the 5E7 Bandmaster circuit — a 35-watt, 3x10" combo running a pair of 5881 power tubes through a custom Soursound transformer set, housed in a dovetailed pine cabinet with birch ply baffle. Chris Benson describes the 5E7's character as everything the 5F6A Bassman is not — a semi-mythical tweed circuit with a gutsy, pure personality that rewards touch and dynamics at every level of the dial. At 35 watts it has ample clean headroom and takes pedals like a champion. Explored across a genuine gain sweep: cleaner tones from 00:47, amp volume to noon at 03:26, 2 o'clock at 05:37, and fully cranked at 08:20 — with extensive volume knob cleanup and Uni-Vibe from 09:10.

The Benson Germanium Fuzz is built around two matched germanium transistors in the classic 1960s circular fuzz topology, and is the first fuzz pedal with automatic thermal bias technology — staying locked in regardless of temperature. A Class A input buffer feeds a passive pickup simulator circuit, followed by an Impedance control that simulates rolling back the guitar volume for a tight, sparkly response without touching the guitar at all. The circuit spans from clean boost to aggressive fuzz with octave overtones, with Impedance and Gain deeply interactive throughout. Explored from 17:00.

The Benson Germanium Boost uses the same voltage-controlled error correction circuit developed during the Fuzz's design process — a stable germanium clean boost impervious to component drift, leakage, and temperature, with increased input headroom and impedance that keeps the signal full and natural. Notes take on a simultaneously smoother and more detailed character, like a compressor but different. Explored from 14:52.

The Effectrode Tube Vibe's preamp, mixer, and phase-shifter sections run on triode tubes at real amp plate voltages, with a 1MΩ input impedance that keeps single coil pickups open and clear. Dual LFOs: Classic mode for deep, swampy Uni-Vibe throb, Smooth mode for dreamy, ethereal chorus voicings, with a Chorus/Vibrato switch moving between Hendrix-style vibe and detuned pitch-bend vibrato.

Filter'Trons into germanium into tubes into tweed. This is the session.

🔊 Benson Amps: https://www.bensonamps.com/guitar-amplifiers 🎸 Gronlund Guitars: https://www.gronlundguitars.com

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Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

Kauer Guitars Electroliner: The Stratocaster, Perfected

What if someone took everything great about a vintage Stratocaster — and actually fixed the things Leo left on the table? That's the Kauer Guitars Electroliner. Welcome back to Edge of Breakup.

The Kauer Guitars Electroliner — Lollar Sixty-Four Strat Pickup Set — runs through a vintage 1966 Fender Princeton Reverb via the Boss Waza Tube Amp Expander Core. The JAM Pedals RetroVibe MK.4, JAM Pedals Fuzz Phrase Black OC44, and JAM Pedals Double Dreamer all feature.

Doug Kauer built the Electroliner for one reason: the world didn't need another Strat copy, but it absolutely needed a better S-type. Born out of Doug's own admitted obsession with the format, the Electroliner takes the 25.5" scale and single-coil DNA of the classic '50s and '60s Stratocaster and surrounds it with a genuinely modern platform — offset body contours for superior playing comfort, a roasted maple neck with a wenge fretboard at a 12" radius that blows past Fender's vintage 7.25" compound curve, 1.65" nut width, and universal pickup routing that opens the guitar up to near-infinite configuration possibilities with great boutique pickup makers like Lollar, TV Jones, and Wolfetone. The tremolo is a Wilkinson unit upgraded with Highwood saddles. Every Kauer is Plek'd in-house, built by hand in Elk Grove, California.

In Doug Kauer's own words: "Don't tell anyone but Doug is secretly a S-Type fan at heart. To be fair, aren't we all? Here's the thing, no hate from us but the last thing the world needs is just another S style copy out there claiming the best the best. Yawn. That's where Electroliner comes in. Offset vibes? Check. Modern playing neck? You know it! Universal routing for near infinite pickup options? Absolutely."

This particular Electroliner (Serial #159) is one of the most visually arresting guitars to ever appear on this channel — a heavily distressed white relic over a black undercoat revealing bits of stunning sunburst, with the underlying wood grain fully exposed through the wear. The black pickguard against that weathered finish is a perfect contrast.

Full specs: Old growth pine body. Weathered White over Black finish, pine revealed through the wear. 25.5" scale roasted maple neck with wenge fretboard. Standard C neck profile, black neck binding. Satin finished neck with matching headstock. 12" radius, 1.65" nut width. Jescar 47095NS medium/jumbo frets. Neck: 0.88" at first fret, 0.93" at 12th. Hipshot open gear tuners. 6-point Wilkinson trem upgraded with Highwood saddles. Volume/Tone/5-way switch. 7 lbs 8 oz. Plek'd in-house.

Onboard are Lollar Sixty-Four Strat pickups — Jason Lollar's definitive take on the pre-CBS 1964 Strat sound. Scatter-wound, wax-potted coils, Alnico 5 magnets degaussed to vintage '60s specs. Prominent midrange, clear treble, full bass response with a defined, piano-like attack. Middle pickup is RWRP for hum-cancelling in positions 2 and 4.

