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The Perfect Fuzz Face! | Expresso FX Ge Fuzz Mini (NOS Newmarket CV7005, Texas Instruments 2N1307)
The Perfect Fuzz Face! | Expresso FX Ge Fuzz Mini (NOS Newmarket CV7005, Texas Instruments 2N1307)
A pair of NOS germanium transistors from two different eras. One from Newmarket, England. One from Texas Instruments. Together in one compact Hammond enclosure, built by hand in the UK by one of the most obsessive boutique fuzz builders alive. Welcome back to Edge of Breakup.
In this episode, the Expresso FX Germanium Fuzz Mini is the story.
Expresso FX is the work of Sof — a UK-based builder who has earned a devoted following among the NOS transistor faithful, described by some as the fourth of the great UK Fuzz Lords alongside Stu Castledine, Steve 'Pigdog' Williams, and David Main of DAM. The Germanium Fuzz Mini is Sof's compact-format take on the classic Dallas Arbiter Fuzz Face two-transistor circuit, and the component specification is as serious as it gets. Inside: NOS Philips moulded metallised polyester capacitors — the exact same type found in the original Dallas Arbiter Fuzz Face — NOS Allen-Bradley carbon comp resistors, premium Cliff UK jacks, 22 AWG solid core silver-plated copper wire with Teflon insulation, and premium Kester lead-free silver-based solder throughout. The enclosure is a genuine Hammond aluminium unit, powder-coated to the highest standard. True bypass throughout.
The transistor pairing in this unit is the premium option — a Newmarket CV7005 and a Texas Instruments 2N1307. The CV7005 is a military-spec Newmarket germanium device with a warm, full, touch-sensitive voice closely related to the celebrated NKT275 family — one of the most sought-after transistors in the boutique fuzz world. The TI 2N1307 brings a complementary textural character to the first stage. Together they form an asymmetric, dynamically expressive circuit with the hallmark qualities of the very best germanium Fuzz Face-style builds: enormous dynamic range off the guitar volume, a bloom and warmth that silicon cannot replicate, and a responsiveness to pick attack that makes the pedal feel less like a piece of outboard gear and more like an extension of the instrument.
The Mini ships tuned to vintage Fuzz Face specs, and like all great germanium circuits it wants to sit first in your signal chain — ahead of any buffers. From there, it covers the full spectrum: from barely-there whisper clean at rolled-back guitar volume to a massive, singing, full-bloom germanium fuzz with the guitar on ten and the Fuzz control opened up. In between is where the magic lives — that three-quarters-up territory where the germanium is just beginning to saturate, every nuance of pick attack shapes the tone, and the circuit breathes with the player in a way that no pedal schematic can fully account for.
The Shock the Fox TGF — a one-of-a-kind bolt-on DeeCee model built by Tye Tyler from a single board of Pecky Cypress, with a dual carbon fiber and truss rod neck, Halon 1/2 Tele bridge aged in Greece, FoxLock neck pocket, and a Righteous Sound King Street P90 with matching Pecky Cypress insert. The King Street is an early-P90-inspired low-wind Alnico 2 design with broad midrange, growly lows, and top-end chime — an ideal voice for feeding a germanium circuit. Electronics are Emerson Premier Pro pots and cap, a custom Caroline Guitar Co treble bleed, and an Analysis Plus output jack. Into a Benson Redland 35 Head and 2x12" cabinet — 35 watts of 6L6-driven American tone with Chris Benson's uniquely interactive Redland EQ — with the Benson Tall Bird Plus all-tube spring reverb and harmonic optical tremolo running post-preamp in the loop of a Boss Waza Tube Amp Expander. It's a rig worthy of the fuzz in front of it.
This is what happens when NOS component obsession meets a builder who truly understands what the circuit wants to do.
