Classic guitar distortion and the most versatile bass tool? Here you go. Tremond begins as distortion based on a famous rodent pedal. Actually it is a mix of early big box and whiteface versions specs, carefully tuned for consistent sound with true vintage vibe with that creamy/juicy mids, tight attack and recognisable 'sag' at high gain settings.

Obviously it's equipped with the iconic LM308n integrated circuit. Additional feature is clipping mode switch to replace stock silicon diodes (classic, high gain sound) with asymmetrical LED + germanium combo (for more crunchy, kinda 'clear breakup' feel, great for lower gain settings or additional boost at high gain), or to omit clipping diodes (to provide huge load of pure op-amp distorted sound).

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Tremond (mini)

tremond

The Horne is a my take on classic Zonk Machine fuzz unit, similar to Tone Bender MKI's primitive character but with a different approach. Obese low-end of MKI gives place here to lovely midrange push with wah-like bite, perfect for tight riffing and anywhere where punch and clarity is preferred over bass content.

There are many ways to 'tune' these circuits and Horne series presents quite greasy, warm tone with elegant balance of smoothness and bite. There's no aggressive sputter or ice-picking trebles. Transistors are biased for gorgeous, quick and crackling gating with some of 'sonic waste' artifacts at decay. This feature make it perfect for humbucker-equipped guitars, but if natural gating behaviour is what you look for - it will deliver with any pickup. And instead of turning every guitar into a sheer wall of fuzzed-out sound, it does keep the instrument's character really well.

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Horne - Zonk Machine

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Tremond (mini)

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