What is it? It is the same pedal as the full size Box of War, originally housed in a large folded steel enclosure, modified to be able to fit in a standard 125 size enclosure. That's it! Same parts, same guts, smaller size. The “Box of War” is a true recreation of the EH “Civil War” Sov***’s. I say “true recreation” because we pride ourselves on truly digging into the vintage units we recreate and go to great lengths to duplicate all aspects of the original circuits to the best of our ability. The tone is in the details I like to say… Rest assured we have spared nothing in researching this rare, much-loved, but cheaply made BM pi.
Reportedly favored by David Gilmour, Thurston Moore (Sonic Youth), and many others this is your chance to own a vintage recreation that is made to be beat-up.
Very closely related to the Tall Font BM’s, the Civil War’s have a bit darker and a bit fuzzier tone. Like the Tall Fonts, they’ve got less output and are less fuzzy than most other muffs but are cherished for their woody sustain and presence. These beasts became a secret weapon for many but usually required two or three back-up pedals due to the poor quality components to be sure a pro-level player could make it through a tour using one on their board.
The Box of War solves that problem. Sound, looks, and reliability.
Wren and Cuff J Mascis Garbage Face Signature Pedal
Wren and Cuff Garbage Face J Mascis signature pedal.
A bonafide guitar legend by any standard, his band, Dinosaur Jr., toured with and influenced many of the bands that defined the 90’s. Bands like Nirvana, Sonic Youth, Mudhoney, and too many others to count. Ask nearly any punk or grunge band from that era (and most today) if they’ve heard of J Mascis and you’ll get a look like you’re a fool for even having to ask. His association with the Big Muff is well documented as one of the main building blocks of the Dinosaur Jr. sound. So it is understandable that the muff experts at Wren and Cuff would be the ones calling when the idea for a signature pedal came about.
After more than 2 years in the making, that pedal is finally here. A part-by-part recreation of J’s number one muff since 1987, a 70’s EHX Ram’s Head, which is not just any Ram’s Head. J’s pedal is an odd bird with parts values that are “incorrect” and component values that have drifted far from their original values during its 50 year journey. On the other side of the pedal, a replication of his favorite germanium treble booster that J uses to slam the input of said muffer. And nestled in between the two is a wonderfully simple but incredibly useful tool... A second volume knob with a footswitch to let you bounce between two muff outputs!
• Faithful recreation of J Mascis’ favorite muffer
Back by popular demand, the simple, no frills bass booster that has become a sought after treasure in the bass community.
These are being made to order, and are available only through our custom shop, so please allow 7-10 days for delivery.
Hand sorted germanium transistor
True hard-wire bypass
9V battery or 2.1mm adapter
Made in the USA
You may be thinking, “Oh no, not another clean booster…”. If that is your thought right now, I don’t blame you. If you’re a stompbox junkie you probably know that there is no shortage of signal boosters out there. So what makes the Phat Phuk Bass Booster different? Well, a few things:
This booster is made specifically for the bass guitar. It was designed to accommodate tunings down to a five string’s typical low B and can be used for even lower tunings.
This booster was not made to be “transparent”. It’s not a JFET or MOSFET based booster. There are many fine boosters out there that are designed to be “transparent.” If that’s what you’re after, the Phat Phuk may not be for you. A JFET is used in the Phat Phuk however, more on that below.
The Phat Phuk is not a clone of any other pedal.
The Phat Phuk is a JFET/germanium single circuit hybrid booster. There is a double booster I know of with two independent boosts, one being a germanium, one JFET based. It’s actually a very fine pedal. Perhaps there is another single circuit JFET-germ booster out there, but I’m not aware of it.
Pink Sparkle Paint with a solid pink base coat. Then a durable clear-pink sparkle top-coat. The base coat and top-coat give a deep gorgeous finish. You gotta be a confident man to have a pink pedal, or a girl who happens to like the color pink.