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🎸 Shock the Fox TGF | Pecky Cypress | Righteous Sound King Street P90 | Emerson Premier Pro | Caroline Guitar Co Treble Bleed | Analysis Plus Jack | Halon 1/2 Tele Bridge (aged in Greece)
🎛️ Expresso FX Ge Fuzz Mini | NOS Newmarket CV7005 & Texas Instruments 2N1307
🔊 Benson Redland 35 Head & 2x12" Cab | Benson Tall Bird Plus
Time-O-Lite Fuzz | R2R Electric x Waterslide Guitars | Gibson ES-335 Tones (1967)
A darkroom timer from another era. Two NOS OC44 black glass germanium transistors. And one of the most singular fuzz enclosures ever to find its way onto a pedalboard. Welcome back to Edge of Breakup.
In this episode, the R2R Electric Time-O-Lite Fuzz takes center stage — piloted by my 1967 Gibson ES-335 loaded with Ron Ellis 60's Bette Humbuckers and Emerson Custom Treble Bleeds, into a vintage 1965 Fender Deluxe Reverb on the Normal channel.
The Time-O-Lite is the product of a long-time collaboration between founder of R2R Electric's Chris Vincent, and Waterslide Guitars — over two years in the making. The enclosures are genuine Time-O-Lite industrial darkroom timers, converted by hand into fuzz pedals with painstaking care for the original controls. The existing hardware has been repurposed rather than replaced — including the concentric potentiometer configuration, where the lower larger pointer controls Volume and the upper small red pointer controls Fuzz. Those pots are period-correct CTS units: a 1966 CTS 500k and a 1983 CTS 1k, working in concert. The rest of the component list is a collector's dream: NOS Allen-Bradley carbon comp resistors, NOS capacitors throughout, a 1979 ITT .01uf chicklet-style cap, and true bypass switching. Every pedal is unique and has aged in varying degrees — each one tells its own story before you've even played it.
This particular unit features a pair of hand-selected NOS OC44 black glass germanium transistors. R2R also builds the Time-O-Lite with OC42 and AC107 germanium transistors depending on the build — each transistor type imparts its own character, and every unit is individually matched and voiced to its specific pair. The OC44 is a low-noise, high-gain germanium device with a warm, musical compression character that sits beautifully in a Fuzz Face-style two-transistor circuit.
Tonally, the Time-O-Lite is a classic two-transistor germanium Fuzz Face-style circuit, shipped tuned to vintage Fuzz Face specs with an internal Blue trimpot for Q2 bias adjustment. The range — from gated and spitty at low bias to a large, open, blooming fuzz at full bias — is enormous, and the circuit is extraordinarily reactive to guitar volume and pick attack. Like all great germanium fuzzes, it rewards a light touch and punishes nothing. One important note: this is a true-to-vintage circuit that does not play well with buffers upstream — it must sit first in your signal chain with only true bypass pedals before it.
The 1967 Gibson ES-335 is one of the great guitar-and-fuzz pairings in existence — the semi-hollow body's natural woody resonance and acoustic bloom add a dimension to a germanium fuzz that a solid body simply cannot replicate. The Ron Ellis 60's Bette Humbuckers are specifically voiced for this application: based on the patent-era humbuckers used in early-to-late 60s ES Gibson guitars, they are fundamentally honest pickups that let the acoustic character of the instrument speak clearly. Hand-wound in Carlsbad, California and named after Ron's mother, the Bettes have beautiful musical timbre on every note — you can genuinely hear the wood of the guitar through them. The Emerson Custom Treble Bleeds keep high-frequency detail intact as you roll back the guitar's volume control, which in a fuzz-forward rig like this is not a luxury — it's essential.
Through the warm, bold voice of a 1965 Fender Deluxe Reverb, this combination of semi-hollow body, PAF-voiced humbuckers, and NOS germanium fuzz achieves something difficult to describe and impossible to fake.