Explored across clean tones from 00:54, boosted tones from 05:27, overdriven tones from 09:34 (JAM Pedals Double Dreamer), cranked overdrive with the RetroVibe MK.4 from 13:04, and the JAM Pedals Fuzz Phrase Black OC44 with the RetroVibe from 17:15.

This is what it sounds like when an obsessive craftsman improves on a legend.

🎸 Kauer Guitars: https://www.kauerguitars.com 🎸 Lollar Pickups: https://www.lollarguitars.com/lollar-pickups 🎛️ JAM Pedals: https://www.jampedals.com

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Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

Your Tube Screamer Search is Over | Jam Pedals Double Dreamer

Six gain stages, a swirling Uni-Vibe, a shell of single-coil clarity, and one very special 60-year-old amp. Welcome back to Edge of Breakup.

The JAM Pedals Double Dreamer Dual Overdrive and JAM Pedals RetroVibe MK.4 pair with the Nash Guitars S63 — Lollar Blonde Special Stratocaster Set — into a vintage 1966 Fender Princeton Reverb.

The Double Dreamer is a handmade Greek masterpiece housing two of JAM's most celebrated overdrives in a single enclosure. Tubedreamer (left) is JAM's take on the legendary TS808 — carbon comp resistors, the JRC4558D chip (the same one found in original sought-after 808s), asymmetrical clipping via three diodes that makes it exceptionally responsive to picking and fretting nuance. Lucydreamer (right) is a Dry/Wet overdrive with less mid-hump and more low-end reach than the Tubedreamer, spanning from dynamic tube-amp-style breakup to full-bodied high-gain saturation via a high-gain-stage footswitch. A 3-way toggle assigns that footswitch to either side or both — up to six distinct gain stages accessible in real time.

Explored from 00:13 with Tubedreamer's Level and Gain cranked, Lucydreamer stacked into Tubedreamer from 03:45, the High Gain function engaged on both sides from 08:40, and each side isolated for boosted clean tones from 12:36 and 13:59. High Gain Mode revisited from 16:03, with both sides on and the RetroVibe MK.4 joining from 17:08.

The RetroVibe MK.4 is built with photocells, a bulb, original NOS 2SC828 transistors, and carbon comp resistors — delivering the character of the best vintage Uni-Vibe pedals in a modern, pedalboard-friendly enclosure with 9V DC operation internally lifted to 15V.

Through the warm, compressed voice of the Princeton Reverb's 6V6 circuit and the clear, touch-sensitive response of Lollar's Blonde Special set, the swirl gets intimate in all the right ways.

This is boutique tone done right — NOS components, handmade in Athens, singing through one of Fender's finest small-watt vintage circuits.

🎛️ JAM Pedals Double Dreamer: https://jampedals.com/shop/double-dreamer/ 🎛️ JAM Pedals RetroVibe MK.4: https://jampedals.com/shop/retrovibe/ 🎸 Nash Guitars: https://www.nashguitars.com 🎸 Lollar Pickups: https://www.lollarguitars.com/lollar-pickups

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🎸 Nash Guitars S63 | Lollar Blonde Special Stratocaster Set 🎛️ JAM Pedals Double Dreamer (Tubedreamer + Lucydreamer, Up to 6 Gain Stages) | JAM Pedals RetroVibe MK.4 (NOS 2SC828) 🔊 Vintage 1966 Fender Princeton Reverb

Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

Nash Guitars S63 | Feat. R2R Electric Time-O-Lite Fuzz & ‘66 Fender Princeton Reverb

Warm. Blooming. Alive. The R2R Electric x Waterslide Time-O-Lite Fuzz meets a Nash Guitars S63 and a vintage 1966 Fender Princeton Reverb. Welcome back to Edge of Breakup.

The Nash Guitars S63 — Lollar Vintage Blonde (Neck + Middle), Lollar Special Strat (Bridge) — pairs with the R2R Electric x Waterslide Guitars Time-O-Lite Fuzz into a vintage 1966 Fender Princeton Reverb sourced from LA Vintage Gear in Los Angeles. The Effectrode Tube Vibe joins from 04:20.

This is the same rig used for the Keeley-Modded Ibanez TS-9 video — same guitar, same amp, same mics. Two completely different conversations.

The Nash S63 came home from Vision Guitar in the Bay Area — one of the great independent guitar shops in California. Nash's pairing of Vintage Blonde neck and middle pickups with the Special Strat bridge is exactly right — warm and glassy where you need it, with enough push in the bridge to thicken things up once the fuzz hits.

The R2R Electric x Waterslide Time-O-Lite Fuzz is Chris Vincent's collaboration with Waterslide Guitars — NOS OC44 black glass germanium transistors from the 1950s and '60s, housed in a genuine antique darkroom timer enclosure, a run of just 25 units. Rich harmonic bloom, touch-sensitive cleanup, and complex midrange grind. Explored near-cranked on the bridge pickup from 00:00, with the Effectrode Tube Vibe joining from 04:20 for classic post-fuzz modulation placement, and extensive volume knob cleanup with the Vibe engaged from 05:34.

The '66 Princeton Reverb, sourced from LA Vintage Gear in Los Angeles, is smaller and more intimate than a Deluxe Reverb — it pushes into breakup faster and blooms differently, giving this NOS germanium circuit a genuinely different conversation than a bigger blackface platform would.

