Goliath Effects Hornburg Dual Parallel Drive/Fuzz Pedal

At its core, the Hornburg utilises a triple-path signal architecture. After passing through an input buffer, your signal is split three ways: one path feeds into a modified Goliath FX “Black Ice” overdrive circuit (which itself is based on a TS9 Tube Screamer but modified specifically for bass applications), another is sent to a “modded tall-fonted muff” fuzz circuit (using just the first three stages of a Civil War era Russian Big Muff design) and the third remains completely clean. More on this later. This design approach offers considerably more flexibility than your standard fuzz pedal and allows for some rather sophisticated tone sculpting.

Incidentally, for those like me who are interested in electronics and understanding schematics, there’s some really useful websites on the evolution of the Big Muff fuzz pedal design, as there are for the Tube Screamer designs too. Fascinating stuff!

The physical construction is very tidy and, yes, eye-catching! I love this finish! Each Hornburg is hand-built by Matt Clark, the sole force behind Goliath FX. The review unit is actually #22 of production, which adds a certain low number collector’s appeal. The pedal is housed in a metal enclosure with a clean layout, custom graphics, metal connectors and featuring seven control knobs arranged across the face. Quality components and tidy board layout throughout suggest this is built to withstand proper gigging conditions, and thoughtful touches like branded packaging (even the outer shipping packet) adds a nice touch often missing from mass-produced units.

In Control

The control set on the Hornburg is comprehensive without being overwhelming:

Drive: Controls saturation amount in the overdrive circuit.
Volume: Overdrive output level.
Fuzz: Adjusts the saturation of the fuzz circuit.
Tone: Affects treble frequencies across the entire signal path.
Mids: Controls midrange frequencies, interacting strongly with the tone control (bass filter fixed by design).
Mix: Blends between the fuzz circuit (counterclockwise) and the Black Ice overdrive (clockwise).
Blend: Mixes between your clean signal and the processed effect (the sum of the two drives).

It’s worth noting that the current version (V2) has received some refinements over earlier iterations. The blend control has been reworked to be less, quote, “bitey” and the tone control utilises a new set of component values – both changes made based on real-world feedback from professional players. The clipping diode circuit is updated and PCB layout has also been improved for faster assembly and improved output.

Signal Path Nuances

Unlike many pedals, where the clean blend is positioned at the very end of the chain to preserve low end, the Hornburg places its blend control before the EQ section. This means that both your clean and dirty signals pass through the tone-shaping stage.

On using the pedal, the net effect experienced initially struck me as an unorthodox approach, and indeed it forces players to think differently about how they dial in sounds. Instead of using the blend control to restore lost lows (as is standard practice with many bass fuzz pedals), the blend here preserves or adds clarity to articulation and upper frequencies. The fuzz section already contains significant low-end content, Matt tells me, so the clean signal’s primary purpose is to add definition and attack rather than bottom.

With the two drive paths combined at the Mix pot, this signal is then blended with the clean tone at the Blend pot. From the blending stage, your signal passes through said EQ section featuring a passive tone stack with a fixed bass response. The tone (what would be the usual amplifier treble control) and mid controls interact as I’d expect from an FMV (Fender®, Marshall®, Vox®) style tone stack, (7 & 7 on the dials aren’t just a louder version of 3 & 3, if that makes sense) which offers anything from “full phat to modern clank” depending on your preferences. The mids dish up a +/- 5db boost or cut at around 700Hz. After EQ sculpting, your signal hits a make-up gain stage and output buffer before true-bypass switching sends it on its way.

Sonic Characteristics

Starting with the fuzz side, the Civil War muff-inspired circuit delivers a gritty, powerful voice that forms the sonic foundation of this pedal. Dialling the fuzz control from minimum to maximum takes you from substantial fuzz to, well, more and more fuzz until thy Aglarond goblet runneth over – this isn’t a pedal for those seeking subtle dirt, oh noooo, au contraire! At its most extreme settings, you’ll find yourself knee-deep in sustain with a pillowy face melter, yet with the right settings, note definition is retained. A little richer than a stock fuzz, given the extra equalisation options.