Be sure to join @r2relectric email list so you know when his ultra limited hand-built NOS fuzzes, boosts and wahs hit Reverb to purchase! They DO NOT hang around long!
https://www.r2relectric.com/how-to-order
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🎸 1967 Gibson ES-335 | Ron Ellis 60's Bette Humbuckers | Emerson Custom Treble Bleeds
🎛️ R2R Electric Time-O-Lite Fuzz | NOS OC44 Black Glass Germanium Transistors
🔊 1965 Fender Deluxe Reverb
Other R2R Electric videos you might like:
https://www.edgeofbreakup.studio/latest-videos/the-best-nos-fuzz-face-r2r-electric-geface-deluxe
https://www.edgeofbreakup.studio/latest-videos/r2r-electric-uniform-fuzz
https://www.edgeofbreakup.studio/latest-videos/electric-machine-fuzz-r2r-electric-zonk-machine
https://www.edgeofbreakup.studio/latest-videos/1959-fender-tweed-deluxe-5e3-vintage-amp-showcase
https://www.edgeofbreakup.studio/latest-videos/r2r-electric-pkiii-fuzz
https://www.edgeofbreakup.studio/latest-videos/r2r-electric-mki-pro-fuzz
https://www.edgeofbreakup.studio/latest-videos/r2r-electric-pre-amp-vintage-wah
The Fuzz That Does Everything | Jam Pedals Eureka Fuzz
Two worlds of fuzz in one circuit. The singing, dynamic midrange of classic germanium. The gritty, full-bodied weight of a vintage Big Muff. Handmade in Athens, Greece. Welcome back to Edge of Breakup.
In this episode, the JAM Pedals Eureka! Fuzz takes center stage — running into my Kauer Guitars Electroliner loaded with Lollar Sixty-Four Stratocaster pickups, into my 1957 Fender Tweed Princeton 5F2-A with a 12" speaker.
JAM set out to solve a problem that's divided fuzz lovers for decades: the classic choice between germanium character and Muff-style weight.
Germanium fuzzes deliver singing, touch-sensitive midrange and enormous dynamic control off the guitar volume — but can lack the full-bodied low-end punch that cuts through a mix. Muff-style circuits deliver that massive, scooped, wall-of-sound character — but can lose the intimate responsiveness that makes a great fuzz feel alive. The Eureka! uses silicon transistors in a proprietary architecture to bring both worlds together in a single circuit, and the result is something genuinely hard to categorize. Some will say it sounds like a beefed-up germanium fuzz. Others will swear it sounds like a mid-range-enriched Muff-style pedal. Both are right.
The control layout is classic and simple — Level, Tone, and Gain — but the three-way toggle switch is where the Eureka! earns its name. It incrementally introduces more low-end as you move through its positions, making it extraordinarily versatile across different guitars and musical situations. In the lowest bass-boost position, sending a hot enough signal into the circuit unlocks a gated-fuzz response — a completely different, sputtering, staccato character that sits at the far end of the tonal range. The overall palette covers everything from nasally 60s Fuzzrite character to girthy 70s Big Muff weight, with searing mid-rich lead lines, super-heavy riffs, and flat-out noise annihilation all available on demand.
Paired with the pre-CBS single-coil clarity of the Lollar Sixty-Four set and the warm, compressed voice of the 5-watt tweed Princeton circuit, the Eureka! reveals exactly why the bass-boost toggle is such a smart inclusion — single coils into a small-watt amp benefit enormously from that extra low-end muscle, and the Eureka! delivers it without sacrificing any of the midrange character that makes the circuit special.
Handmade and hand-painted in Athens, Greece, using the highest quality materials and rare NOS components. This is boutique fuzz done right.
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🎸 Kauer Guitars Electroliner | Lollar Sixty-Four Stratocaster Set
🎛️ JAM Pedals Eureka! Fuzz
🔊 1957 Fender Tweed Princeton 5F2-A | 12" Speaker
Your Klon Search is Over | Mythos Pedals Joey Landreth Mjolnir Overdrive
Mythos Pedals Joey Landreth Mjolnir Overdrive
A Nashville friendship, a Klon-style circuit, NOS germanium diodes, and a sparkle orange finish that makes every other overdrive on your board jealous. Welcome back to Edge of Breakup.