If you love vintage Strat tones, NOS germanium fuzz, and amps on the edge of breakup, this one is for you.

Join the R2R Electric email list for your best chance at a Time-O-Lite — they sell out in seconds: https://www.r2relectric.com/ Check out Vision Guitar for more Nash Guitars: https://www.visionguitar.com/collections/nash

🎛️ R2R Electric: https://www.r2relectric.com 🎸 Nash Guitars: https://www.nashguitars.com 🎸 Lollar Pickups: https://www.lollarguitars.com/lollar-pickups

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🎸 Nash Guitars S63 | Lollar Vintage Blonde (Neck + Middle) + Lollar Special Strat (Bridge) 🎛️ R2R Electric x Waterslide Guitars Time-O-Lite Fuzz | NOS OC44 Black Glass Ge | Antique Darkroom Timer | 25 Units Only | Effectrode Tube Vibe 🔊 Vintage 1966 Fender Princeton Reverb

Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

Keeley-Modded Ibanez TS9 | The Most Sought After Tube Screamer Strat Tone

Warm. Singing. Unmistakably Tube Screamer. The Keeley Plus-modded Ibanez TS-9 is one of the most respected modifications ever applied to one of the most iconic overdrive circuits in guitar history. Welcome back to Edge of Breakup.

The Keeley Plus-Modded Ibanez TS-9 pairs with the Nash Guitars S63 — Lollar Vintage Blonde (Neck + Middle), Lollar Special Strat (Bridge) — into a vintage 1966 Fender Princeton Reverb sourced from LA Vintage Gear in Los Angeles. The Effectrode Tube Vibe joins from 08:49.

This is the same rig used for the R2R Electric x Waterslide Time-O-Lite Fuzz video — same guitar, same amp, same mics. Two completely different conversations. Watch that video here: https://youtu.be/M_EAIZxNRRU

Robert Keeley has been modding Tube Screamers since the early 2000s, and the Plus mod remains the benchmark. True bypass, enhanced clipping options, and a refinement of the TS-9 circuit that brings out its best qualities without losing what made the original special. Explored from cranked Volume and Gain with Tone at 2 o'clock at 00:00, through darker tones and lower gain from 04:20, gain cranked back up from 07:46, and the Effectrode Tube Vibe joining from 08:49 for classic post-overdrive modulation placement.

The Nash Guitars S63's pickup combination — Lollar Vintage Blonde in the neck and middle, Lollar Special Strat in the bridge — is a considered choice that delivers warmth and articulation where you need it and push where you don't, giving the Keeley-modded TS-9 a genuinely dynamic foundation to work from.

If you've been chasing that singing, vocal Tube Screamer tone into a vintage Fender, this is what it sounds like done right.

🎸 Nash Guitars: https://www.nashguitars.com 🎸 Lollar Pickups: https://www.lollarguitars.com/lollar-pickups 🎛️ Keeley Electronics: https://www.robertkeeley.com

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🎸 Nash Guitars S63 | Lollar Vintage Blonde (Neck + Middle) + Lollar Special Strat (Bridge) 🎛️ Ibanez TS-9 (Keeley Plus Mod) | True Bypass | Effectrode Tube Vibe 🔊 Vintage 1966 Fender Princeton Reverb

Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

WAT Ranges Overdrive I Met This Builder at NAMM and His Overdrive Blew My Mind

Wonderful Audio Technology returns to the channel — this time with the Ranges Overdrive, a hand-wired, garage-built cascading gain machine from Ralf Gottschalk in Redlands, California. Welcome back to Edge of Breakup.

The Wonderful Audio Technology (W.A.T.) Ranges Overdrive pairs with the Wide Sky Guitars Tawa Semi-Hollow — Curtis Novak Humbuckers, Emerson Custom wiring and treble bleeds — into the Cunningham Amps Custom 35 through a 2x12" cab with Scumback H75-PVC speakers. The Effectrode Tube Vibe joins from 13:21.

Buy a WAT Ranges Overdrive: https://www.wonderfulaudiotechnology.com/ranges

Also on the channel: the WAT Fuzz Lands.

Warm. Dynamic. Endlessly explorable. The Ranges is built around three carefully voiced JFET gain stages that cascade into each other through a full 3-band EQ, with a "More" switch that adds a fourth gain stage when you need to push further. From clean preamp shimmer to full-bore crunch, this pedal covers more tonal ground than anything previously featured on this channel.

Ralf Gottschalk was met at Wood Wire Volts during NAMM 2026 in Los Angeles — and the Ranges immediately felt like it belonged in this signal chain. Explored from unity level into a clean amp at 00:00, boosting the amp with pedal volume above unity from 10:18, and with the Effectrode Tube Vibe layered in for modulation from 13:21.

The Wide Sky Guitars Tawa's Curtis Novak Humbuckers and Emerson Custom wiring give the Ranges' cascading JFET stages plenty of dynamic range to work with — the treble bleed keeping clarity intact as the volume knob interacts with three or four stages of gain.

If you've ever wondered what happens when a boutique overdrive meets a boutique amp with no shortcuts in the signal chain — this is it.

