Summer NAMM 2018: Fender expands pedal range with Engager Boost, The Pelt Fuzz and Full Moon Distortion

SUMMER NAMM 2018: Fender has announced a trio of new additions to its pedal range: the Engager Boost, The Pelt Fuzz and Full Moon Distortion.

All three feature all-original circuits, while Fender reckons their unique feature sets make them stand out from the crowd.

These three land in stores on 5 September 2018 - we have high hopes, given the mighty fine tones available from Fender’s six launch pedals. Here's the skinny…

Engager Boost



PRESS RELEASE: The Engager Boost provides players with more volume (20 decibels of boost) for fatter tone, making it the ideal clean boost pedal.

The adjustable, onboard 3-band EQ shapes tone to cut through a mix, while the Frequency switch lets players select the middle frequency range, ideal for shaping tone precisely.

The Engager Boost features a FET input buffer and is also perfect for boosting a signal into a tube amplifier’s preamp. True and buffered bypass modes ensure this pedal plays nicely in any setting.

The Pelt Fuzz



PRESS RELEASE: All the familiar controls are there: Level, Fuzz and Tone, along with a Bloom control to shape the contours of a player’s sound.

The Mid switch lets players boost or cut the midrange for even more voicing options, while the Thick switch adds some girth.

With the ability to be placed anywhere on the signal chain, this silicon-based stompbox provides added tonal flexibility.

Full Moon Distortion



PRESS RELEASE: Packed with brutal, high-gain tone, three-band EQ, a high-treble filter and sound-shaping options galore, the Full Moon Distortion pedal has everything you need to unleash sonic mayhem.

Both symmetrical and asymmetrical clipping modes are lurking under the Texture switch, while the Bite switch shifts the upper mid-range and harmonics to bring out pick attack, letting players cut and chug through the mix with ease.

Also included is a separate footswitch boost.

Michael Astley-Brown

Mike is Editor-in-Chief of, in addition to being an offset fiend and recovering pedal addict. He has a master's degree in journalism, and has spent the past decade writing and editing for guitar publications including MusicRadar, Total Guitar and Guitarist, as well as a decade-and-a-half performing in bands of variable genre (and quality). In his free time, you'll find him making progressive instrumental rock under the nom de plume Maebe.

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