In this episode, the Mythos Pedals Joey Landreth Mjolnir Overdrive takes center stage — running into my Kauer Guitars Electroliner loaded with Lollar Sixty-Four Stratocaster pickups, into my 1957 Fender Tweed Princeton 5F2-A with a 12" speaker.
The Mjolnir is Mythos Pedals builder Zach Broyles' deeply considered take on the modern classic Klon Centaur circuit — tweaking the clipping for consistency and a slight boost in clarity, while preserving everything that made the original a landmark piece of overdrive design. Like the Klon, it runs internally at 18V despite accepting standard 9V DC, and uses buffered bypass so your signal receives a boost in clarity even when the pedal is switched off. At low gain settings it functions as a supremely transparent, enormously loud clean boost — at higher gain settings it delivers a rich, dynamic overdrive voice that accents your rig without ever taking anything away from it.
The Joey Landreth edition is something more personal than a standard Mjolnir. The story begins in 2014, when Zach met Joey Landreth — killer guitarist, fantastic vocalist, master of tone — at The Basement in Nashville, Tennessee. They immediately started talking tone and became fast friends. The very first Mjolnir Zach built for Joey featured vintage NOS germanium diodes, and Joey loved it enough that it became his reference point for what a K-Style overdrive should feel like. The Joey Landreth edition is a replica of that pedal — inspired by and faithful to the original unit Joey has been running ever since. Handmatched NOS germanium clipping diodes give it a beautiful compression when the gain is pushed, and a clarity and personality that is measurably more mellow, softer clipping, and smoother than the standard Mjolnir variants. Limited to just 60 pedals worldwide, hand assembled by Zach and Morgan Broyles in Nashville, Tennessee, in a translucent sparkle orange finish with cream Bakelite-style knobs and an orange LED.
Into a 5-watt, single 6V6, Class A tweed Princeton circuit and the pre-CBS Alnico clarity of Lollar Sixty-Four single coils, the Joey Landreth Mjolnir finds a natural home. Its transparency and touch sensitivity reward a light touch and punish nothing — and its buffered bypass means it's quietly improving your signal even when it's off.
This is a pedal built around a friendship and a shared obsession with tone. It sounds exactly like that.
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🎸 Kauer Guitars Electroliner | Lollar Sixty-Four Stratocaster Set
🎛️ Mythos Pedals Joey Landreth Mjolnir Overdrive | NOS Germanium Diodes | Limited Edition
🔊 1957 Fender Tweed Princeton 5F2-A | 12" Speaker
Three Legendary Muffs In One Box | Jam Pedals Red Muck MK.2
Three legendary Big Muff circuits. One box. Handmade in Athens, Greece. Welcome back to Edge of Breakup.
In this episode, the JAM Pedals Red Muck MK.2 takes center stage — running into my Kauer Guitars Electroliner loaded with Lollar Sixty-Four Stratocaster pickups, into my 1957 Fender Tweed Princeton 5F2-A with a 12" speaker.
The Red Muck MK.2 draws its inspiration from three of the most celebrated Electro-Harmonix Big Muff circuits ever made: the 1971 Triangle — the very first Big Muff, and still considered by many to be the finest — and the later Red Army and Civil War Muffs, two of the most revered designs to come out of the St. Petersburg, Russia production line in the late 1980s and early 1990s. The Triangle brought lyrical, singing sustain and a scooped midrange that defined a generation of lead tone. The Russian variants brought heavier, smoother, bass-forward weight and a compression character that feels almost amp-like in its bloom. The Red Muck MK.2 sets out to capture the best of all three.