🎛️ Wonderful Audio Technology Ranges: https://www.wonderfulaudiotechnology.com/ranges 🎸 Wide Sky Guitars: https://www.wideskyguitars.com 🎸 Curtis Novak Pickups: https://www.curtisnovak.com 🔊 Cunningham Amps: https://www.cunninghamamps.co.nz

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Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

Now THIS is a MKI Tone Bender!!! | Cunningham Amps MKI Fuzz

Cunningham Amps returns to the channel with the MKI Fuzz — Tim Cunningham's take on the iconic Tone Bender MKI circuit. Welcome back to Edge of Breakup.

The Cunningham Amps MKI Fuzz pairs with the Gibson Custom Murphy Lab SG — Righteous Sound RAF A4/A2 Humbuckers — into the Benson Amps Vincent 2x12" with Scumback H75-PVC speakers.

The Tone Bender MKI is the original British fuzz — the 1965 Sola Sound circuit that predates the Fuzz Face and produces a distinctly saggy, compressed, explosive character. Tim Cunningham's take brings vintage-inspired fuzz tone with his own modern refinements — the same raw, expressive attitude that made the original a favorite of the earliest British Invasion players.

Explored from the introduction with Attack cranked and Volume at amp unity, pulling Attack back to noon from 00:59 for a more controlled character, and settling into a genuinely chug-tastic rhythm territory from 01:55. The Righteous Sound RAF A4 neck (~6.9K) and A2 bridge (~7.5K) humbuckers give the MKI a vintage-correct PAF foundation — open and airy in the neck, warm and vintage-voiced in the bridge — that suits the fuzz's saggy, compressed character particularly well.

🎛️ Cunningham Amps MKI Fuzz: https://www.cunninghamamps.co.nz/effect-pedals 🎸 Righteous Sound Pickups: https://www.righteoussoundpickups.com 🔊 Benson Amps: https://www.bensonamps.com/guitar-amplifiers

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🎸 Gibson Custom Murphy Lab SG | Righteous Sound RAF (A4 Neck / A2 Bridge) 🎛️ Cunningham Amps MKI Fuzz | Tone Bender MKI Circuit | Attack + Level 🔊 Benson Amps Vincent 2x12" | Scumback H75-PVC

Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

Does a resonator sound good through a guitar amp? | Mule Resophonic Tri-Cone Resonator

Some guitars find you. This one found Jules Leyhe at NAMM 2026 — a stunning Mule Resophonic Tri-Cone Resonator, debuting for the first time on camera. Welcome back to Edge of Breakup.

Jules Leyhe's Mule Resophonic Tri-Cone Resonator runs straight into a vintage 1955 Fender Tweed Deluxe 5E3 — the real thing, not a reissue. The Effectrode Tube Vibe makes a guest appearance from 04:31.

Blues guitarist Jules Leyhe spent time with Mule Resophonic founder and owner Matt Eich at NAMM 2026 — and couldn't walk away without this instrument. Built by hand in Saginaw, Michigan, Mule's resonators are designed for players who want warmth, depth, and nuance from raw steel — not built for the wall or exclusively for slide. Matt Eich builds them to be equally comfortable flat-picked and fretted in standard tuning, fingerpicked as baritones, and everything in between, with string gauge and tuning chosen to suit the player's ear.

Jules runs the Tri-Cone into the 1955 Fender Tweed Deluxe 5E3 across a genuine gain sweep — low gain from 01:54, medium gain from 03:27, and high gain from 05:45 — with the Effectrode Tube Vibe adding slow, liquid movement behind the resonator's natural shimmer from 04:31. Sag, bloom, and harmonic swirl fully intact from the original, untouched 5E3 circuit.

This is working class. The new sound is steel.

🎸 Mule Resophonic: https://www.muleresophonic.com
Follow Jules Leyhe: https://www.instagram.com/julesleyhe/

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🎸 Mule Resophonic Tri-Cone Resonator | Hand-Built in Saginaw, Michigan
🎛️ Effectrode Tube Vibe
🔊 Vintage 1955 Fender Tweed Deluxe 5E3 (Original)

Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

The Rarest American Fuzz, Recreated | R2R Electric Right-Fuzz

The Mosrite Fuzz-Rite — the rarest American fuzz circuit — recreated to exacting standards with original-era NOS parts by R2R Electric. Welcome back to Edge of Breakup.

The R2R Electric Right-Fuzz pairs with the Shock the Fox TGF — Righteous Sound King St. P90, Emerson Custom wiring with Treble Bleed — pushing a Benson Redland 35 head through a Benson 2x12" cab. The Benson Tall Bird Plus adds reverb depth, and the JAM Pedals Retro Vibe MK4 makes a guest appearance running after the fuzz.

Designed in Bakersfield, California in 1966, the Mosrite Fuzz-Rite was America's answer to the Tone Bender and Fuzz Face — while the boutique fuzz world has spent decades obsessing over British germanium, this circuit has been hiding in plain sight. Fewer than 250 germanium versions ever left the factory before Mosrite went bankrupt in 1968. You've heard it on Iron Butterfly's "In-A-Gadda-Da-Vida" and The Stooges' "I Wanna Be Your Dog."

This R2R Electric Right-Fuzz was picked up directly from Chris Vincent at NAMM 2026, at the Wood Wire Volts booth in Los Angeles — and it hasn't left the board since. Three prototypes went into this build, loaded with USA-made germanium transistors, 1960s CTS pots, and period-correct capacitors — an exacting recreation of a circuit most players have never had the chance to hear, let alone own.

