We periodically make custom projects for people who have specific needs or requests or something really unique in mind.  Some of these are one-offs, others are limited runs; the limited runs are a little less expensive but involve a waiting list.


Evil Twin

Purchase from GoochFX

Everybody used to play through a Fender Twin…they’re great amps, awesome clean tone, and they take fuzz pedals really well, but it’s really hard to push them into natural overdrive.  Well, we decided to come up with a stompbox that emulated the amp circuitry but with a superheated signal that pushed the second gain stage into a really sizzling crunch.  And voila, the Evil Twin was born.  Natural and very dynamic (i.e., not a compressed sound) but very ballsy and dynamic.   We’ve only made one of these, but it’s been great fun to play.  I’ve used it recently at some live blues club venues, running it into a Fender Blues Jr.  (which is also tough to push into heavy overdrive) and it sounds fantastic, so we may make more of these…

The Archetype

Purchase from GoochFX

I was sitting with Craig Northey (of the great Canadian band The Odds and one of Canada’s most respected songwriters and producers) in his home studio a few years ago, talking about the Klon Centaur.


Captain Kirk

Purchase from GoochFX

The Ibanez Tube Screamer is easily the most popular overdrive of all time.  Everybody – and I mean everybody – who has ever made a stompbox has, at some point, built a version of the TS.  Ours has a story: Keith Scott, one of my original guitar heroes, asked us to cook up a custom TS, one that didn’t have as much “honk” or sound quite as compressed.  So we did, but didn’t want to just do a straight-up clone.  There are tons of great modifications available, so after much research, we stumbled upon what really just seems like a perfect combination (some of which are not usually applied to Tube-Screamer type circuits) – more gain, lower midrange “hump”, different clipping diodes, and most significantly, a different op-amp.  The resulting overdrive just sounded fantastic; we called it the “Captain Kirk”, and we shipped it out to Keith.  It sounded so good, though, that we thought it would be worth doing limited runs of this one.

The Captain Kirk sounded so good, I though, “why stop there”?  So, I built up a Captain Kirk and paired it with a very heavily modified Bluesbreaker overdrive ciruit, which I dubbed the “Captain Picard”, and stuffed them into a single enclosure — I called this dual-overdrive beast the Enterprise.  Why?  Because it boldly goes where no dual overdrive has gone before.  Duh.

Mister Burns

Purchase from GoochFX

Our favorite character on The Simpsons is also the name of our approach to the old Burns Buzzaround…one of the most sought-after classic fuzz pedals out there (one was recently auctioned on Ebay for over $3000!).  It was tight and rich and dark and heavy and sweet all at once – Robert Fripp used it on the early King Crimson recordings.  Our version added some noise-reducing components (as always), a customizable clipping section (for shaping the fuzz characteristic), and we temperature-stabilized the germanium transistors at the heart of the circuit (Mullard OC42’s…which sound perfect here).  We also included a master volume, so you can run the normal volume at full (which changes the tone a bit) and not blow out your eardrums.



Purchase from GoochFX

The Univox Superfuzz came in many varieties from 1968 through the mid 70s (many companies used the same circuit and enclosure, they just put a different label on it).  This is the nasty wall-of-fuzz that Pete Townshend used on The Who’s “Live At Leeds” album, and Steve Hackett used the circuit on the early Genesis albums as well.  Our version features a tone control (a popular mod to the original circuit) and a starve control – wind it down to starve the circuit of voltage (turn up the volume a bit to compensate), and it gets super compressed and beautifully buzzy.   In addition to these features, our version has noise reducing circuitry (a must with a monster like this one), more available output volume, and a slightly less shrill tone to sit better within a mix.