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KMA Machines unleashes the Wurm 2, a fierce HM-2-style distortion pedal with expanded EQ options

KMA Machines has unveiled the Wurm 2, a revised version of its HM-2 inspired distortion pedal, housing it a smaller enclosure and offering an expanded set of controls over its face-ripping tones. 

The Wurm 2 has a thematically appropriate orange on black enclosure design with two regular sized dials for Volume and Terror. No prizes for guessing what the Volume dial controls, nor for Terror – that’s where all the filth comes from. 

These two dials are sit above a four mini-knobs controlling a four-band EQ, with each band offering +/- 8dB of boost or cut. 

The Wurm 2 presents these EQ options via a three-way toggle switch that allows you to run the unit with the original HM-2 style configuration, which has a fixed centre frequency for the H-Mids (High on the HM-2), or with the KMA EQ profile that allows you to adjust the H-Mids centre frequency via an internal trim pot. A third option lets you combine both traditional and KMA custom EQ profiles. 

KMA Machines Wurm 2

(Image credit: KMA Machines )

Indeed, each of the frequency bands is adjustable via internal trim pot. Straight from the factory the Highs are centred on 2 kHz, the H-Mids at 1.3 kHz, L-Mids at 425 Hz, and Lows at 90 Hz. 

These flexible EQ options are sure to come in handy when running a downtuned electric guitar through the Wurm 2. There is also an internal dip switch input filter to activate a high-cut and stop the unit oscillating when you have all the controls dimed. That's the sort of distortion we are dealing with – dime all the settings, dime your guitar amp, and play something extreme.

The original Boss HM-2 is one of the most hallowed distortion pedals of all time, and an integral part of the Swedish death metal sound pioneered by and popularised by bands such as Entombed. But it also found attracted some unlikely fans, finding its way onto the pedalboards of David Gilmour and Prince.

The Wurm 2 is available now priced £169 / $229. See KMA Machines for more details.

Jonathan Horsley has been writing about guitars and guitar culture since 2005, playing them since 1990, and regularly contributes to MusicRadar, Total Guitar and Guitar World. He uses Jazz III nylon picks, 10s during the week, 9s at the weekend, and shamefully still struggles with rhythm figure one of Van Halen’s Panama.