JHS Pedals Coyote Fuzz Effect Pedal

Be a lone wolf, a devious canine, or something new altogether with the JHS Pedals Coyote fuzz! A three-in-one fuzz effect so blissfully simple and endlessly inspirational, the Coyote sets out after a bold control and effect-shaping experience. This two-dial fuzz effect summons a threefold blend of off-the-wall fuzz tones to truly be set and forgotten. A long wolf hunts alone as does a wily coyote.

The Coyote is proudly a fuzz effect all its own. That may sound clich, but in this case, we’ve actually got the receipts. Glenn Wyllie a New Jersey native turned North Carolinian reclusive effect wizard first built an effect pedal after hearing the fuzz tone to the Rolling Stones’ “Satisfaction” at seventeen years old. Wyllie met Hendrix himself several times while the guitarist frequented New York City’s Greenwich Village, a series of experiences certainly informing the musical philosophy of his DIY creations. Today’s JHS Coyote bases itself around Wyllie’s self-designed fuzz circuits, particularly the Moonrock Fuzz, that really land in no lineage with other legendary fuzz circuits sorry to all you Face, Muff, and Bender fans.

Don’t be too sorry, though! The Coyote’s principle experience is centered around a single Volume dial and a “Mode” dial with three distinct zones. Rather than a three-way switch, the Coyote offers a simple, single sweep with three fuzz tones that can be swept into with some welcomed effect shaping in each zone. The pedal’s zones, “Fuzz”, “Octave”, and “Swell”, present deeply responsive and interactive fuzzes with Bender-style tones, Octavia-style tones, and Wyllie’s own gated, almost reverse-tape-like swelling and blooming tones, respectively.

The Coyote is not your traditional fuzz pedal. This is certainly one for the nerds. Offering an intuitive, expressive, and inspirational circuit, the JHS Coyote isn’t one for the pack of its fuzz peers, but who could blame you when you’ve got the whole moon to yourself?

• Original fuzz circuit inspired by Glenn Wyllie’s 1960s gated “swell” fuzz designs
• Three-way fuzz mode sweep control
• Tone Bender “Fuzz” and Octavia “Octave” fuzz modes
• Single Volume effect level control
• Analog design with true bypass switching
• Standard nine-volt DC center negative power requirements