The MK.2 evolution over the original Red Muck adds serious firepower. A dedicated Boost footswitch engages a separately tuned section of the circuit, hitting the front end of the Red Muck to generate even fatter walls of fuzz-distortion — or, with the Gain set lower, it functions as a high-gain stage footswitch, effectively giving you two distinct gain levels in a single pedal. A two-way toggle switch selects between symmetrical clipping — exactly like the MK.1 — and asymmetrical clipping, labeled "+", which opens up a looser, more dynamic, more complex character. From early lyrical Gilmour-style sustain to massive stoner-fuzz-distortion walls of sound, the range is genuinely enormous.
Into a 5-watt, single 6V6, Class A tweed Princeton circuit and the pre-CBS Alnico clarity of Lollar Sixty-Four single coils, the Red Muck MK.2 reveals something important: at minimum gain, it thickens and fattens the signal in a way that feels more like pushing a small tube amp than engaging a conventional fuzz. The pedal cleans up beautifully off the guitar volume throughout the range, and its tone sits naturally in the mix without the battle for space that some Muff-style circuits require. JAM hand-paints every Red Muck, meaning each one varies slightly in appearance — a fitting touch for a pedal with this much personality.
This is the Big Muff lineage, distilled and elevated. Athens built it right.
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🎸 Kauer Guitars Electroliner | Lollar Sixty-Four Stratocaster Set
🎛️ JAM Pedals Red Muck MK.2 / Jam Pedals Retrovibe MK.4
🔊 1957 Fender Tweed Princeton 5F2-A | 12" Speaker
The Jimmy Page Fuzz Secret - On Your Pedalboard! | Cunningham Amps MKII Professional Fuzz (OC76 Ge)
The Jimmy Page Fuzz Secret - On Your Pedalboard!
A trio of NOS Mullard OC76 metal can germanium transistors. Sherwood Green, aged and relic'd. And one of the most important fuzz circuits of the 1960s, hand-built in Auckland, New Zealand. Welcome back to Edge of Breakup.
In this episode, the Cunningham Amps MKII Professional Fuzz takes the spotlight — running into my Kauer Guitars Electroliner loaded with Lollar Sixty-Four Stratocaster pickups, into my 1957 Fender Tweed Princeton 5F2-A with a 12" speaker.
The Tone Bender Professional MKII is one of the most consequential fuzz circuits ever created. Sola Sound introduced it in 1966, designed by Gary Hurst on Denmark Street in London's Tin Pan Alley. The MKII evolved from the earlier MK1.5 — adding a crucial third transistor gain stage to the front end that slams the circuit harder, producing more sustain, gain, and midrange density. Think of it as a Fuzz Face with a booster built into the front. Jimmy Page, Eric Clapton, and Jeff Beck all used the MKII to define the sound of late 60s British rock. The MKII was also manufactured for Vox and Marshall, making it one of the most widely distributed boutique fuzz circuits of the era.
Tim Cunningham's MKII Professional Fuzz is his deeply faithful hand-crafted take on this legendary circuit, built in a heavy-duty wedge enclosure with premium components throughout. This Sherwood Green aged and relic'd edition features Tim's weathered paintwork and hardware treatment, giving it the look and feel of a pedal that has genuinely lived a full life. The transistor selection is a trio of NOS Mullard OC76 metal can germanium transistors — components with plenty of gain on tap for massive fuzz tones, wide dynamic control, and beautiful cleanup off the guitar volume and with pick attack.
Each Cunningham MKII is built by hand, one at a time, and individually voiced to its specific trio of transistors — no two are ever exactly the same. Level sets the overall output and Attack dials up the intensity, ranging from soft and subtle to full sonic destruction. Raising the Level hits your amp's input harder, unlocking natural preamp breakup and beautiful overtones throughout. The three-way Gain Mode switch is the secret weapon: Low is a bright, firm boost setting, Med adds overdrive character, and High delivers fat, juicy, fully saturated germanium fuzz. Each setting imparts its own distinct character and makes the pedal remarkably versatile across different guitars, amps, and musical situations.
