
Soft Crush - Freqscene Effects Co.
I’ve been waiting for something like this for years. The Soft Crush by Freqscene Effects Co. finally solves the age-old problem that’s plagued Big Muff variants since the beginning: getting lost in a band mix. By combining two legendary circuits—a Big Muff-style fuzz and a Tube Screamer-inspired overdrive—into one cohesive unit, this pedal gives you the thick, saturated fuzz tone you crave with the midrange presence you need to cut through.
The genius lies in the independent control system. Each circuit has its own gain and tone controls, plus dedicated mix knobs that let you blend the fuzz and overdrive to taste. The Big Muff side delivers that classic scooped, woolly saturation, while the Tube Screamer circuit adds the mid-pushed bite that makes everything audible in a dense mix. You’re not stuck choosing between vintage authenticity and modern practicality—you get both.
What strikes me most is how musical the interaction between these circuits feels. Unlike other dual-drive pedals that can sound disjointed, the Soft Crush’s two sides complement each other naturally. Dial in mostly fuzz with just a touch of overdrive for subtle midrange enhancement, or push both circuits hard for an absolutely crushing wall of distortion that still maintains note clarity. The tone controls on each circuit give you surgical control over the frequency response.
This pedal represents exactly the kind of forward-thinking design the pedal world needs more of. Instead of just copying vintage circuits note-for-note, Freqscene looked at what players actually need and engineered a solution. The Soft Crush doesn’t just sound great in isolation—it sounds great where it matters most: in the context of a full band.
Signal Chain
- Eiphone SG Special with Mojo Pickups Gold Foil in the neck, Mojotron in the bridge position (bridge pickup)
- Soft Crush
- Mixwave Benson Chimera Plugin*
- A bit of room-like reverb from the Valhalla Vintage Verb plugin
Links
- Get detailed specs on Freqscene Effects Co.'s website
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