Explored from the introduction with Attack and Volume both cranked, through lower Attack levels from 01:42, and max Attack with the JAM Pedals Retro Vibe MK4 engaged from 03:22. Fuzz Attack maxed while exploring lower Volume levels from 05:53, with brighter amp EQ from 06:57. The new Benson Redland 35's Bass Scoop EQ knob gets its own dedicated exploration from 07:42, showing how the reimagined Redland tone stack interacts with a genuinely rare vintage American fuzz circuit.

The Shock the Fox TGF's Righteous Sound King St. P90 gives the Right-Fuzz exactly the raw, gnarly American character this circuit was built around — a single-pickup platform that lets the fuzz's unique voicing come through unobstructed.

If you've been sleeping on American germanium fuzz, this is your wake-up call.

🎛️ R2R Electric: https://www.r2relectric.com 🎸 Shock the Fox: https://www.instagram.com/shockthefox 🎸 Righteous Sound Pickups: https://www.righteoussoundpickups.com 🔊 Benson Amps: https://www.bensonamps.com/amps/redland-35-head

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Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

Which Benson Amp Should I Get? | Monarch vs Earhart vs Vincent vs Redland | Feat. Jules Leyhe

Which Benson Amp should you buy? The question I get every single day — so here's the full shootout, once and for all. Welcome back to Edge of Breakup.

A complete four-way comparison across the Benson Amps Monarch, Earhart, Vincent, and the brand new Redland 35 — all running through the same Benson Amps 2x12" cab for a true apples-to-apples comparison. The Benson Tall Bird Plus also features. Featuring the Josh Williams Guitars Mockingbird — Tone Specific Bloombuckers, Emerson Custom Treble Bleeds — with the R2R Electric Treble Booster (NOS OC44 Black Glass Germanium) pushing the front end, via the Boss Waza Tube Amp Expander.

Joining for this one is renowned blues guitarist Jules Leyhe — his feel and touch bring out exactly what each of these amps is capable of. Check out his music, live shows, and educational guitar content.

Today is focused exclusively on pushed-to-cranked tones with humbuckers — no clean tones, no hedging, just the comparison everyone actually wants to hear. A quick comparison section up front (02:11) lets you hear the differences immediately, followed by deep dives into each amp across all pickup positions:

Benson Monarch (03:54) — the amp that's anchored the majority of channel demos, Chimera-adjacent clean-to-pushed voicing. Benson Earhart (10:38) — EL84 Class A top boost and tube reverb combo, the brightest and most compressed of the four. Benson Vincent (18:08) — the cascading Vinny/Clean Channel architecture, 1W dirt feeding a 30W clean stage. Benson Redland 35 (26:35) — the newest addition, reimagined EQ stack, extended American clean palette with 6L6 muscle.

If you've been sitting on the fence about which Benson to buy, this is the answer.

🔊 Benson Amps: https://www.bensonamps.com/guitar-amplifiers 🎸 Josh Williams Guitars: https://joshwilliamsguitars.com 🎸 Tone Specific: https://www.tonespecific.com 🎛️ R2R Electric: https://www.r2relectric.com

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Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

This Silicon Fuzz Face is the holy grail | Reeves Electro 2n2 Face

Fast. Articulate. Dangerously loud. The Reeves Electro 2N2 Face is not your typical silicon Fuzz Face — a high volume, point-to-point hand-wired circuit tuned entirely by ear. Welcome back to Edge of Breakup.

The Reeves Electro 2N2 Face pairs with the Gronlund Guitars SC18 — TV Jones TV Classic Filter'Trons — into the Greer Amps Mini Chief and Smallblock 1x12" cab via the Boss Waza Tube Amp Expander. The Effectrode Tube Vibe joins from 04:10.

The 2N2 Face is built around carefully selected 2N2222A transistors, JB capacitors, and Fischer resistors, tuned by ear in Markus Reeves' garden workshop in Northamptonshire, England — no boards, no circuit traces, just components, solder, and decades of instinct.

What sets it apart from every other Fuzz Face on the market is the sheer volume on tap. Unity sits around 9-10 o'clock with the fuzz maxed — meaning cranked, this pedal becomes a massive boost into a breaking amp, unlocking complex overtones and harmonic richness most Fuzz Faces simply can't reach. Tight bass response, fast attack, articulate note separation, and a decay that never gets fizzy or spitty. Control the gain from the guitar's volume knob — that's the whole game.

Explored from 01:28 with fuzz volume at amp unity, moving through the neck pickup at 02:54 and extensive volume knob cleanup — "that Fuzz Face thing" — from 03:34. The Effectrode Tube Vibe joins from 04:10 for classic Uni-Vibe modulation. Bridge pickup into a gainier amp from 05:26, with volume knob cleanup revisited on neck at 06:02 and with the Tube Vibe from 07:14.

The fuzz volume itself is pushed to slam the amp from 09:50, with amp volume progressively reduced for headroom and guitar volume reduced for clarity from 10:33 — a genuinely careful balancing act between all three variables that this circuit rewards. Maxed fuzz volume with the amp volume lowered to accommodate closes the demo from 12:56.

If you've been chasing the holy grail Fuzz Face tone, this might be the last stop.

