214 Fuzz MKII

The 214 Fuzz MKII is a highly versatile fuzz pedal.

The design was inspired by the obscure Sam Ash Fuzz Stainer, but we didn't stop there. We added various parameters and effects to create a 100% analog circuit that enables classic, contemporary, and yet unexplored tones.

It utilizes a pairing of a 2N2222A metal can transistor with a BC549B, both individually selected to achieve the right balance between dynamic, smoothness, and aggressive response. It features Bias and Gain controls, an Octave activation switch, Baxandall Equalizer (800Hz and 5KHz) or a Resonant Low-Pass Filter based on the classic circuit from the MS-20 synthesizer (Cutoff Frequency and Resonance). It has an input for expression pedal or CV control. Furthermore, it has been stabilized to be placed in any position within the signal chain.

The 214 Fuzz MKII isn't confined to a particular era or specific tone, that's why we offer all the options for you to get exactly the tone you want. 

Download - User Manual
Download - Expression Pedal and CV Guide

Controls:  

• Volume
• Gain
• Bias
• Octave Activation Switch
• Baxandall Equalizer
• Resonant Low-Pass Filter (based on the classic circuit from the MS-20)
• Expression Pedal or CV Input

The 214 Fuzz MKII brings great improvements without losing the essence of its predecessor!

It features a new equalizer, a new octave circuit, and a new interaction of the filter control with the expression pedal or CV. Additionally, the MKII version is true-bypass with a soft-touch footswitch and an internal relay.

The octave was the most significant change between the versions. When engaged, it can resemble the characteristics of classic octafuzz pedals such as the Super Fuzz, Fox Tone Machine, and Kay Fuzz Tone. In the first version, the octave circuit was after the Fuzz circuit. In the MKII version, the octave is generated before the fuzz saturation and is much more intense even in high-gain settings. Its intensity can be adjusted from the BIAS control.

The new equalizer features different frequency curves compared to the previous version. When the controls are in the central position, the tone is slightly more open with more pronounced mid and high frequencies. The treble curve remains unchanged, and the bass frequency has been reduced from 1000Hz to 800Hz, reducing its impact in the mid-range. Consequently, the low-end can be amplified without sounding muddy. And when the bass is attenuated, the mids remain present, maintaining a thick tone.

In this new version, the interaction of the Expression Pedal or CV with the filter cutoff frequency has changed. When using the expression input, the starting point of operation is determined by the position of the FREQ control on the panel. 

Specifications:  

• 100% analog circuit
• Dimensions: 120mm x 64mm x 57mm
• Current draw: 50mA
• Voltage and polarity: 9VDC (center negative)
• Polyester Capacitors: Wima
• Ceramic Capacitors: Vishay, Samsung e Wurth
• Eletrolytchal Capacitors: Nichicon e Wurth
• Potentiometers: Alpha e Tayda
• Bypass footswitch: SCI - Soft Switch
• True-bypass with Kemet relay
• 1/4"jack: Rean Neutrik
• Cliff power jack

The 214 Fuzz is the result of long and obsessive work in pursuit of the perfect Fuzz. The development spanned two years, starting from the initial prototype until the release of the first version in 2018. After four years and over 300 units sold, we realized that some aspects could be improved in the design. Following another year of testing and prototypes, the 214 Fuzz MKII was ready.

The references were plentiful, including: Shin Ei Fy-6 and Fy-2 (Superfuzz and Companion), Regulus VIII (Mutantes' fuzz), Mosrite Fuzzrite, Maestro FZ1 and Brassmaster, Ampeg Scrambler, Tonebender MK1. Each one has its own texture and distinctive flavor, but we wanted something unique, manipulable, and customizable. The idea is precisely not to be confined to the specific tone of a particular circuit.

The 214 Fuzz isn't just a one-tone Fuzz; it's is a highly versatile effect.

Cachalote values the musician's ability to exercise complete control over the generated tone of the effect, enabling manipulation of a wide array of parameters through user-friendly controls.

The 214 Fuzz MKII features Bias (Gate) control, Gain adjustment, Octave activation switch, Baxandall Equalizer (800Hz and 5kHz), or Resonant Low Pass Filter with Cutoff Frequency and Resonance control, as well as an input for expression pedals or CV control. It can transition from vintage psychedelic tones to gritty garage fuzz, navigating through stoner fuzz, Velcro-like fuzz, buzzy fuzz, and producing square wave synth-style sounds.

The saturation circuit was based on the obscure Sam Ash Fuzz Stainer. From this, it was modified to utilize a 2N2222A metal can and a BC549B. This combination of transistors, along with the correct Bias, achieves the right balance between dynamic, smoothness, and aggressive response. Additionally, we stabilized the circuit with an input buffer featuring an ideally tuned filter to create the unique tone of the 214 Fuzz.

The saturation characteristic is entirely relative to the positions of the Gain, Bias (Gate), and Octave Switch controls. There are numerous possibilities and textures to be explored among the combinations of these parameters.

The Octave Switch alters the fuzz circuit, creating the effect of an octave above. Remember, this octave is not similar to digital octave pedals; it's not perfect, and that's what we appreciate about it. It's a monophonic analog octave, and significantly changes the saturation characteristic of the pedal. If more than one note is played simultaneously, the resulting sound effect is similar to a Ring Modulator.

After clipping stage, the tone is shaped by the Equalizer or Resonant Low Pass Filter. These parameters share the same control knobs, and each knob operates a specific parameter depending on the selected mode (EQ or Filter).

It features a Baxandall Equalizer. When the switch is in this mode, the knobs control the parameters 800Hz and 5kHz. These two frequencies are fixed, allowing you to boost or attenuate frequencies above and below these points using a shelf-type curve. Therefore, the frequency spectrum control encompasses all the main regions - bass, lower mids, upper mids, and treble.

The Resonant Low Pass Filter is based on the renowned Korg MS-20 synthesizer. The 800Hz and 5kHz knobs now control the Cutoff Frequency (FREQ) and Resonance (RES), respectively. In this mode, the Freq knob can be controlled via expression pedal or CV. Combined with the robotic and synthesizer textures achievable in the clipping stage, this filter allows the 214 Fuzz to traverse from 1968 to the present day. Consequently, apart from the classic retro fuzz flavors, it also has unique and contemporary characteristics.

This isn't a pedal stuck in time with just one tone! We want you to find your own sound without necessarily replicating any other musician or specific decade.

We envision the 214 as an open platform in the world of fuzz pedals. It's up to you to discover particular tone among the infinite possibilities offered by the pedal.