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Read the review: http://bit.ly/MXRSubMachineFuzz

Octave fuzz often walks a fine line between ecstatically unbridled and a bit trashy. For every Jimi Hendrix or Pete Townshend solo driven to screaming high-octave heights or tasty “Fool in the Rain” Blue Box flurry, there’s some jerk playing a boneheaded riff for a beer commercial that makes you feel like you need a shower and a week at a silent Zen retreat.

What’s fun about MXR’s Sub Machine octave fuzz is that it offers a path to both extremes. And thanks to a well-executed, sensitive control set and independent octave-up and sub-octave voices, you can navigate the sometimes nebulous no-man’s land between sublime and stupidly scuzzy—and even uncover some pretty classy tones along the way.

The mechanical heart of the Sub Machine is MXR’s La Machine fuzz—the company’s homage to the unsung but awesome Foxx Tone Machine. All the functionality of the La Machine is here in the form of volume, tone, and fuzz knobs. And the octave switch is vastly improved from the original La Machine simply by making it a footswitch rather than a minuscule button.

The fourth knob in the set is for the sub-octave volume, which can be dialed back to zero octave content or up to Jabba the Hutt levels of corpulence. (It can even be used alone when the fuzz volume is off, so you can double as a bass player in a pinch.) The fifth control is a very cool series/parallel switch that runs the sub-octave and fuzz/high-octave signals independently until they are summed at the output. In series mode, the sub-octave signal is fed into the fuzz circuit, which can lend both delicious chaos and control to the proceedings.

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