Here’s what the Phat Phuk is:
A germanium/JFET booster. A unique sounding pedal which adds a beautiful sheen to your bass’ top end and a bit of grit to the overall tone. It’s a fantastic pedal for situations where you want a lift in your overall level, during a chorus or bridge for example, with a bit of bawdy bump via the germanium transistor.
One nice feature is also the more modern JFET transistor at the input which keeps the pedal impedance-friendly when it comes to active bass pickups. This helps the Phat Phuk to remain consistent whether you put a P-Bass in front of it, or a Warwick Thumb. Another recommended use: As a simple preamp when going direct into your DAW. Helps to de-sterilize your bass’s direct tone and add a little life before the signal is converted to ones and zeros.
Something else that was considered when creating the Phat Phuk B. Many clean-boosts offer way too much boost in my opinion. In any normal playing situation, including intentionally slamming the front end of a tube amp to induce the amp’s natural overdrive, one really only needs a hefty thump to get the job done. There’s nothing wrong with having a large amount of volume on tap, but a problem that can sometimes occur is a lack of ability to fine tune the amount of boost you want. When the sweep of the knob goes from zero to melt-down with one turn of the knob, it gets tough to really dial in a precise amount of boost. Also a slight bump of the boost knob (with a foot or nervous “live show” jitters) can send things out of control. I know because its happened to me. Went for the big chorus during a song, hit the clean boost (not mine, this was long before Wren and Cuff existed) and tore the heads off the people in the front, pissed off the sound man, and pretty much ruined that song. Therefore, the volume sweep was reduced with the Phatty. You still get a big gob of gain, and probably won’t ever need to run the pedal “at 11″, but the trade -off is worth the extra control. Just an example of what Wren and Cuff prides itself on: pedals that sound superior, look beautiful, can take a beating, and are made with the “real world” player in mind.
In other words: A meticulous attention to detail.
Give the Phat Phuk a try! It’s beauty is in it’s simplicity, but you’ll be surprised how often it’s on!
Check out the demo vid, but please know that it is 8 years old! The quality isn't the best, but the info is still 100% accurate.
TRULY SMASHING TONES FROM A UNIQUE ERA IN MUFF HISTORY
True hard-wire bypass
9V battery or 2.1mm adapter
Made in the USA
Talking shop about Muff-style fuzz with any guitar player that knows his or her stuff is a relatively straightforward conversation. Aside from the myriad of variants, the talk usually evolves into transistors and who used which variant.
There was a curious time in Muff history, when the circuit designed changed drastically. That time was 1978, when the transistors inside were scrapped in favor of operational amplifiers, otherwise known as op-amps, which are integrated circuits, or ICs. This particular variant was only manufactured for around two years, and as such, only a few thousand ever made it out of NYC alive.
Fast forward to 2014, and the Muff masters at Wren and Cuff have crafted the definitive version of the non-transistorized fuzzbox. They call it the Eye See Pi.
Apart from the lack of transistors, the Eye See Pi features a drastically different clipping section for a monstrously woolly sound, such as the one popularized by Billy Corgan of Smashing Pumpkins on Siamese Dream. As expected, the sound of the Eye See Pi is different from a standard Muff circuit. While most vintage muffs are a little “sweeter” sounding, the Eye See Pi is certainly crunchier and more ballsy than a standard Muff.
In 1978, a switch was added to the back of the original, and the Eye See Pi includes this switch as well. The control is labeled as “Tone Bypass” on both old and new pedals. Essentially, it removes the passive tone stack from the circuit for a volume boost and a significantly more raw and open sound. Of course, this switch renders the tone control useless, but we’re guessing that in this mode, you won’t miss it—this switch is just too cool.
If you’re looking for a largely-untamed IC-based fuzz and distortion machine, with the ability to adapt to most genres of music under the sun, look no further than the Eye See Pi.
Wren and Cuff Eye See Pi Features:
Authentic recreation of the 1978 IC Big Muff from the masters of the circuit, Wren and Cuff