Stone Deaf unveils updated hybrid boost, drive and EQ pedal inspired by Josh Homme

(Image credit: Stone Deaf)

Stone Deaf's new limited edition hybrid guitar effects pedal, the PDF-1X, combines EQ and volume boost with a versatile gain stage that can add overdrive, distortion and fuzz to your signal.

The story of the PDF-1X's development goes back to September 2009, when Stone Deaf Effects & Amplification first started out of an obsession with effects pedals, and the idea to make an improved version of the Maestro MPF-1 pedal. A favourite of Josh Homme, the MPF-1 was designed by Bob Moog for Gibson in the 1970s and had a hugely expressive, wheel-driven EQ. 

Control-wise, the MPF-1 was wholly unorthodox. And so Stone Deaf debuted with the PDF-1, a pedal that packaged gain with a parametric EQ and active circuitry for adding an expression pedal to control its EQ sweep for wah/phase tones. Josh Homme got one. The PDF-2 followed. 

And now, a decade after forming, the PDF-1X sees the unit revised with quieter operation and a volume boost that can add 15dB to your signal (the PDF-1X's boost and cut sweep has a 40dB range so you can really hit the front end of your amp hard or take some of the heat out of your signal for quiet practice).

Other features reprised include the "set-and-forget" gain trim feature that let's you tune the clipping mode for overdrive, distortion or fuzz, and the parametric EQ and expression pedal functionality.

Parametric distortion filter? Hybrid distortion? Whatever you call the PDF-1X, if you add a Stone Deaf EP-1 expression pedal (£83.34) to this and you've got wah and phase tones, overdrive, distortion, fuzz, EQ and volume boost/cut all in one pedal.

But hurry. These are limited. The first 200 units come with assorted swag and are signed by McBess, the artist who painted the enclosure.

The price is £166.66 ($206, €189 approx) and can be ordered direct.

See Stone Deaf for more details.

Jonathan Horsley

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.

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