🎛️ Reeves Electro 2N2 Face: https://reeveselectro.co.uk 🎸 Gronlund Guitars: https://www.gronlundguitars.com 🔊 Greer Amps: https://www.greeramps.com

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Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

The Perfect Octavia Fuzz | Reeves Electro Twin Sound

Raw. Harmonically rich. Brutally musical. The Reeves Electro Twin Sound is not your typical octave fuzz — a vintage NOS circuit that snarls, blooms, and cleans up with a sensitivity that makes every note feel alive. Welcome back to Edge of Breakup.

The Reeves Electro Twin Sound Octave Fuzz pairs with the Gronlund Guitars SC18 — TV Jones TV Classic Filter'Trons — into the Greer Amps Mini Chief and Smallblock 1x12" cab via the Boss Waza Tube Amp Expander. The Effectrode Tube Vibe joins from 11:01.

The Twin Sound is built around three vintage NOS transistors: a 1968 Micro Electronics BC137, a 1980 CIL BC108 (white ceramic), and a 1980s Philips BC549c silver face. Not a straightforward octave fuzz clone — this circuit snarls, blooms, and cleans up with a sensitivity that makes every note feel genuinely alive.

The Attack knob is the primary character control, explored extensively across the demo. Different octave fuzz tones on the neck pickup from 03:06, very low Attack settings from 04:19, and Attack maxed alongside amp gain for high gain octave fuzz from 05:11 — with max Attack "absolutely wailing" from 06:37. Lower Attack levels revisited from 07:57 for contrast.

Fuzz volume pushed to boost the cranked amp for more compression from 08:28, then amp volume reduced to noon from 09:51 to make room for the fuzz volume to be cranked further. Extensive guitar volume knob cleanup from 10:37, with the Effectrode Tube Vibe joining from 11:01 for classic Uni-Vibe modulation on top of the octave fuzz character.

The TV Jones TV Classic Filter'Trons in the Gronlund SC18 give the Twin Sound plenty of clarity and chime to cut through with — from snarling octave lead lines to massive, piano-like low-end textures.

If you live on the edge of breakup and beyond, this one is for you.

🎛️ Reeves Electro Twin Sound: https://reeveselectro.co.uk 🎸 Gronlund Guitars: https://www.gronlundguitars.com 🔊 Greer Amps: https://www.greeramps.com

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Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

The Perfect P90 for a Single Pickup Junior! | Ron Ellis in a Grez Mendocino Jr

Ron Ellis Pickups returns to the channel with a P90 bridge pickup, installed in the Grez Guitars Mendocino Junior. Welcome back to Edge of Breakup.

The Ron Ellis P90 bridge pickup — installed in the Grez Guitars Mendocino Junior with Emerson Custom Prewired Kit, 500K pots, and Treble Bleed on the volume pot — runs into the Benson Amps Vincent 2x12" with Scumback H75-PVC speakers. The Expresso FX Beige Dual Ge/Si Fuzz and Ge Boost and Effectrode Tube Vibe both feature.

The Ron Ellis P90 brings Ron's molecular-level materials research to the soapbar format — the same engineering approach he applies to his humbuckers, delivering clarity and dynamic touch response rather than the raw, uncontrolled midrange some P90s are known for. Paired with the Mendocino Junior's compact offset body, the result is articulate and expressive across clean, pushed, and cranked amp tones.

The Expresso FX Beige Dual Ge/Si Fuzz and Ge Boost is a two-circuit pedal from Sof, built in the UK with zero compromise on components. The Fuzz Face-style side is switchable between three transistors — NOS CV7005 germanium, NOS OC202 silicon, and NOS AC188 — giving three distinct fuzz voicings from a single circuit. The Ge Boost side uses an NOS OC45 germanium transistor — the same transistor found in the earliest Dallas Rangemaster units — delivering classic treble booster character.

The Emerson Custom Prewired Kit's Treble Bleed keeps the P90's clarity intact through the full volume knob sweep, and the Effectrode Tube Vibe rounds out the demo with rich, three-dimensional modulation.

🎸 Ron Ellis Pickups: https://www.ronellispickups.com 🎸 Grez Guitars: https://www.grezguitars.com 🎛️ Expresso FX: https://expressofx.com 🔊 Benson Amps: https://www.bensonamps.com/guitar-amplifiers

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Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

He Torched My Guitar Top!!! | Grez Guitars Shou Sugi Ban Grand Tour Build

An inside look at Grez Guitars building the Grand Tour — Barry Grzebik's take on the boutique archtop, and one of the most interesting hollowbodies being built right now. Welcome back to Edge of Breakup.

Barry Grzebik torches the top of a soon-to-be-finished Grez Guitars Grand Tour using the shou sugi ban technique — the traditional Japanese method of charring wood for both visual character and surface protection.

The Grand Tour is a 15" carved-top hollowbody that blends old-world luthiery with modern resonance engineering — a guitar that feels vintage but plays like a modern boutique instrument. At roughly 5.8 lbs with a shallow 2" body depth, it delivers a surprisingly big, woody voice thanks to Grez's Sprung Mass Tuning — an approach that preserves the low-end resonance many compact archtops lose when they're built thin and light. Carved Sitka spruce top over a one-piece Honduran mahogany body and neck, balancing warmth, clarity, and responsiveness somewhere between a vintage archtop and a modern boutique hollowbody.

