Deep Trip BOG

  • By Eric Tischler @tonereport
  • July 28, 2014

Deep Trip steps to bat for a second try, once more bringing us an update of a classic fuzz. Hint: BOG stands for “Band of Gypsies” (I think).

The range of fuzz is very useful, allowing for various shades of Jimi and early Gilmour through Blue Cheer and Iron Butterfly, from thick, woolly and authoritative to biting and rough—but always articulate. On the flip side, clean-up with the guitar’s volume knob is excellent, while the pedal’s output gives you all the headroom you’ll need to be heard in the mix. (Take that, germanium clones!) You can use a standard power supply, too. (And that!) 

The BOG will play nicely with your wah (and everything else). The Bias knob helps bring the lo-fi, offering a more clipped attack and dying battery effects as you turn in either direction from noon. The Lows knob will help you clean up, or retain as much low end as your bass player will allow.

There’s no question this pedal sounds good. Weighing it down in this category is the fact that the feature set doesn’t seem to be that useful—by contrast, I use a six-knob silicon-germanium hybrid Muff to get Fuzz Face sounds, and it costs less, sounds as good and, thanks to the various parameters I can tweak, suits my rig and band better. Now, that’s a tweaked Fuzz Face sound that I’m using, but if you’re going to charge for the knobs, I think they should add value. Given all the new Fuzz Face-type pedals available for less, it becomes harder to award points on authentic tone alone.

However, you get traditional Fuzz Face tones and you get ‘em good—big and woolly or thin and biting. And it’s sturdy, it’s easy to use and the site namechecks fancy capacitor and resistor manufacturers, so I’m inclined to think the initial impression is accurate. 

Overall, this is a great sounding Fuzz Face, but it isn’t cheap. That said, if you’re a connoisseur or in a band that gives you a lot of sonic room, it might be worth taking a Trip to this BOG.

What we like: The girth. At almost any setting, the BOG is present and large, suggesting tonal height and depth. More impressive, it does this while retaining the darker top end of a Fuzz Face—there’s no hyping here, just lots of signal. 

Concerns: The Highs control didn’t really do much for me. Yes, the timbre changes, but the BOG essentially remains a dark Fuzz Face-type pedal. This isn’t the end of the world, but having played Deep Trip’s Kryptone, which offers a world of Tone Bender-y goodness, I hoped for more versatility.

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