Into a 5-watt, single 6V6, Class A tweed Princeton and the pre-CBS Alnico clarity of Lollar Sixty-Four single coils, the Cunningham MKII finds exactly the environment it was born for. This is the British Invasion in a box — built by hand in the Southern Hemisphere, sounding like Denmark Street in 1966.
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🎸 Kauer Guitars Electroliner | Lollar Sixty-Four Stratocaster Set
🎛️ Cunningham Amps MKII Professional Fuzz | Sherwood Green Aged Relic | NOS Mullard OC76 Germanium Transistors
🔊 1957 Fender Tweed Princeton 5F2-A | Modded Baffle with 12" Speaker
Your Octave Fuzz Search is Over | Jam Pedals Octaurus LTD
Early-60s NOS silicon transistors, turret-board point-to-point construction, and an octave that blooms across the entire fretboard. All wrapped in olive drab suede. Welcome back to Edge of Breakup.
In this episode, the JAM Pedals Octaurus LTD takes the spotlight — running into my Kauer Guitars Electroliner loaded with Lollar Sixty-Four Stratocaster pickups, into my 1957 Fender Tweed Princeton 5F2-A with a re-coned vintage Jensen P12Q.
The Octaurus LTD is the latest entry in JAM Pedals' Custom Shop line of limited edition pedals — an octave fuzz inspired by the octafuzz tones from the golden era of guitar music. But this isn't an attempt to clone the classics. Instead, JAM identified their favorite behavioral traits scattered across many of the legendary octafuzzes of the past, and set out to bring all of those qualities together into a single standalone device. The result builds on that rich lineage rather than simply emulating it.
At the heart of the LTD is a batch of early 60s NOS silicon transistors — made by Transitron or General Instrument, or both — similar to the 2N335 and 2N336. The pedal is built using intricate turret-based point-to-point construction for uncompromised signal integrity. In true Custom Shop fashion, it comes embossed in fine olive drab suede, and even features a see-through bottom plate, also wrapped in suede, with a zip for visual access to the board.
The control layout is refreshingly simple — Volume, Tone, and Gain — but two toggle switches unlock the pedal's full range of sonic dimensions. The left toggle moves between a scooped, metallic snarl and a full-bodied, harmonically rich roar. The scooped voicing is ideal for tight riffing and an even more pronounced octave effect, while the full-range voicing offers a singing fuzz quality that soars in the mix for lead work. The right toggle switches between symmetrical and asymmetrical clipping — symmetrical for tightness and precise definition, asymmetrical for a looser, more dynamic and unpredictable feel.
One of the LTD's signature traits is a clear apparent octave across all pickup positions — it retains your note's body all the way across your guitar's entire register. Roll back your guitar's volume and you get just the right amount of ring-modulator-type effect, and even then you can still play double stops and have the fundamental intervals pop out.
The single-coil clarity of the Lollar Sixty-Fours helps that apparent octave bloom across every pickup position, and into the warm, compressed voice of the 5F2-A's single 6V6 circuit and the mid-focused alnico character of the vintage Jensen P12Q, the Octaurus finds a perfect home. House tip from JAM — don't shy away from the gain and tone knobs at full throttle. That's where the strong octave and rich harmonics of this pedal really shine.
This is what happens when a builder distills decades of octafuzz history into one obsessively crafted device.
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🎸 Kauer Guitars Electroliner | Lollar Sixty-Four Stratocaster Set
🎛️ JAM Pedals Octaurus LTD Octave Fuzz | Early-60s NOS Silicon Transistors
🔊 1957 Fender Tweed Princeton 5F2-A | Re-coned Vintage Jensen P12Q
Cunningham Amps MK 1.6 (Silicon, BC108)
The missing link between two of the greatest fuzz circuits ever made — built by hand in New Zealand. Welcome back to Edge of Breakup.
