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FrançaisKNIFE OD & FUZZ
TWO CHANNELS · VINTAGE OVERDRIVE · FUZZ · PREAMP
FULLY ANALOG. ORIGINAL DESIGN. BUILT AND PAINTED BY HAND IN FRANCE.
€265
KNIFE OD&FUZZ
TWO CHANNELS · VINTAGE OVERDRIVE · FUZZ · PREAMP
FULLY ANALOG. ORIGINAL DESIGN.
BUILT AND PAINTED BY HAND IN FRANCE.
BUILT AND PAINTED BY HAND IN FRANCE.
€265
THE FUZZ FACE AND TONE BENDER RANGE. REBUILT AND DOUBLED.
The Knife OD is a vintage overdrive and fuzz built around BJT transistor clipping, with no clipping diodes. Inspired by the Fuzz Face and the early Tone Benders, it keeps their transistor voice without their limits. Those circuits only came alive in a narrow band of the gain control. We rebuilt the gain structure so the whole sweep is usable, then split it into two footswitchable channels.
GREEN CHANNEL · LOW GAIN: The overdrive side. The full travel of the knob runs from clean preamp through warm overdrive into light fuzz.
RED CHANNEL · HIGH GAIN: The fuzz side. The same travel spent entirely inside the fuzz, from tight and punchy to thick and sustaining.
Both switched by foot, mid-phrase.
Four decades of transistor fuzz: from Rumble to Foxy Lady, from Ace of Spades to Bloom.
TEARING SPEAKERS, REIMAGINED
The name is literal. Before fuzz pedals existed, the only way to get this sound was to cut into the speaker cone. The tear itself did the clipping. The Knife OD does it with transistors instead, but the character it chases is that one: torn, raw, and alive under your hands.
The Knife OD & Fuzz offers immense headroom offers immense headroom, pushing your amp even at low gain with a clean boost. At medium gain, it provides rich saturation and a warm vintage overdrive. Higher-medium gain produces a musical, asymmetrical fuzzy overdrive, while maximum gain unleashes a thick, powerful fuzz with long sustain and compression.
Regardless of the gain setting, the Knife OD responds beautifully to your guitar’s volume knob, delivering crystal-clear tones when rolled back, like a classic Fuzz Face.
FUZZ’S ATTACK & GAIN
Attack is not a fuzz knob in the usual sense. On the classic circuits, the gain control sits inside the clipping stage, which is why so much of its travel does nothing you can use. Attack works one step earlier: it adjusts the response of the first transistor directly, setting how hard the signal arrives at the clipping stage.
So the control moves evenly from end to end. Every position is a setting you can work with, and the pedal holds its definition where vintage circuits lose theirs. Chords stay readable at the top of the range, single notes keep their edge.
TONE BEFORE THE CLIPPING
Shape works on the signal before it reaches the clipping stage. It decides what the transistors have to work with, rather than filtering the result afterwards the way a passive tone control does. It moves the bias at the same time, which changes how much gain and compression come with it.
Turn it left and the tone sharpens: upper mids forward, lows pulled back, the response a little more open. Turn it right and it rounds out: lows and low mids fill in, the bias pushes harder, and the whole thing sits deeper into overdrive.