Baldwin Burns Buzzaround

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Page last updated Mar 26, 2026

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Experience the vintage charm of the Baldwin Burns Buzzaround, a fuzz effects pedal that has captured the imagination of musicians since the late 1960s. Known for its distinctive and aggressive fuzz tone, this pedal is a staple for those seeking to recreate classic rock and psychedelic sounds. The Buzzaround stands out with its all-analog circuitry, delivering a warm, powerful fuzz that can be both smooth and biting.

Inspired by the original designs from the Burns company, this pedal offers an authentic sonic experience with a modern twist. Three interactive control knobs—Balance, Timbre, and Sustain—allow players to sculpt their sound to perfection. The Balance knob adjusts the output level, while the Timbre knob shapes the tone, providing a range from deep, rich lows to cutting highs. Sustain controls the amount of fuzz, giving you everything from subtle grit to full-on distortion.

Crafted with quality components, the Buzzaround is housed in a durable casing designed to withstand the rigors of live performance and practice sessions alike. Whether you're a collector of vintage sounds or a modern musician looking to add a unique flavor to your pedalboard, the Baldwin Burns Buzzaround is a versatile choice.

Key Features:

Vintage-inspired fuzz effects pedal
All-analog circuitry for authentic sound
Three interactive control knobs: Balance, Timbre, Sustain
Durable and robust construction
Suitable for classic rock and psychedelic tones

Product specs

Analog/Digital

analog

Videos

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blondegraemey

Baldwin Burns Buzzaround Fuzz

blondegraemey

Baldwin Burns Buzzaround

OfficialHankIII

The Baldwin Buzz: What Does the World's Most Expensive Fuzz Pedal Sound Like?

Happy Mag

Baldwin Burns Buzzaround

pinstripedclips

BUZZAROUND & ES-330！Fuzz Tone！

SonicGeek Leo

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3.0 out of 5

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jimmarchi1

40997

over 7 years ago

zang!

a rebranded sola tonebender mk 3.... just as excellent.... at the time I got this the burns was lesser known and more affordable. Tonebenders were getting pricey but my burns cost me about $100. These have a great , big muff sort of tone control that interacts in interesting ways with the germanium transistors. I used this guy and my MJM brit-benders pretty extensively when I was in UYB... that record is dripping in buzzaround tones. My 3 knob brit bender had the same vibe as this guy, but having slightly different transistors it had its own voice. This circuit is pretty sensitive to the semi-conductors in it. Just like the Professional Mk2, Vox and even fuzz face you can own a lot of these that all sound different, even from the audience point of view. I sued to select my fuzzes based on what guitars I felt like playing on any given night.

Roles:

Guitarist Bassist Keyboardist

Genres:

Electronic Orchestra Alternative rock

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Robert Fripp

Guitarist, Keyboardist

King Crimson

Verified via Elephant-talk

Two are mentioned in this May 1974 Guitar Player interview, transcribed to the Elephant Talk wiki on November 11, 1997.

What type of volume pedal is it?

It's the cheapest one I found, and the only one I could afford at the time that seemed any good. I think it's a Farfisa [by C.M.I.] pedal. It's still the finest volume pedal I've found anywhere. It's the only one that goes off and still has a wide movement. It's quite incredible. On stage I use three pedals on a pedal board: A volume pedal, fuzz-tone, and wah-wah. The fuzz-tone and wah-wah are pretty rubbishy. I'm not sure what type of wah-wah it is. The best fuzz-box to use is a Burn's Buzz-around which they discontinued making in England about six years ago. I have two of them, but they're not at the moment attached to my pedal board. The more pedals you go through, the longer leads you need, and in turn the less volume you get. You lose gain along the way. To lessen that, the wah-wah and the fuzz are on the knock-off circuit. In other words, when I'm playing, all the time I'm going through the volume, but when I'm using either fuzz or wah-wah, I knock a different pedal which brings in a different circuit for the fuzz and the wah-wah. When I'm not using them I press a button and knock them out of the circuit so that the circuit shortens, and I keep up my gain. I also use a Watkins Kopy Kat echo unit. It's all right, but it's not particularly good. It suffices for what I want, which is not really a lot of echo effects but just a slight edge, because the sound on stage is very dead in a lot of halls I play in. It really doesn't matter what kind of fuzz box you use. It has more to do with the state of mind.

But if somebody wanted to obtain the same sound you got, wouldn't it be important to know what type of fuzz you were using?

No. I can get that same sound with every kind of fuzz box I've ever used. It's not a question of equipment.

Phil Miller

Guitarist

National Health

Verified via YouTube

In the video of Hatfield and the North's 1973 performance in France, at the 2:53 mark, guitarist Phil Miller can be seen using a Baldwin Burns Buzzaround fuzz box. This is identifiable by the unique enclosure style and the three knobs located on the far side of the pedal. The Buzzaround shares a similar circuit topology with the Tonebender MK. II.