Bringing in the Black Ice overdrive circuit via the mix knob introduces a different tonal palette. A more focused, mid-forward aggression that complements the comparatively scooped nature of the Muff style circuit. The drive control offers considerable range, taking the overdrive from “plectrum definition” to saturated crunch.

What’s particularly interesting is how these two voices work in parallel. Rather than cascading one into another (as is common in many dual-drive designs), the Hornburg allows you to blend between them, or find a balance of both. This parallel approach also maintains clarity that might otherwise be lost when stacking gain stages.

The EQ section deserves special mention. While the fixed bass response might initially seem limiting, it’s actually a thoughtful design choice that prevents excessive low-end buildup. The tone and mids controls are surprisingly versatile, capable of dramatic tonal shifts that can take your sound from doom-laden sub territory to aggressive, cutting presence. That said, players should understand that these controls function somewhat differently than conventional EQ – consider the minimum positions (fully counterclockwise) as your starting point rather than the typical noon setting.

Real (or not so real) World Application

The “Lord of the Zings” Hornburg truly excels in various musical applications. It absolutely shines when paired with an octave pedal. The octave signal driving the fuzz into thick, synth-like territory that would satisfy even the most demanding doom or stoner rock bassist. Speaking of synth applications, the Hornburg works brilliantly in more experimental setups. Running an octave into the Hornburg and then following it with an envelope filter and chorus creates pseudo-synth textures. This versatility makes it particularly appealing to bassists who dabble in bass-pedals / bass synth territory, but wish to leave the keyboards at home.

For more conventional use, even at its more restrained settings, it’s clearly designed for players who want their presence felt. Mwah ha ha! That said, judicious use of the Blend control can achieve more balanced tones suitable for rock, punk, and alternative styles where a fuzzy foundation supports, rather than dominates, the mix.

The one area where some players might find the Hornburg challenging is in applications requiring extremely precise low-end control. While the pedal certainly doesn’t lack bass frequencies, the fixed bass response and the positioning of the blend control mean you’re somewhat committed to the pedal’s inherent low-end character. This isn’t necessarily a negative – it’s part of the pedal’s identity, and therefore appeal – but it’s worth noting for players who prefer granular control over every aspect of their low end. You could, I suppose pair the pedal with a crossover blend effects loop pedal and still have your money’s worth.

So, is this something I would change? Well, I have nearly always gravitated towards band-pass style distortions blended with a clean, or slightly gritty “smiley face EQ” clean sound. I then use a “glue” style compressor to help blend the two sounds. So, on its own, Hornburg is a slightly different approach for me. That is not a bad thing, because here we have an example of an effect that aids creativity, yet making you think differently about sound design.

Creating such a feature rich pedal is a balancing act for boutique builders. In this case, fitting in two Goliath FX pedals into one box, along with the additional EQ and signal circuitry, yet keeping the overall size to a reasonable pedal board footprint, means that there is no internal battery option for the pedal. Let’s face it, most of us are running isolated power supplies, anyway, so really, this is no biggy, and you’re doing your bit for the environment in not throwing batteries away.

Testing and Validation

Of note, Hornburg has undergone extensive real-world testing by professional players. Notable test pilots include Naomi from Guitar Nerds podcast and Empire State Bastard, who used it at major festivals including Download, Hellfest and Glastonbury. Additionally, Dan Higgins (Darla Jade) and Andy Gilmore (Hundred Reasons, Raging Speedhorn) provided feedback during development. This real-world testing led to actual circuit modifications to address noise issues and refine the tonal characteristics, demonstrating Goliath’s commitment to delivering a stage-ready product rather than just a workshop curiosity. And, speaking of workshop, as these pedals are meticulously handmade, orders will potentially have a 6 week lead time, so, check with Goliath FX for either stock, or give yourself plenty of time before you head out on tour to ensure you have one on your board ready!

The Bottom Line