$249.99

Reimagined with JFET transistors, the Bad Hoss is a flavor of fuzzy pi that comes without all the noise and two heaping scoops of versatility.

A high/low gain control switch makes it perfect for lower-gain work without giving up that creamy, violin-like sustain. The EQ control switches between two distinct tone stacks — a classic mid-scoop and a modern take that lets those mid frequencies come through.

So what’s a harmonic sustainer? Well, it’s not exactly a fuzz and not exactly a distortion. The Bad Hoss is a complete evolutionary leap in design from its ancestor, making it perfect for garage rock, fuzzy blues, stoner rock or violin-like sustain on lead lines.

Even at its highest gain and sustain settings, the Bad Hoss lets you hear all your notes and doesn’t mush out or gargle.

Note: All pedals are made to order and there might be a short lead time between your order and when your pedal is shipped.

Harmonic sustainer

Bad Hoss

Technical specifications

    • Volume: Overall output level

    • Sustain: Level of distortion

    • EQ: Switch between a mid-scoop tone stack and a flat EQ profile

    • Tone: Adjust signal frequency levels

    • Gain: Switch between a low-gain mode and a high-gain mode

    • 9 to 18 volts DC

    • Center-negative 2.1mm plug

    • 11 mA current draw

    • Protected against reverse polarity, over-voltage and over-current conditions

    • True bypass

    • Mechanical relay rated for minimum 2 million cycles

    • Industrial momentary footswitch rated for minimum 1 million cycles

    • Built-in memory restores pedal to it’s previous state when powered on

    • 100% analog signal path

    • Audio-grade, low noise JFET transistors

    • Metal-film resistors

    • Audio-quality film capacitors

    • Noise-filtering choke

    • Hand-wired

All pedals come with a lifetime warranty and a 30-day return policy. If you need a return, contact Bolt & Forge within 30 days of receiving your pedal. Customers are responsible for return shipping.

  • JFET transistors

    Reimagining a classic fuzz to work with junction field effect transistors (JFETs) brings several benefits, the biggest being a huge reduction in hiss and noise.

    JFETs belong to a class called “depletion-mode devices,” meaning they operate like vacuum tubes. They’re excellent for amplifying small-signal audio, and noted designer Erno Borbely has said they “offer the best sound in audio circuits.”

    These transistors come with some added complexity, however. The JFETs used in the Bad Hoss must be hand-selected and individually biased.

  • Versatile gain

    The Bad Hoss can sing with violin-like sustain just like its ancestor, but a new approach to the circuit brings a whole new experience at lower gain levels.

    A fuzzy-voiced overdrive comes to life when the Bad Hoss is switched to it’s low gain setting that’s perfect for fuzzy blues or garage rock.

    Flip the switch to high gain and you’ve got a fuzzy distortion with infinite sustain.

    The Bad Hoss also retains note clarity in either mode, meaning you’re not limited to single-note lines and free to play chords.

  • Versatile EQ

    The first design requirement for the Bad Hoss was that it had to nail that iconic fuzzy tone from the late 1960s and 70s. A huge part of that is the signature mid-frequency “scoop.”

    With the EQ switch in the “scoop” position, you get the same EQ curve found in the 1973 “Ram’s Head” Big Muff variant favored by David Gilmour and J. Mascis.

    When switched to “flat,” the Bad Hoss’ second tone stack brings back all the mid frequencies and acts as a treble roll-off to help contain all the upper harmonic content.