JHS Coyote

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. 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 - the product of wild experimentation combined with solid electrical engineering fundamentals.

Here's what makes it strange: the circuit has a transformer, but it's not doing what transformers do in other octave fuzzes. It's not creating the octave at all. Glenn put it somewhere else entirely, where it acts more like an inductive element, shaping how the fuzz stage responds and contributing to the swell, fuzz, and octave character of the control. JHS has never seen anyone do this. The result is a texture and feel that doesn't exist anywhere 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
At its lowest setting, notes bloom in with a gated, reversed-tape quality. A slow, breathing attack that rises up from silence. The final stage of the circuit is allowed to turn on gradually, easing the signal in and creating a natural bloom that responds to your picking dynamics. JHS has only ever seen one other pedal attempt this - a thousand-dollar vintage piece with a dedicated footswitch for it. Glenn built it into a portion of the controls 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. Full and powerful.

Octave
Fully clockwise, the circuit shifts into aggressive octave-up territory. Intentionally uneven clipping emphasizes even-order harmonics, especially the second harmonic, pushing it above the fundamental to produce that snarling octave-up sound. This is pure Hendrix territory - and Glenn, who met Jimi several times in Greenwich Village, was always pointing here. He landed on it perfectly, his own way.