Up for sale is the newest JHS Pedals release, the Coyote!
From JHS:
A new breed of octave fuzz based on a lost circuit that belongs to no known lineage. Three effects all contained across one knob. A tribute to an unknown pioneer who deserved to be famous.
An octave fuzz topology that has never been replicated for production — until now
One knob sweeps through three distinct effects: swell, fuzz, and octave
Exceptional touch sensitivity and volume-knob cleanup — rare for any fuzz, unheard of in an octave fuzz
Every octave fuzz you've ever played traces back to just a handful of circuits: the Octavia, the Super Fuzz, and the Tone Machine. The Coyote doesn't originate from any of these classic topologies. The Coyote is a complete replication of the obscure and very difficult to find Moonrock Fuzz by G.S. Wyllie, a reclusive North Carolina builder who sandcast his own enclosures, etched his own boards, and designed a unique fuzz utilizing a transformer in an unconventional way that sounds like nothing else. He never mass-produced them. He passed away in 2014, still building. This is our tribute to Glenn and the wily circuit he left behind.
ONE KNOB. THREE WORLDS.
The Swell / Fuzz / Octave control is the heart of this pedal. It sweeps continuously through three distinct zones — each one a different effect.
Swell — Notes bloom in with a gated, reverse-tape-like quality. The attack is softened and delayed, rising smoothly instead of hitting all at once. This happens because the final stage of the circuit is allowed to turn on gradually rather than instantly, easing the signal into the stage and creating a natural swell that responds to picking dynamics. We've only ever seen one other pedal attempt this — a thousand-dollar vintage pedal with a dedicated footswitch for it. Glenn built it into a knob sweep.
Fuzz — At noon, a fully realized fuzz tone. Not a Fuzz Face. Not a Big Muff. The texture sits in Tone Bender territory — rich low end, aggressive mids, the kind of fuzz that handles chords. Shoegaze. Psychedelic rock. Grown-up fuzz.
Octave — When the control is clockwise, the clipping becomes intentionally uneven, shifting the harmonic balance of the signal. Even-order harmonics, especially the second harmonic, rise to the front, creating a strong octave-up character on single notes. This is pure Hendrix territory — and Glenn, who met Jimi several times in Greenwich Village, was always pointing to this sound. He landed on that iconic Hendrix tone perfectly, his own way.
The transitions between zones are continuous. Explore everything in between.
WHAT SURPRISED US
Roll back your guitar's volume knob and this pedal transforms. At lower settings on the Swell / Fuzz / Octave control, the Coyote becomes remarkably touch-sensitive — light picking gives you warm, controlled fuzz while digging in triggers the swell. It cleans up better than any octave fuzz we've ever played. That kind of dynamic response is almost unheard of in this category.
HOW TO USE IT
Put it first in your chain. Play it into another overdrive or an overdriven amp — that's how almost every iconic octave fuzz tone was created. Clean amps work, but the sound in your head usually has some dirt after the fuzz.
Neck pickup, above the twelfth fret — that's where the octave effect is most pronounced. Humbuckers push the swell and octave harder. Single coils give more clarity. Both sound great.
WHO THIS IS FOR
This pedal isn't for everyone, and we're good with that. If you love Hendrix, Jack White, Gary Clark Jr., Black Keys, or the octave fuzz on John Mayer's "Belief" — you already know you want this. If you're a doom player, a riff rocker, a blues explorer. If you've tried every fuzz on the market and you're still looking for the one you haven't played — you're the Coyote. You're the fuzz scavenger. We found something for you.
THE BUILDER
Glenn S. Wyllie grew up in New Jersey, learned to read schematics from his electrical-engineer father by age twelve, and built his first fuzz pedal at seventeen after hearing "Satisfaction." He met Jimi Hendrix several times in Greenwich Village during that era — and never stopped chasing that sound.
He settled in the Appalachian foothills of North Carolina — woodstove heat, a dog named Simon, a Hendrix poster on the door, and metal guitar shapes hanging from the trees in his driveway. He worked at a local music store, played guitar in a band called Muletrain, and built pedals one at a time for anyone who found him.
His work ended up on recordings and stages with Paul Simon, Bruce Springsteen, Stevie Wonder, David Byrne, Joan Baez, and dozens more — played by NYC guitarist Mark Stewart, who called Glenn an "unacknowledged American master." Glenn should be talked about alongside Mike Fuller, Paul Cochrane, and Dave Barber — the pioneers of boutique. But nobody knows his name.
We couldn't find his family to tell them about this project. We tried. He's as elusive in death as he was in life. A true coyote.
CONTROLS
Volume — Controls the output volume. Left is less, right is more.
Swell / Fuzz / Octave — Sweeps through three distinct zones. Fully counterclockwise: gated swell with blooming, reversed-tape character. Noon: full, rich fuzz. Fully clockwise: aggressive octave-up with snarling harmonics.
SPECIFICATIONS
- True Bypass
- 9VDC Center Negative