Today, Warm Audio and Dirty Boy Pedals bring three hard-to-find boutique circuits into a more practical pedalboard format with the Warm Audio x Dirty Boy Jr. Booster, Warm Audio x Dirty Boy Jr. Fuzz, and Warm Audio x Dirty Boy Jr. Overdrive. Developed in direct partnership with Dirty Boy owner Danny Gomez Jr., each pedal is based on an authentic Dirty Boy circuit and built to put that character in front of more players. These three compact pedals bring original Dirty Boy circuits into pedalboard-friendly Jr. formats, with each design developed in direct partnership with Dirty Boy owner Danny Gomez Jr.
Dirty Boy Tone In A More Practical Format
Dirty Boy Pedals has had a loyal following since the 1980s, starting with one-off builds by Alex Saraceno for his son, Blues Saraceno. The brand later became associated with players including John Frusciante, Neal Schon, Dweezil Zappa, Tom DeLonge, Mark Lettieri, and other serious guitarists who wanted characterful analog circuits with a boutique feel.
This new Warm Audio collaboration is not about making generic drive pedals with Dirty Boy-inspired styling. The Dirty Boy Jr. Booster, Jr. Fuzz, and Jr. Overdrive are based on authentic Dirty Boy circuits and approved through the collaboration, giving players a more accessible way to get into these sounds without chasing scarce original units.
Dirty Boy Jr. Booster
The Dirty Boy Jr. Booster is based on the Dirty Boy Ball Buster circuit and is built as a high-headroom boost that can do more than simply raise level. With up to 10 dB of clean boost, it can push an amp from clean reinforcement into edge-of-breakup drive, then into richer compression and more aggressive textures as the gain comes up.
The control set is simple, but it gives useful range. Gain sets the amount of boost and drive. Treble and Bass allow direct EQ adjustment, while the H-M-L Freq switch changes the low-frequency response before the gain stage. That matters on a real pedalboard, especially when switching between bright single-coils, heavier humbuckers, clean amps, and already-driven British-style amp tones.
Used early in the chain, the Jr. Booster can tighten or thicken the guitar before it hits other pedals. Used into an amp that is already working, it can add sustain and bite without losing the feel of the instrument. It is a practical choice for players who want a boost pedal that can handle clean lift, tone shaping, and amp-driving duties from one compact box.
Dirty Boy Jr. Fuzz
The Dirty Boy Jr. Fuzz takes the Dirty Boy Afro Fuzz circuit and puts it into the same compact Jr. format. It is a vintage-style fuzz designed for sustain, harmonic saturation, dynamic cleanup, and a wide range of frequency response thanks to its six-position Freq selector.
The main controls are Volume and Fuzz, which will feel familiar to anyone who has spent time with classic fuzz circuits. The difference is the six-position frequency selector, which changes the overall voicing of the circuit. It can move from thick, low-end-heavy fuzz to sharper, more cutting sounds that sit forward in a mix.
That extra frequency control makes the Jr. Fuzz easier to place in different rigs. Some fuzz pedals are extremely sensitive to guitars, pickups, amps, and pedal order. This one gives players more room to tune the low end and attack, which is useful for saturated leads, cleaner volume-knob cleanup, and stacked psychedelic textures with modulation.
Dirty Boy Jr. Overdrive
The Dirty Boy Jr. Overdrive is based on the Dirty Boy Preamp circuit and is the most studio-oriented pedal of the three. It functions as an overdrive, preamp, and all-analog amp simulator, using Dirty Boy’s proprietary T.A.E. technology developed by Danny Gomez.
The pedal includes Gain, Tone, Volume, and Variac controls. Gain and Volume handle drive structure and output level, while Tone shapes the overall brightness. The Variac control is especially important because it introduces sag and compression through calibrated voltage reduction, giving the pedal a more tube-like response as it moves into breakup and more compressed textures.
The Jr. Overdrive also includes both a preamp output and a speaker-emulated output. The speaker-emulated line output is voiced after a closed-back 4x12 Greenback-style cabinet, making it useful for going direct to an interface, mixer, front of house system, or FRFR speaker. For players who need a compact analog drive pedal that can also serve as a direct recording or live backup solution, this is the one to look at first.
Shared Design Details
All three pedals use true bypass operation, all-analog circuitry, standard 9V center-negative power, metal enclosures, and compact Jr. dimensions of 4.8 x 2 x 2.6 inches. Each model is hand-tested in Austin, Texas.
The lineup is also clearly split by purpose. The Jr. Booster is for shaping and pushing your signal. The Jr. Fuzz is for saturated vintage-style fuzz with better frequency control. The Jr. Overdrive is for amp-like drive, preamp use, and direct analog amp simulation. Together, they cover three common drive needs without making the controls feel complicated.
Which One Fits Your Rig
The Jr. Booster is the most direct choice for pushing a good amp harder. It can stay relatively clean for level lift and EQ correction, or it can add compression and grit when the gain is pushed. It is the utility pedal of the three, but with enough character to feel like part of the tone rather than just a volume bump.
The Jr. Fuzz is for players who want saturation, sustain, and a more vocal response from the guitar. Its six-position Freq control makes it easier to match the fuzz to different pickups and amps, from thicker low-end-heavy sounds to sharper lead tones that cut through a dense track.
The Jr. Overdrive covers the widest range of studio and stage situations. It works as a standard drive into an amp, but its preamp design and speaker-emulated output make it especially useful for direct recording, fly rigs, and backup setups where an all-analog amp-style signal path is useful.
A Strong Three-Pedal Release
This is a smart collaboration because it keeps the identity of Dirty Boy circuits intact while putting them into a more practical production format. None of these pedals tries to cover everything. Each one has a clear job, and each one brings a specific piece of the Dirty Boy catalog into a compact Warm Audio build.
The Booster and Fuzz are straightforward analog tools for shaping the front of an amp, while the Overdrive adds a direct-friendly option that can work in the studio, on stage, or as a compact backup rig.
Grab yours today.