Unplugged, this is genuinely the loudest electric guitar to ever come through the studio — louder even than a fully hollow vintage 1960s Gibson ES-330. Barry lives at the intersection of engineering and artistry, and watching the shou sugi ban process applied to an instrument this acoustically alive is a rare thing to see up close.

More on this Grand Tour once it's finished and strung up.

🎸 Grez Guitars: https://www.grezguitars.com

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Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

I Brought This Guitar Home From NAMM 2026... | Shock the Fox TGF feat. Jules Leyhe | Guitar Demo

This one is special. A guitar brought home straight from NAMM 2026 — the Shock the Fox DeeCee model with TGF features, built by Tye Tyler, loaded with a single Righteous Sound Pickups King Street P90. Welcome back to Edge of Breakup.

The Shock the Fox DeeCee (TGF Features) — Righteous Sound King Street P90 with matching pecky cypress insert — runs into a vintage original 1955 Fender Tweed Deluxe 5E3. The R2R Electric Ge Boost (Wood Wire Volts 2026) and Effectrode Tube Vibe both feature, with a guest appearance from blues artist Jules Leyhe.

Tye Tyler at Shock the Fox has built a reputation in the boutique guitar world for genuinely one-of-a-kind instruments — innovative luthiery techniques combined with thoughtfully selected, often reclaimed or exotic tonewoods. This build is entirely pecky cypress from Blue Ox Reclaimed Lumber, every piece cut from the same board. Special thanks to Righteous Sound Pickups and Blue Ox Reclaimed Lumber for the materials, and to Tye himself for the instrument.

Full specs: 25.5" scale. Dual carbon fiber plus truss rod neck. Halon 1/2 Tele-style bridge, aged in Greece. King Street RSP P90 with a matching pecky cypress insert. Recessed STF logo in the headstock. Frenched/inlaid bone nut. Hipshot open-gear tuners. Emerson Premier Pro pots and caps, custom Treble Bleed from Caroline Guitar Company, Analysis Plus output jack. .048-.092 fretwire with semi-hemispherical ends. Neck profile .825" at first fret, .901" at 12th. Purfling block inlays and an inlaid body pinstripe. Aged flush mount neck plate and control cavity insert. FoxLock neck pocket for a strong bolt-on connection with no future neck wiggle — notably, Tye's first DeeCee model with a bolt-on neck. Finished with Walrus Oil Furniture Butter.

This runs straight into the 1955 Fender Tweed Deluxe 5E3 — the real thing, no clones or recreations, sag, bloom, and harmonic swirl fully intact. Pushing the front end is the brand new R2R Electric Ge Boost, the Wood Wire Volts 2026 edition — adding weight, dimension, and unmistakable vintage chew without masking the guitar's own character. The Effectrode Tube Vibe layers in true tube-driven modulation and a subtle Uni-Vibe pulse.

Jules Leyhe joins for this session, and his phrasing and feel elevate the whole thing — if you know, you know.

This is a pure, dynamic guitar demo focused on touch, harmonics, and real amp interaction — no heavy post-processing, no overproduction. Just boutique gear pushed into its natural sweet spot.

🎸 Shock the Fox: https://www.instagram.com/shockthefox 🎸 Righteous Sound Pickups: https://www.righteoussoundpickups.com 🎛️ R2R Electric: https://www.r2relectric.com 🎛️ Emerson Custom: https://emersoncustom.com

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🎸 Shock the Fox DeeCee (TGF Features) | Pecky Cypress (Blue Ox Reclaimed Lumber) | Halon 1/2 Tele Bridge (Aged in Greece) | Righteous Sound King Street P90 | FoxLock Bolt-On Neck | Emerson Premier Pro Pots + Caroline Treble Bleed | Walrus Oil Finish 🎛️ R2R Electric Ge Boost (Wood Wire Volts 2026) | Effectrode Tube Vibe 🔊 Vintage 1955 Fender Tweed Deluxe 5E3 (Original)

Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

Why the Supa MKI is one of the best fuzzes ever | R2R Electric Supa MKI

R2R Electric returns with the ultra-rare Supa MKI Fuzz — a stripped-down, high-impact vintage circuit with massive attitude and zero distractions. Welcome back to Edge of Breakup.

The R2R Electric Supa MKI Fuzz pairs with the Gronlund Guitars T-Style — McNelly A5 Tele Pickups, Treble Bleed — into a vintage 1965 Fender Deluxe Reverb fitted with a Fat Jimmy 1225 speaker.

The Supa MKI is one of the great unsung heroes of early British fuzz — Chris Vincent's build of just 12 units, loaded with NOS 1960s Philips OC75 germanium transistors, hand-selected and matched. Chris's take on the Marshall Supa Fuzz MKI circuit, the late-1960s amp builder version of the Tone Bender MKI family — immediate, punchy, harmonically aggressive, and incredibly expressive under the fingers, with the response kept tight, musical, and usable in modern rigs.

Explored from 00:00 with Fuzz Volume at amp unity and the Filter set at 10 o'clock on the bridge pickup, moving to neck pickup with volume knob cleanup at 03:47, bridge cleanup at 04:12, and guitar volume back to 10 on the bridge at 04:23.

