The Hawaiian Pizza fuzz pedal is the latest bizarre contraption from the minds of the Caroline Guitar Company. Combining classic overdrive with molten fuzz (sweet & savoury), the Hawaiian Pizza is undoubtedly a head-turner.
- Emulates classic tube-style overdrive, perfect for pushing the front of your valve amp
- Also has heaps of fuzz on tap - from subtle lead tones to gated mayhem
- Three simple controls: output volume, fuzz bias and input signal
- Internal passive guitar pickup emulator allows the pedal to be placed anywhere in the chain
Here's what the Caroline Guitar Company have to say:
Capturing the essence of the world’s most expensive, collectible, and unavailable amplifiers. The most crystal of lettuce, the most unobtanium of discontinued exotic zest of magic diodes, the newest old stock tubes of artisanal sous vide blockchain components, organic GMO free discrete integrated circuits, simultaneously wild, free range, and humanely farmed, wired point-to-point on holistically mindful, mil-spec bespoke circuit boards. Its bypass is not just “truthful” – it is unflinchingly candid. Worthy of all the years you spent on a waiting list, the Hawaiian Pizza is the sonic equivalent of a forbidden delicacy. It’s nothing but three knobs and the truth.
…the truth is that it is an unbelievable sounding and versatile fuzz-drive, an elaboration on a classic fuzz circuit with some special twists by Philippe and John Snyder of Electronic Audio Experiments, one that can handle being placed anywhere in the signal chain thanks to an internal passive guitar pickup simulator, and has a myriad of rad sounds available from just three interactive controls! And if you think it should sound like a certain expensive amplifier because of how it looks, don’t worry – we’ll let you tell yourself that!
Put this in front of a clean amp, crank things up and prepare to be frightened. Or put it in front of a crunchy amp, dial it up just a little bit, and wonder where this thing has been all your life. You can blame Grammy winning producer Dave Cobb (Jason Isbell, Sturgill Simpson) for this pedal. He geeked out with Philippe about something over the phone, and years later, we misinterpreted what we talked about into making this.
All sound files below recorded very simply: a 1976 Stratocaster into the pedal, to a 68 Deluxe Reverb reissue, and into ProTools. No further editing, compression, or EQ was done. Each track starts with a clean tone, and then the effect is kicked in.