The Cunningham Amps MK 1.6 Fuzz runs into 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 03:39.
The MK 1.6 is Tim Cunningham's clever bridge between two mid-1960s legends — drawing from both the MK 1.5 Tone Bender and the Dallas Arbiter Fuzz Face, sitting right in the fertile middle ground where so much classic British fuzz tone actually lived. This particular unit is built around a first-class pair of NOS BC108 silicon transistors — a brighter, tighter, more aggressive voice than the warmer germanium variants, with excellent note definition and a firm low end that cuts beautifully through a mix.
Explored from Attack cranked with Volume at amp unity (00:35), boosting the amp with fuzz volume above unity from 01:37, pushing further from 02:22, then reducing fuzz volume for less amp compression at 02:44, with extensive volume knob cleanup from 03:14. The JAM Pedals RetroVibe MK.4 joins from 03:39 with guitar volume fuzz cleanup, and Uni-Vibe on the bridge pickup with guitar volume at 10 closes the demo from 05:00.
Like every Cunningham build, the MK 1.6 is made by hand, one at a time, individually voiced to its specific pair of transistors — no two are ever exactly alike. Built on a precision-etched board with the highest quality components. The tonal range spans from sparkling cleans through tube-like overdrive to fully saturated fuzz. Attack dials up fuzz intensity, Level sets output from soft and subtle to sonic destruction — raising Level also slams the amp's input harder for beautiful overtones and natural breakup.
The three-way Gain Mode switch offers Low, Med, and High settings — Low is a bright, firm boost, High is fat, juicy, and fully saturated. Designed to provide significant volume boost — this is a fuzz that will not disappear in the mix.
Into the warm, compressed voice of the 5F2-A's single 6V6 circuit and the mid-focused alnico character of the vintage Jensen P12Q, the silicon-fueled MK 1.6 absolutely sings. The Lollar Sixty-Four single coils — scatter-wound, Alnico 5, degaussed to pre-CBS spec — give the circuit exactly the clarity and midrange it wants to chew on.
Every MK 1.6 ships with a custom carry bag, signed and numbered certificate of authenticity, and instruction card.
This is what happens when a builder understands exactly where two legends meet.
🎛️ 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 Pickups 🎛️ Cunningham Amps MK 1.6 Fuzz | NOS BC108 Silicon Transistors | JAM Pedals RetroVibe MK.4 🔊 Vintage 1957 Fender Tweed Princeton 5F2-A | Re-coned Vintage Jensen P12Q Alnico 12"
Cunningham Amps Gypsy Eyes Fuzz | The Fuzz Face - Perfected!
Cunningham Amps Gypsy Eyes Fuzz. Two NOS military germanium transistors. A sand-cast enclosure that feels like it was pulled from an attic. And a 5-watt tweed Princeton pushing a vintage Jensen into the room. Welcome back to Edge of Breakup.
The Cunningham Amps Gypsy Eyes Fuzz runs into 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 02:36.
The Gypsy Eyes is Tim Cunningham's deeply faithful take on the Dallas Arbiter Fuzz Face — one of the most iconic and influential guitar effects ever created. Designed in London by Ivor Arbiter in 1966, the circuit is strikingly minimal: two transistors, four resistors, three capacitors, two potentiometers, and a bypass switch. Jimi Hendrix found one almost immediately upon arriving in London in late September 1966, using the germanium version throughout Are You Experienced — Foxy Lady, Purple Haze — to define a tone that still hasn't been bettered on its own terms.
The transistors in this Gypsy Eyes are NOS Newmarket CV9068 Red Dots — military designated OC71s. Lower gain devices, deliberately chosen for a fat, crunchy fuzz that never tips into over-saturation or heavy compression — calibrated for pushing an amp on the edge of breakup into gloriously rich fuzz and overdrive tones. Explored from Fuzz Gain and Volume cranked at 00:23, with extensive guitar volume cleanup from 01:21 and neck pickup cleanup from 02:14. Rolling back the guitar volume pulls from full, singing fuzz sustain all the way back to a whisper-clean tone in one smooth motion.