Sonically, the Supa MKI lives in a fast-attack, mid-forward zone — tight low end, complex harmonic grind, and a bold top end that cuts through a mix without getting brittle. Cleans up beautifully from the guitar volume, responding instantly to pick dynamics.

The signal chain is all analog, four microphones from Royer, Lauten Audio, and Ohma into a Universal Audio Apollo x4, mixed in Ableton Live 12 — no IRs or virtual amps used on this channel, ever.

This closes out the five-fuzz R2R Electric series on this rig — also featuring the Time-O-Lite, PKIII, Replica Series MK1.5, and Replica Series MKII.

🎛️ R2R Electric: https://www.r2relectric.com 🎸 Gronlund Guitars: https://www.gronlundguitars.com 🎸 McNelly Pickups: https://mcnellypickups.com

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Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

Why the MKII Tone Bender is legendary | R2R Electric Replica Series MKII Fuzz

R2R Electric returns with the Replica Series MKII Fuzz, Serial #3 — paired with the Gronlund Guitars T-Style on the same rig as the companion MK1.5 demo. Welcome back to Edge of Breakup.

The R2R Electric Replica Series MKII Fuzz pairs with the Gronlund Guitars T-Style — McNelly A5 Tele Pickups, Treble Bleed — into a vintage 1965 Fender Deluxe Reverb fitted with a Fat Jimmy 1225 speaker.

Also watch: R2R Electric Replica Series MK1.5 Fuzz, Serial #2.

This MKII was won in the same fiercely competitive R2R Electric eBay auction as the MK1.5 — Serial #3. The MKII is Chris Vincent's part-for-part recreation of the 1966-1969 Sola Sound Tone Bender MKII, the two-transistor germanium circuit that defined the fuller, thicker evolution of the earlier MKI, used extensively by Jimmy Page, Jeff Beck, and the early Rolling Stones.

The MKII delivers classic Tone Bender authority — thick low mids, aggressive harmonic texture, long sustain, and a bold, articulate top end that cuts without getting brittle. Explored from 00:00 with Attack cranked and Level at amp unity on the bridge pickup, moving to neck at 01:34, then exploring lower Attack levels from 01:45. Volume knob cleanup at 03:07, and again with Attack maxed at 03:29, showing how the fuzz's response character shifts across the full Attack range before guitar volume returns to 10 at 04:03.

Reacts beautifully to pick dynamics and guitar volume — a genuinely expressive vintage fuzz tone with modern consistency and reliability. The Gronlund T-Style's McNelly A5 Telecaster pickups and treble bleed give the MKII plenty of clarity, and the 1965 Fender Deluxe Reverb's Fat Jimmy 1225 speaker delivers the air movement and dimensional breakup that lets the circuit's full character come through.

🎛️ R2R Electric: https://www.r2relectric.com 🎸 Gronlund Guitars: https://www.gronlundguitars.com 🎸 McNelly Pickups: https://mcnellypickups.com

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Edge of Breakup . 7/26/26 Edge of Breakup . 7/26/26

Why the MK1.5 Tone Bender is goated 🐐 | R2R Electric Replica Series MK1.5

R2R Electric returns to the channel — this time with the Replica Series MK1.5 Fuzz, Serial #2, paired with the Gronlund Guitars T-Style. Welcome back to Edge of Breakup.

The R2R Electric Replica Series MK1.5 Fuzz pairs with the Gronlund Guitars T-Style — McNelly A5 Tele Pickups, Treble Bleed — into a vintage 1965 Fender Deluxe Reverb fitted with a Fat Jimmy 1225 speaker.

Also watch: R2R Electric Replica Series MKII Fuzz, Serial #3: https://youtu.be/-r1_SXLquoA

This particular MK1.5 was won in a fiercely competitive R2R Electric eBay auction — salute to the other bidders. Serial #2, loaded with two NOS 1964 Mullard OC75 germanium transistors, the same transistor type found in original MK1.5 units. The MK1.5 sits as the transitional circuit between the Fuzz Face and the Tone Bender MKI — a two-transistor design that delivers chewy low-end, complex harmonic bloom, fast pick attack, and that unmistakable early British fuzz midrange, cleaning up beautifully from the guitar's volume knob.

Explored from 00:00 with Attack maxed and Volume at amp unity on the bridge pickup, with extensive volume knob cleanup from 01:41 before guitar volume returns to maximum at 04:15. Touch-sensitive, dynamically rich, and brutally honest to hands and pickups.

The R2R Electric Replica Series represents Chris Vincent's most exacting work — part-for-part, component-for-component recreations using the exact same types of components found in the originals, hand-wired point-to-point.

The Gronlund T-Style's McNelly A5 Telecaster pickups and treble bleed give the MK1.5 plenty of clarity to cut through, and the 1965 Fender Deluxe Reverb's Fat Jimmy 1225 speaker delivers real air movement and dimensional breakup that lets the pedal's character come through fully.

🎛️ R2R Electric: https://www.r2relectric.com 🎸 Gronlund Guitars: https://www.gronlundguitars.com 🎸 McNelly Pickups: https://mcnellypickups.com

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Edge of Breakupinfo@edgeofbreakup.studio

Edge of Breakup
info@edgeofbreakup.studio