Death By Audio Octave Clang V2 - Octafuzz

A Cult Pedal "Resurrected" and Modernized

The Octave Clang is one of those Death By Audio effects that have become legendary among fans of extraordinary fuzz: a harmonic machine flirting with the upper octave, distortion, and textures close to ring modulation. The v2 version retains this extreme DNA and makes it more usable daily, notably thanks to a footswitchable octave and a reworked control range to cover both devastating sounds and more nuanced saturations.

Who Is the Octave Clang v2 For?

If you play shoegaze, noise rock, garage, punk, stoner, or experimental music, the Octave Clang v2 is a sonic identity accelerator. On single notes, it can become a sharp and singing octave-up; on chords and complex voicings, it "blends" the signal and twists it chaotically, perfect for guitar walls, dissonant riffs, and leads that cut through the mix.

It integrates very well in the studio for layering harmonics, and live thanks to its direct control: fuzz alone for the verse, octave to explode the chorus or solo. And although it clearly targets guitarists, it also loves to abuse high-level sources (basses, synths, drum machines) for industrial and granular textures.

Settings, Controls, and Ergonomics: Simple on the Surface, Deep in Feel

The trio of knobs on the front panel is designed for quick adjustments without limiting creativity. The Volume controls the output level, capable of going from silence to very high levels to drive the next stage of your pedalboard. The Gain goes up to +39 dB : you can stay in a tight distortion or switch to crushing fuzz.

The Tone is not a simple filter: it's a pre-gain tilt EQ that changes how the circuit saturates. Boosting the lows gives a bigger, more "blown-out" sound; favoring the highs adds attack and clarity, especially useful with the octave.

Regarding footswitches, you have an independent bypass and Octave Up switch : the idea is to treat the pedal like a real distortion/fuzz usable all the time, then trigger the octave at the moment that should "make an impact." Two LEDs (red and yellow) make it easy to read on stage.

Finally, for fine-tuning enthusiasts, an internal Bias allows you to "shift" the distortion's behavior: perfect for choosing between a more stable and tight grain or a rougher, more unpredictable, and aggressive response.

The Sound

The Octave Clang v2 lives up to its name: it features a metallic texture, rich in harmonics, with that "bell/clang" character that emerges when the octave bites into the saturation. The response is very sensitive to playing dynamics : pick attack, vibrato, and note position strongly influence the perceived octave amount, and the pre-gain Tone acts as a true "dynamic rudder."

In context, it's found with artists who need a fuzz unlike any other, such as Kevin Shields, Ty Segall, or Joanne Shaw Taylor, as well as Jamie Stewart (Xiu Xiu): all terrains where one seeks saturation that doesn't just sound "big" but adds an immediate sonic signature.

Technical specifications

Effects	Octaver / Harmony, Distortion / Overdrive / Fuzz, Fuzz, Distortion	Type	sector
Technology	Analog	Use	electric guitar
Format	Pedal	Color	White

Volume	output level	Output	6.35mm mono jack
Gain	up to +39 dB	Dimensions	122 x 94 x 53 mm
Tone	pre-gain tilt EQ	Weight	approximately 326 g
Bias (internal)	misbias adjustment of the distortion circuit	Power supply	not included
Left footswitch	Bypass (red LED)	9V battery	not included
Right footswitch	Octave Up (yellow LED)	Required power	9 V DC center negative, 2.1 mm connector
Input	6.35mm mono jack	Consumption	10 mA