The BBHF… it’s as grotesquely beautiful as its sound.
Runs at 8V-18V.
This one's been floating around Bjorn's head for a couple of decades…a pedal that would approach the sound and odd behaviors of the medieval Crumhorn…a unique sort of distorted double-reed clarinet that was substituted for trombones in days of old.
He started with the old Jordan Bosstone circuit and bent it to his needs. Yeah, this one's a little odd…but strangely enough, in the lower ranges, it's actually a great low-to-medium dynamic fuzz drive. Volume, Fuzz, Bass and Treble controls give it a wide range to cover tasty, touch-sensitive dirt splashes all the way up to beautifully grotesque fuzz morphs…yes, it's fun…and the paint is see-through and flip-flop and there's just no way to get that in a single pic.
Reviews from TGP BearFoot FX Tourbox Participants
1) GEAR: Ceriatone JMP 50 bass model, Quidley 22 boutique EL84 driven, Trinity Tweed Deluxe, and a 73 Fender Super Reverb…GUITAR(S) unknown
“Burgundy Bosshorn: Ok. No need to sugar coat. I F***ing love this pedal! Absolutely killer lead tones that just grabs ahold of a not and strangles every ounce of energy and breath from it….and then makes it squeel when it’s done. I used this for overdrive, distortion, fuzz, boost…. everything. What I have been looking for is the tone used by Mike McCready (Pearl Jam) during his opening lines on “Nothing as it Seems”. The Bosshorn nails with with the way. If I had to explain it I would compare it to a 100 watt JCM with 3 compressors triple stacked. The fuzz/distortion is silky smooth and to quote a previous reviewer almost “sax like”. I loved this for David Gilmour type lines and I could definitely see some Jazz Fusion guys really digging this. It can also break up like a fuzz if need and become a spitting sustain monster. The only thing I would compare this too I have played is the Wren & Cuff [Box] of War. Awesome sustain that just demands to be heard. I can also see and expect comparisons to the Skreddy Lunar Module due to it’s versatility and ability to be rolled off with the volume knob… I’m saving up for a Bosshorn as we speak and as soon as I convince my band mates to do a Crazy Horse cover…” (USA, July 2014)
2) GEAR: American Fender Strat w/SCN pickups, a Gibson Les Paul Special w/stock P-90s, PRS Custom w/SD Custom HB in the bridge and SD ’59 HB in the neck. Stock Fender Blues Deluxe (clean, with a touch of reverb) and a stock Mesa Boogie Express 5:50 1×12
“Burgundy BossHorn Fuzz: This is the one I was REALLY looking forward to trying since I’d already tried 2 of the 3 CAFs. I was not disappointed! While this is not my typical kind of muff-like, smooth, wooly fuzz, I thoroughly enjoyed all of the versatility the BossHorn has to offer…and I probably missed a few settings! Admittedly, I was disappointed at first. I didn’t think there was much volume or fuzz to the BossHorn, but I soon found other uses for this pedal (and later found the OOOOMPH!). This one is unlike ANY fuzz pedal I’ve ever played. There’s a very throaty quality to it that I really like. At lower fuzz settings and with the Bass low (about 9:00), Treble high (about 3:00), I got a great cocked wah-type sound. I just had to crank the Volume or boost it a bit to get where I wanted to go. Then I found some great horn-type sounds (sax-y!) with the Fuzz and Bass up higher…especially with the neck pickup. There was really a myriad of tones to be found in this one, including full-on fuzz. One sorta odd thing is that it’s very touch-sensitive (much like the HBOD or Model G) which I initially didn’t like for a fuzz pedal. But I grew to love this thing and ended up choosing it as my fave of the bunch! It sounded great with my Fender on the Dirt channel, which I seldom use. FWIW, I also LOVE the paintjob on this one. Also, this one is just plain FUN TO PLAY! It seems like there’s a surprise at every different setting…and all good! So the BossHorn also helped me venture outside my fuzz comfort zone and it’s on my list of must-haves!” (USA, July 2014)
3) GEAR: Bassman RI and P-90 guitars
“The BossHorn – Had inherently less gain than the CAFs and a different tone stack. It had great midrange presence but also a lot of low end as well as bite. The voice of this one was closest to the Sola MKII yet it had more treble and bass. It cleaned up fairly well too (not like a FF but not bad for a 3 tran fuzz). The BH can get nasty but I didn’t notice the super octave that the CAFs have. This one was by far my favorite.” (USA, July 2014)
4) GEAR: Danocaster T (Stuart Broadcaster neck and Lapwrap bridge pups) through a Goodsell S17 Mk 2 and an Allen Chihuahua run in tandem
“I don’t know what a Crumhorn sounds like or looks like, but all I can say after checking this one out is, “More Crumhorn!!” The BBF is really versatile and uber-cool. It definitely has a more focused EQ than the apples, making it sound tighter and with a degree of distortion-type drive. At lower settings on the Fuzz knob it almost takes on a cocked-wah kind of sound, gives it some bark to balance the bite. Reminds me a bit of the voicing on the KOT/POT on the boost dip setting. You can loosen it up boosting up the bass knob, but it never gets as loose as the CAF’s. The BBHF reminded me of a PPF with “more” of everything at each of the different levels from OD/slight dirt to full fuzz. I haven’t had a PPF around for a while, so I’m not sure how they match up tonally (though I would think they aren’t far off), but I’m thinking of the way I used the PPF when it was on my board – kind of a Swiss Army knife fuzz with a great, aggressive attitude.