Tim builds each Gypsy Eyes by hand in Auckland, New Zealand, one at a time, in a heavy-duty sand-cast enclosure that nods directly to the original Fuzz Face housing. NOS finish with aged external hardware gives it the patina of a pedal that's lived a full life — without the compromises of actually playing a 60-year-old circuit. Every Gypsy Eyes is individually voiced to its specific pair of transistors, so no two are ever exactly the same. Ships in a hand-made wooden presentation box with a signed and numbered certificate of authenticity.
Into the warm, compressed voice of the 5F2-A's single 6V6 circuit and the mid-focused alnico character of the vintage Jensen P12Q, the Gypsy Eyes finds a natural home. The Lollar Sixty-Four single coils — scatter-wound, Alnico 5, degaussed to pre-CBS spec — are exactly the pickup this circuit was designed to work with. The JAM Pedals RetroVibe MK.4 adds a swirling all-analog Uni-Vibe dimension from 02:36 through the bridge pickup pass at 03:09.
This is the Fuzz Face as it was always meant to sound. Tim Cunningham just happened to get there first.
🎛️ Cunningham Amps: https://www.cunninghamamps.co.nz 🎸 Kauer Guitars: https://www.kauerguitars.com 🎛️ JAM Pedals: https://www.jampedals.com
Subscribe for more boutique tone explorations.
🎸 Kauer Guitars Electroliner | Lollar Sixty-Four Stratocaster Set 🎛️ Cunningham Amps Gypsy Eyes Fuzz | NOS Newmarket CV9068 Red Dot OC71s | JAM Pedals RetroVibe MK.4 🔊 Vintage 1957 Fender Tweed Princeton 5F2-A | Re-coned Vintage Jensen P12Q
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
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
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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🎸 Gronlund Guitars SC18 | TV Jones TV Classic Filter'Trons 🎛️ Benson Amps Germanium Fuzz | Benson Amps Germanium Boost | Effectrode Tube Vibe 🔊 Benson Amps Benmaster | 5E7 Bandmaster Interpretation | 35W | 2x 5881 | Custom Soursound Transformers | 3x10" | Dovetailed Pine + Birch Ply Baffle
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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🎸 Kauer Guitars Electroliner (Serial #159) | Old Growth Pine | Weathered White/Black Relic | Lollar Sixty-Four Strat Set | Wilkinson Trem + Highwood Saddles | 25.5" | Hand-Built in Elk Grove, CA 🎛️ JAM Pedals RetroVibe MK.4 | JAM Pedals Fuzz Phrase Black OC44 | JAM Pedals Double Dreamer 🔊 Vintage 1966 Fender Princeton Reverb | Boss Waza TAE Core
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
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
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
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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🎸 Wide Sky Guitars Tawa | Curtis Novak Humbuckers | Emerson Custom Wiring + Treble Bleeds 🎛️ Wonderful Audio Technology Ranges Overdrive | 3-4 Cascading JFET Gain Stages | 3-Band EQ | "More" Switch | Effectrode Tube Vibe 🔊 Cunningham Amps Custom 35 2x12" | Scumback H75-PVC
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
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)
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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🎸 Shock the Fox TGF | Righteous Sound King St. P90 | Emerson Custom Wiring + Treble Bleed 🎛️ R2R Electric Right-Fuzz | Mosrite Fuzz-Rite Recreation | USA Germanium | 1960s CTS Pots | Period-Correct Caps | JAM Pedals Retro Vibe MK4 🔊 Benson Amps Redland 35 Head | Benson Tall Bird Plus | Benson 2x12" | Boss Waza TAE