Kma Audio Machines Fuzzly Bear 2

From Jordan Boss Tone to the Fuzzly Bear 2: a cult fuzz updated

The Fuzzly Bear 2 is part of KMA Machines' DNA: capturing a very distinctive vintage character, then making it more reliable, flexible, and consistent in a modern setup. The starting point is a often underestimated 70s silicon fuzz, the Jordan Bosstone, known for its textures that are both rough and surprisingly musical when the right setting is found.

Where the original could lack lows and be temperamental (awkward format and integration), KMA reworked the circuit to preserve the attack and "old school" vibe, while recovering low-end content and adding a Bias control that opens sonic areas impossible on a simpler fuzz. Version 2 pushes the idea further with a modern enclosure featuring top jacks, silent relay switching, and optimized electronics, all handmade in Berlin.

Who is it for, what styles, and in what context?

The KMA Machines Fuzzly Bear 2 is aimed at guitarists (and bassists) who want an expressive fuzz, capable of cleaning up with volume and changing personality depending on attack and Bias setting. It suits both intermediate players looking for their first "signature" fuzz and pedal veterans who want a rarer texture than a classic fuzz like the Fuzz Face.

Stylistically, it feels at home in garage, stoner, alternative rock, punk, psych, but also in more modern contexts where synthy, gated, and almost phantom octave sounds are sought for monophonic riffs or leads that cut through the mix. In the studio, it excels at doubling a track with a controlled fuzz rich in harmonics; live, its compact format and top jacks facilitate clean pedalboard integration.

Controls, ergonomics, and design: simple on the surface, very rich in use

The Fuzzly Bear 2 goes straight to the point with a short and effective interface. The GAIN sets the amount of saturation and fuzz structure: at low settings, you get a grain close to a dirty, thick, slightly fizzing overdrive; as you increase it, compression sets in and the texture becomes hairier. At maximum gain, the pedal shifts to a more "starved" behavior, with note decay that can tighten and produce that very addictive gated sensation.

The SKIN/MEAT control is the heart of the personality: it acts on the circuit's Bias. Towards SKIN, the fuzz is more nervous, sharper, with a more pronounced attack and an aggressive drive side. Moving towards MEAT, the sound thickens, becomes more "meaty," with thicker saturation and harmonics that can recall a distant octave depending on the guitar, pickup, and register played. Finally, the VOL aligns the bypass level or pushes an amp's input: the pedal performs very well in front of an already crunchy channel.

Switching is soft and silent (relay) and the true bypass preserves signal integrity when the effect is off. The top-mounted jacks optimize space, a real plus when every centimeter counts on a pedalboard.

Sound

Expect an organic fuzz with a decidedly vintage grain, but with more low-end presence than some seventies references. It retains a very musical "chewy" character, with compression that can stay soft and warm, then become harder and chopped as gain is pushed and Bias shifted.

Dynamics are one of its strengths: neck pickup for thick, creamy pads; bridge pickup for biting leads and snapping riffs; and good clean-up potential with the guitar's volume knob on moderate settings. Among notable users, the pedal appears on modern rock-oriented pedalboards, notably with Chris Hell (FJORT), illustrating its playground: massive, textured guitars that remain clear.

Technical specifications

Effects	Distortion / Overdrive / Fuzz	Type	sector
Technology	Analog	Use	electric guitar
Format	Pedal	Color	Black

Potentiometers	GAIN, SKIN/MEAT (Bias), VOL	Dimensions (L x W x H)	128 x 74 x 60 mm
Footswitch	effect on/off	Weight	350 g
Indicator	activation LED	Power supply	9 V DC (center negative), 2.1 mm plug
Input	6.35mm Jack	Current draw	35 mA
Output	6.35mm Jack