Though it couldn’t quite capture the complexity of the Castledine, he BBF was able to cop the gained-up tones of both the coarser OC-75 Thunderbird and the Sunbender. (You have to dial the Bass knob down to 12:30 or less to get into bender territory tautness, and I was running the Fuzz around 2:00 and the Treble at about 1:30, then using the guitar volume knob as well.) When A/B/C-ing them, I think I prefer the both the benders at the low-gain/cleanup tones, a bit more open/woody/present, but really just different flavors. At first blush, it seems like you could use the BBF to cover some realistic Tonebender territory, and it offers things the others can’t do. As far as the Bone Machine, they both take the Jordan Bosstone as a point of departure for the circuit. There are some similarities in some of the tones you get. The BM definitely gets splattier at the further reaches of the dials and will give a much more accurate “horn”-type sound if you’re going for that – you can hear the “lips” sputtering on the attack with the BM. I wasn’t able to get them down with the band while they were here, but this one would seem to be a no-brainer for doing just fine in a denser mix. It also blended beautifully with the Gamut in a boost context… I will end up picking [one] up at some point soon…” (USA, August 2014)
5) GEAR: Unknown
“Bosshorn: Very nice versatile Fuzz. Sounds great at low gain. Check out Burgs demo!
The Bosshorn also “flirts” with the wilder side with a taste of cool subs and low order artifacts conjured in the farther end the bass knob rotation. With the bass/fuzz maxed, it seems to reach a resonance and would self oscillate with my Strat. A slight turn of the volume would squelch the oscillation. It would not oscillate with my hotter pick-up guitar (EBMM Axis), but the resonance was evident, i.e. as soon as I took my fingers off the strings the Axis would launch into feedback, even at relatively low volumes. Reminded me of some settings of the Four Eyes Fuzz., which of course I think is very cool!
I would characterize the Bosshorn fuzz as having a “smoother” texture, really great for singing sustain on the neck pickup. It responds really well with a wah in front. Also sounded really good with a baritone guitar. The treble control did not seem like the typical high end shelf, it also affected upper mids.
If I had a nit it would be that I wish the Bosshorn could go a little deeper into the extreme, but then, youre talking to a guy who thinks too extreme is just extreme enough when it comes to fuzz….No Doubt, the Bosshorn will be a BIG HIT!” (USA, August 2014)
6) GEAR: ’86 e series MIJ Squier Tele w/ Fralins, ’50s Heathkit amp (modified for guitar), 112 Eminence Private Jack cab
“Lastly the Bosshorn! OMG the Bosshorn! I already feel like I could write a short book on this pedal! It totally stole the show and is not like any other pedal I’ve tried. I spent a relatively large amount of time with it and really, I mean really like it!
It sounds good with fuzz at noon, It sounds good with fuzz full blast.
It can be bassy and deep, It can be bright and wild
It can be a little overdriven, It can be feedback heaven
It can be a violin with elements of hairy bow or a bassoon with reeds
It can be a cello or a Mongolian throat singer (I think)
It can also sound like a foghorn or a crumhorn.
With a little time and effort, this wants to be a Dr Suess ode to the Bosshorn.
This really brought out my experimental side. I think I conjured Medieval psychedelic horns and strings with this thing.
Most of my other pedals demanded to come to the party while I was enjoying this way too much. Volume swells with the EBjr and Echorec then the BBE wah and Vibe Baby jumped in and took turns. They all sounded great with it and brought out something new! So dynamic, so diverse. I recorded some of it with my H2n and I’ll have to see if anything came through well enough to post. It definitely wouldn’t compare to _______’s clips but would be something different.
In short, I enjoyed the CAF sample pack and I’ll have a Bosshorn on my pedal board by the weekend, really, it’s shipping tomorrow!” (USA, August 2014)