(Need a manual for your Mercy Phuk? Download)
Looking for a nice transparent overdrive that is dead quiet and has the most natural breakup you’ve ever heard?
Then you better keep looking, because the Mercy Phuk ain’t it. The Mercy Phuk is noisy, nasty, and has gobs of unfriendly output ready to beat the crap out of your amp. Its pissed off that it’s in your pedal chain, and it doesn’t like you… But it is f*%king awesome.
The Wren and Cuff Mercy Phuk answers the many requests we’ve received asking us to fill the gap between our muff-style heavy fuzzers and the slightly dirty grind of our Phat Phuk booster.
Sticking with the one knob simplicity of the Phat Phuk, the Mercy Phuk overdrive is designed for the player with a “set it/forget it” mindset and an appreciation of a distinctively voiced overdrive that is touch sensitive and dynamically responsive to the guitar or bass volume knob.
Want an aggressive grind with an emphasis on the upper-mids to cut through the mix on guitar and bass? You got it.
Want a smoother fatter drive that’s still nasty and lets in all the low-end thunder of your guitar or bass? Flip the “Girth” switch and its right there.
The Mercy Phuk employs an op-amp driven MOSFET/LED asymmetrical clipping section with an internal trim-pot that lets the player fine-tune the amount of drive needed to get the tone they desire.
Give the knob a turn and both the volume and shape of the distortion change as the op-amp pushes the discrete transistor-driven second gain stage. This second gain stage employs another asymmetrical hybrid germanium/LED clipping section. The result? A mix of old-school germanium diodes to keep things smooth, and modern MOSFET/LED clippers to keep things focused and allow tons of output… In other words, an overdrive that is rich, complex, tight but still unruly.
Equally useful for guitar and bass, bassists need not feel like they’re buying half a pedal only useable at one setting. Either “girth” setting will keep your bass tone intact and only change the color of the signal you push through it (sticking with our usual ethic, bassists are never treated as an afterthought).
The Mercy Phuk is a minimalist pedal with extraordinary versatility that will be at home on almost any player’s pedal board.
These samples were recorded with 2 strats. One, a 1979 Aria “Lawsuit” Strat with a set of Joe Barden’s pickups dropped in. These are very “humbuckery” (nice word, huh!). The other is a stock Fender Custom Shop Eric Johnson Strat. Both were played through a 1964 Tremolux into a 1×12 cab, mic’d with a typical SM57, Senn 421 (one on, one off axis respectively).
Neck pickup + Ibanez CD10 Analog delay Proof that you can’t truly model an old liquidy analog delay…
These were recorded with a stock 70’s P-BASS into a custom-made tube bass head into a 1×15 cab. Same mic arrangement as the guitars.
Space BASS Mercy Phuk– vintage MXR script Phase 90–>CD10 Analog delay–>Amp
FULL BAND MERCY PHUK!
This song has the Mercy Phuk on all the guitars and bass.
The guitars are mic’d with an SM57 on the amp and another SM57 in the room. Very simple set-up.
I took the bass DIRECT though. I wanted to show that the Mercy Phuk could be used as a direct recording tool as well as a traditional pedal.
The bass signal went: BASS —> MERCY PHUK —> INTERFACE —> AMP MODELER PLUG-IN
Also kept this simple. No pre’s or anything, straight into the computer interface. The bass samples above were recorded with an amp though, FYI.
Give it a listen: MERCY PHUK FULL BAND JAM
Also please check out our demo vid: