Unfortunately for me, those sound great. Now I want one even more than I did before.
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My Dirt Bender - Another Jounal
- Thread starter el murdoque
- Start date
Unfortunately for me, those sound great. Now I want one even more than I did before.
I'd be curious about an A/B with the OG Nobels and the Nordland.
Getting back to the three Disssid pedals I received, I want to emit some unsorted impressions I got from test-driving them.
When I had my first playing session with them, my knowledge about those pedals sums up as:
The Volt is a copy of the Dunwich Volt Thrower, with the two internal trim pots on the outside.
The Volt Thrower is a modified RAT circuit with additional bells and whistles.
The Leo is a copy of the Schumann Lion. I know nothing about the Schumann Lion.
The Dynamic Overdrive is a copy of the VFE Dragon Dynamic Overdrive. I know nothing about that one, either.
When I had my first playing session with them, my knowledge about those pedals sums up as:
The Volt is a copy of the Dunwich Volt Thrower, with the two internal trim pots on the outside.
The Volt Thrower is a modified RAT circuit with additional bells and whistles.
The Leo is a copy of the Schumann Lion. I know nothing about the Schumann Lion.
The Dynamic Overdrive is a copy of the VFE Dragon Dynamic Overdrive. I know nothing about that one, either.
I don’t think I’ve really played an ODR-1 that didn’t sound good! They just have different grain textures, feel and flexibility, and everyone tunes the bass a little differently. If you can find the ODR-C with the Thrutone mod it’s worth every penny! Sounded even better to my ear than the clips provided. Besides what I have now the Buckarti Boo and Vemuram Shanks were also up there for me, I don’t have a Shanks demo but I did do one for the Buckarti Boo:
1. The Disssid Leo / Schumann Lion:
The Leo has three knobs and that seems pretty much straightforward, so I plugged into this one first.
Little did I know how confusing that pedal is.
First thing: It passes signal with every knob at zero. It's weaker than unity, but nonetheless, passing signal.
Second thing: The volume reserves it holds on tap easily compare to federal reserves of a large country - or the amount of water sitting behind the Hoover Dam. Was this thing made by the preamp tube conspiracy with the sole purpose of making people pop their 12AX7's in their guitar amps because they tested the pedal with the level at noon? It might be worth to investigate that. It's not loud, it's LOUD!!.
Trying to determine what everything does is not as easy as its innocent looks would suggest. Everything is a boost. The boost knob boosts your signal pre gain, also by a large amount. The boost does not work independent from the drive, when the drive is off, hitting boost does nothing.
The clean knob boosts your clean signal. The drive knob boosts the amount of gain you're getting. With the boost foot switch active and gain at zero, you already have breakup. the level controls the amount of driven signal, I think. So there is interplay between drive and level, as one would expect it, but the clean knob is an entity of its own.
In terms of how confusing a three knob two footswitch pedal can get, it's right up there with the Fuzzrocious Dark Driving I tested a few pages back, although the Dark Driving is in a completely different realm of weirdness.
However, I did play around with knob positions and the only thing worth noting is that in my setup, you get a very low gain sound with the boost off, and a rather high gain with the boost on. I feel this pedal might be not too great on its own, but very nice for driving something down the line - so I unplugged it for now with the intention of hooking it up drive a tube preamp further down the line.
The Leo has three knobs and that seems pretty much straightforward, so I plugged into this one first.
Little did I know how confusing that pedal is.
First thing: It passes signal with every knob at zero. It's weaker than unity, but nonetheless, passing signal.
Second thing: The volume reserves it holds on tap easily compare to federal reserves of a large country - or the amount of water sitting behind the Hoover Dam. Was this thing made by the preamp tube conspiracy with the sole purpose of making people pop their 12AX7's in their guitar amps because they tested the pedal with the level at noon? It might be worth to investigate that. It's not loud, it's LOUD!!.
Trying to determine what everything does is not as easy as its innocent looks would suggest. Everything is a boost. The boost knob boosts your signal pre gain, also by a large amount. The boost does not work independent from the drive, when the drive is off, hitting boost does nothing.
The clean knob boosts your clean signal. The drive knob boosts the amount of gain you're getting. With the boost foot switch active and gain at zero, you already have breakup. the level controls the amount of driven signal, I think. So there is interplay between drive and level, as one would expect it, but the clean knob is an entity of its own.
In terms of how confusing a three knob two footswitch pedal can get, it's right up there with the Fuzzrocious Dark Driving I tested a few pages back, although the Dark Driving is in a completely different realm of weirdness.
However, I did play around with knob positions and the only thing worth noting is that in my setup, you get a very low gain sound with the boost off, and a rather high gain with the boost on. I feel this pedal might be not too great on its own, but very nice for driving something down the line - so I unplugged it for now with the intention of hooking it up drive a tube preamp further down the line.
Moving on to the Dynamic Drive.
So, what's odd here? The groundbreaking idea should be that this pedal does not come with an EQ. It comes with HPF and LPF.
My mind instantly starts wondering about how those filters are applied. I'm thinking about how the Blueberry or the Bogner Wessex use knobs to determine how much low frequency content is introduced to the clipping stage while the rest passes by unclipped, allowing for a hefty low end, should you so desire.
However, no such elegance from the Dynamic Drive. The HPF and LFF filter ... everything. Since the HPF goes up to 2kHz (at least the print on the enclosure suggests that) and the LPF goes down to 300Hz, there's enough overlap to completely filter everything.
Set the HPF to its highest frequency and the LPF to its lowest and you've successfully strangled your signal completely. There is nothing coming through at all. At first glance, this seems a bit underwhelming. Just two filters on top of the drive? What to do with that?
This whole concept works surprisingly well. You can set the gain a little higher and kill the sizzle with the LPF.
You can absolutely starve off a little bit down low for a solid drive sound.
My guess would be that on guitar, this is even more valuable, since you can either use a Strat and take off some top end or use a Les Paul and cut off a fair bit of the lows, so you can make a humbucker sound more like a single coil and vice versa.
However, the drive is done well. Where I felt a bit uninspired by the Leo, thinking "Okay, now I have a single overdrive sound and now what?" I feel that the Dynamic Drive is aptly named. This pedal does not only sound dynamic, it also feels dynamic. The texture of the drive feels nice and sounds quite organic. There is a lot to like. And as I said - in the first five minutes of playing, I left the high pass alone, because why would I want to cut bass, but for some tones, it's actually not that bad to raise the knob slightly to get rid of some of the mud.
This pedal has two more controls. A switch labeled boost - which does not really do a boost of any kind I can detect. It is, in fact, the switch that does determine how steep the filters are - 6dB/oct or 12. I needed to ask that information - I'd never have figured that out by ears and testing alone.
Then there's the knob labeled "Clip" that is not present on the VFE Dragon pedals I saw. I do assume that this is some bias knob that lets you go from asymmetric to symmetric clipping, but for the time being, I left it alone: It's one of those knobs where I can detect a clear sweet spot turn it all the way to one side, and it's bad. Then turn it towards the other side and it gets better, until it gets worse again. I do note the spot then repeat the whole thing from the other end - arriving at the same spot. It set the knob there and left it for now.
Arriving at something of a working balance of gain and low pass filter, I find that my mind is drifting off while I'm noodling around.
This pedal is fun to play and I'm enjoying myself - which is a good sign.
So much for a first impression. I feel like going back to the Leo will feel a bit like work, while this one has more to offer.
Given that both pedals don't really come with EQ, and there is only one flavor to the centerpiece, the clipping stage, I feel like the first impression counts here.
When you like the way the clipping sounds and feels, it's a win and when you don't, it's gonna be tough.
So, what's odd here? The groundbreaking idea should be that this pedal does not come with an EQ. It comes with HPF and LPF.
My mind instantly starts wondering about how those filters are applied. I'm thinking about how the Blueberry or the Bogner Wessex use knobs to determine how much low frequency content is introduced to the clipping stage while the rest passes by unclipped, allowing for a hefty low end, should you so desire.
However, no such elegance from the Dynamic Drive. The HPF and LFF filter ... everything. Since the HPF goes up to 2kHz (at least the print on the enclosure suggests that) and the LPF goes down to 300Hz, there's enough overlap to completely filter everything.
Set the HPF to its highest frequency and the LPF to its lowest and you've successfully strangled your signal completely. There is nothing coming through at all. At first glance, this seems a bit underwhelming. Just two filters on top of the drive? What to do with that?
This whole concept works surprisingly well. You can set the gain a little higher and kill the sizzle with the LPF.
You can absolutely starve off a little bit down low for a solid drive sound.
My guess would be that on guitar, this is even more valuable, since you can either use a Strat and take off some top end or use a Les Paul and cut off a fair bit of the lows, so you can make a humbucker sound more like a single coil and vice versa.
However, the drive is done well. Where I felt a bit uninspired by the Leo, thinking "Okay, now I have a single overdrive sound and now what?" I feel that the Dynamic Drive is aptly named. This pedal does not only sound dynamic, it also feels dynamic. The texture of the drive feels nice and sounds quite organic. There is a lot to like. And as I said - in the first five minutes of playing, I left the high pass alone, because why would I want to cut bass, but for some tones, it's actually not that bad to raise the knob slightly to get rid of some of the mud.
This pedal has two more controls. A switch labeled boost - which does not really do a boost of any kind I can detect. It is, in fact, the switch that does determine how steep the filters are - 6dB/oct or 12. I needed to ask that information - I'd never have figured that out by ears and testing alone.
Then there's the knob labeled "Clip" that is not present on the VFE Dragon pedals I saw. I do assume that this is some bias knob that lets you go from asymmetric to symmetric clipping, but for the time being, I left it alone: It's one of those knobs where I can detect a clear sweet spot turn it all the way to one side, and it's bad. Then turn it towards the other side and it gets better, until it gets worse again. I do note the spot then repeat the whole thing from the other end - arriving at the same spot. It set the knob there and left it for now.
Arriving at something of a working balance of gain and low pass filter, I find that my mind is drifting off while I'm noodling around.
This pedal is fun to play and I'm enjoying myself - which is a good sign.
So much for a first impression. I feel like going back to the Leo will feel a bit like work, while this one has more to offer.
Given that both pedals don't really come with EQ, and there is only one flavor to the centerpiece, the clipping stage, I feel like the first impression counts here.
When you like the way the clipping sounds and feels, it's a win and when you don't, it's gonna be tough.
...and then, there is the Volt.
I've already written a bit about it, so forgive me should I repeat myself, but I feel like offering my first thoughts on these three is the right thing to do for the sake of completeness.
I kept that for last because it is the most interesting pedal - at least for me - and also the only one I know a little bit about. I researched a bit about older distortion circuits and got the MXR Distortion+, the DOD250 and the ProCo RAT a while back.
The special deal about the RAT is that it not only runs on silicone clipping diodes, but that it also overdrives the OPamp. In the old RATS, LM308 chips were used, the newer ones run on OP07 chips that are identical in every single way, except for the fact that a RAT with LM308 chip is worth a lot more than one with OP07. However, the Dunwich Volt Thrower has not only one, but two of those chips in some configuration that seems to be friendlier for the low end, and they did away with the single knob filter and put in an active two band EQ instead. Disssa goes one step further and the Volt has two more knobs on the top, which were supposedly hidden on the inside of the Volt Thrower. Apart from that, there are multiple clipping diodes to choose from with a 6 way rotary switch.
The Volt offers a selection of:
1. LED + Silicone
2. LED
3. Silicone symmetrical
4. Silicone asymmetrical
5. Germanium
6. Just the LM308
To get the terminology straight, I will call the upper EQ knobs, those between the gain and master the first EQ and the lower ones that sit right and left of the diode selector the second EQ. In terms of signal flow, that is incorrect, because the second EQ sits somewhere in the middle while the first EQ is post clipping, but I already posted the graphs (where I mislabeled the second EQ as "Filter") and you can see that the first EQ's knob positions are responsible for rather drastic tonal changes while the second EQ is much more subtle.
The second EQ does somewhat influence the nature of the clipping without too much shaping of sound otherwise, but it does make sense having these knobs on the top instead of on the inside.
One thing I learned about the RAT early on is that it is somehow capable of delivering a low gain sound, but that sound somehow does not feel right.
My best description would be it feels like driving a Ferrari in a zone where you're only allowed to do 30. It is possible, but the car wants more rpm to feel happy. That's how low gain RAT playing sounds and feels for me. At higher gain, the RAT is quite the mean beast, delivering a distortion that I feel is well described as cutting - and at super high gain, the RAT drifts of into synthetic sounds. AFAIK, the RAT is also quite popular in the synth community.
But el_murdoque, you cry. Is the Volt a RAT or why are you writing about the RAT all the time?
I've mentioned earlier that the Volt Thrower is based on the RAT, but there have been quite a lot of changes, too.
I'm on the fence about even calling this a modified RAT, because it has some vibe of its own.
First of all, it is a great low gain pedal, if you are into low gain hard clipping. There is a special vibe to that, like the German mineral water with a lot of gas, the stuff that hurts your throat when swallowing.
This often is that sound that has not too much dynamic range and a tendency to hide wherever it can in a mix, so that's not exactly a tone I'm gunning for, but the Volt is one of the few pedals I've encountered that makes it work in a way that's pleasant to the ear.
Running the Pedal with my low output passive bass and worn flats, I get a surprisingly low gain result. I can max the gain easily and in most of the settings, I feel like a little more would do just fine.
As I'm writing this, I'm thinking "Maybe it would be cool to hit the Volt with some kind of booster pedal. Do I have something at hand that offers a bit of range in that regard?" And I guess this is where the circle closes!
Gotta go, to get the Leo in the chain!
I've already written a bit about it, so forgive me should I repeat myself, but I feel like offering my first thoughts on these three is the right thing to do for the sake of completeness.
I kept that for last because it is the most interesting pedal - at least for me - and also the only one I know a little bit about. I researched a bit about older distortion circuits and got the MXR Distortion+, the DOD250 and the ProCo RAT a while back.
The special deal about the RAT is that it not only runs on silicone clipping diodes, but that it also overdrives the OPamp. In the old RATS, LM308 chips were used, the newer ones run on OP07 chips that are identical in every single way, except for the fact that a RAT with LM308 chip is worth a lot more than one with OP07. However, the Dunwich Volt Thrower has not only one, but two of those chips in some configuration that seems to be friendlier for the low end, and they did away with the single knob filter and put in an active two band EQ instead. Disssa goes one step further and the Volt has two more knobs on the top, which were supposedly hidden on the inside of the Volt Thrower. Apart from that, there are multiple clipping diodes to choose from with a 6 way rotary switch.
The Volt offers a selection of:
1. LED + Silicone
2. LED
3. Silicone symmetrical
4. Silicone asymmetrical
5. Germanium
6. Just the LM308
To get the terminology straight, I will call the upper EQ knobs, those between the gain and master the first EQ and the lower ones that sit right and left of the diode selector the second EQ. In terms of signal flow, that is incorrect, because the second EQ sits somewhere in the middle while the first EQ is post clipping, but I already posted the graphs (where I mislabeled the second EQ as "Filter") and you can see that the first EQ's knob positions are responsible for rather drastic tonal changes while the second EQ is much more subtle.
The second EQ does somewhat influence the nature of the clipping without too much shaping of sound otherwise, but it does make sense having these knobs on the top instead of on the inside.
One thing I learned about the RAT early on is that it is somehow capable of delivering a low gain sound, but that sound somehow does not feel right.
My best description would be it feels like driving a Ferrari in a zone where you're only allowed to do 30. It is possible, but the car wants more rpm to feel happy. That's how low gain RAT playing sounds and feels for me. At higher gain, the RAT is quite the mean beast, delivering a distortion that I feel is well described as cutting - and at super high gain, the RAT drifts of into synthetic sounds. AFAIK, the RAT is also quite popular in the synth community.
But el_murdoque, you cry. Is the Volt a RAT or why are you writing about the RAT all the time?
I've mentioned earlier that the Volt Thrower is based on the RAT, but there have been quite a lot of changes, too.
I'm on the fence about even calling this a modified RAT, because it has some vibe of its own.
First of all, it is a great low gain pedal, if you are into low gain hard clipping. There is a special vibe to that, like the German mineral water with a lot of gas, the stuff that hurts your throat when swallowing.
This often is that sound that has not too much dynamic range and a tendency to hide wherever it can in a mix, so that's not exactly a tone I'm gunning for, but the Volt is one of the few pedals I've encountered that makes it work in a way that's pleasant to the ear.
Running the Pedal with my low output passive bass and worn flats, I get a surprisingly low gain result. I can max the gain easily and in most of the settings, I feel like a little more would do just fine.
As I'm writing this, I'm thinking "Maybe it would be cool to hit the Volt with some kind of booster pedal. Do I have something at hand that offers a bit of range in that regard?" And I guess this is where the circle closes!
Gotta go, to get the Leo in the chain!
Weird observation:
Saying the Volt adds a certain amount of compression feels like understating it by a few orders of magnitude.
The Volt is an absolutely valid brickwall limiter. I ran it into a comp with metering, and noticed that the playing dynamics never raised the output beyond two of the lights on the comp lighting up. Then I hit it with the Leo, and suddenly, I had a massive high gain sound - and the comp showed two lights. I gave it all the Leo has on tap, which sounded a bit like completely overloading the Volt in some settings, but the comp down the line had two lights on, totally chill.
I clicked off the Volt and the Leo wreaked havoc. I got that unpleasant sound of circuits overdriving that are not meant to be overdriven, and the comp showed all the lights it got, while pleading me to stop.
Saying the Volt adds a certain amount of compression feels like understating it by a few orders of magnitude.
The Volt is an absolutely valid brickwall limiter. I ran it into a comp with metering, and noticed that the playing dynamics never raised the output beyond two of the lights on the comp lighting up. Then I hit it with the Leo, and suddenly, I had a massive high gain sound - and the comp showed two lights. I gave it all the Leo has on tap, which sounded a bit like completely overloading the Volt in some settings, but the comp down the line had two lights on, totally chill.
I clicked off the Volt and the Leo wreaked havoc. I got that unpleasant sound of circuits overdriving that are not meant to be overdriven, and the comp showed all the lights it got, while pleading me to stop.
@el murdoque how do you like Dissa’s Toolbox? It has a lot of features packed in a small enclosure. I think the tubedrve + toolbox would be perfect for my ‘clean’ tone
The Toolbox is, more or less, and as far as I can see it, a direct copy of the Broughton Messenger Jr.
Disclaimer:
I'm not really a fan of cloning pedals that are still in production. Making a pedal based on another, but adding your own idea to it is one thing, doing a 1:1 clone is another. When the cloned pedal is not in production any more, I do think it's fair game for anyone who can wield a soldering iron with the required precision.
With Broughton, this is a bit of a hairy situation, since they tend to move pedals to the archive, which means they are not in production any more, but sometimes, they bring one of them back in small batches, which also means they are not entirely out of production. However, at the time I was talking to Disssa, not knowing that he had the Toolbox in his portfolio, I asked him about a pedal that has a parametric mid EQ, HPF, LPF and DI out in a small form factor - because IMHO, that is the perfect end of chain pedal for a small setup. He then offered to build a Toolbox for me, and said that it's a copy of the Messenger Jr, only the switch that toggles the foot switch is on the inside.
I researched the Messenger Jr (and I had tried to get one for a while now) and at the time I ordered the Toolbox from Disssa, to my knowledge, the last drop of these has been in early 2024, with no drop in 2025 and none planned in the foreseeable future. I concluded that the Studio One, which does essentially the same thing has taken over that spot in the Broughton catalog and that the Messenger Jr seems to be retired for good, so I went with the pedal that I can have right now instead of the pedal that might or might not come some time in the future, but a possible drop is not even planned.
Here's my take on the Studio One vs. the Toolbox:
The main differences in my personal use case sum up as such:
-The Toolbox has a shelving lows EQ with a corner frequency of 80Hz, where the Studio One has 40Hz. I like 80 a lot more.
-The Toolbox has a weird behavior with the Foot Switch, because you can choose whether it mutes the signal or only takes the EQ and LPF out, leaving the gain and HPF on at all times. This makes it a bit difficult to balance the on/off state when you're using EQ for boost, because the gain knob is the only way to control the output on the 1/4" out. I don't mind any of that, because I use it always on.
-The Studio One has that red gain knob that is supposed to be a special kind of boost that brings some magic. To my ear, it's a normal gain knob that will give off some nasty, unwanted fizzle if you turn it up too high. I can't find the magic in there, so for me personally, there's no magic there
-The Toolbox takes up less space on a board, and since I use it on a Nano, that is a huge bonus.
Other than that, it's a very nice 'boring' pedal. It does a ton of utility, acting as a cab sim with the filters, and giving you some channel strip like EQ that works super efficient without much coloration. It is super straight and linear and every knob does exactly what it says with no surprises. There's no magic here, but an insane amount of utility. Tubedrve into Toolbox is a great combo, because it covers the whole lot. You get your EQ, your filters, your signal shaping and your magic tone sweetening and a DI out from two 1590 shaped boxes.
Disclaimer:
I'm not really a fan of cloning pedals that are still in production. Making a pedal based on another, but adding your own idea to it is one thing, doing a 1:1 clone is another. When the cloned pedal is not in production any more, I do think it's fair game for anyone who can wield a soldering iron with the required precision.
With Broughton, this is a bit of a hairy situation, since they tend to move pedals to the archive, which means they are not in production any more, but sometimes, they bring one of them back in small batches, which also means they are not entirely out of production. However, at the time I was talking to Disssa, not knowing that he had the Toolbox in his portfolio, I asked him about a pedal that has a parametric mid EQ, HPF, LPF and DI out in a small form factor - because IMHO, that is the perfect end of chain pedal for a small setup. He then offered to build a Toolbox for me, and said that it's a copy of the Messenger Jr, only the switch that toggles the foot switch is on the inside.
I researched the Messenger Jr (and I had tried to get one for a while now) and at the time I ordered the Toolbox from Disssa, to my knowledge, the last drop of these has been in early 2024, with no drop in 2025 and none planned in the foreseeable future. I concluded that the Studio One, which does essentially the same thing has taken over that spot in the Broughton catalog and that the Messenger Jr seems to be retired for good, so I went with the pedal that I can have right now instead of the pedal that might or might not come some time in the future, but a possible drop is not even planned.
Here's my take on the Studio One vs. the Toolbox:
The main differences in my personal use case sum up as such:
-The Toolbox has a shelving lows EQ with a corner frequency of 80Hz, where the Studio One has 40Hz. I like 80 a lot more.
-The Toolbox has a weird behavior with the Foot Switch, because you can choose whether it mutes the signal or only takes the EQ and LPF out, leaving the gain and HPF on at all times. This makes it a bit difficult to balance the on/off state when you're using EQ for boost, because the gain knob is the only way to control the output on the 1/4" out. I don't mind any of that, because I use it always on.
-The Studio One has that red gain knob that is supposed to be a special kind of boost that brings some magic. To my ear, it's a normal gain knob that will give off some nasty, unwanted fizzle if you turn it up too high. I can't find the magic in there, so for me personally, there's no magic there
-The Toolbox takes up less space on a board, and since I use it on a Nano, that is a huge bonus.
Other than that, it's a very nice 'boring' pedal. It does a ton of utility, acting as a cab sim with the filters, and giving you some channel strip like EQ that works super efficient without much coloration. It is super straight and linear and every knob does exactly what it says with no surprises. There's no magic here, but an insane amount of utility. Tubedrve into Toolbox is a great combo, because it covers the whole lot. You get your EQ, your filters, your signal shaping and your magic tone sweetening and a DI out from two 1590 shaped boxes.
I found no magic in the Studio ONE either. The trickfish Minnow was much nicer, better tuned and useful eq. I know you did not care for the minnow. But it’s better than the One, imho.
To me the S1 did nothing either. I got two „regular“ ones and a SBM to make sure I wasn‘t hallucinating.
I am a passive P player, maybe they are a better match to more trebly tones.
interesting read. Thanks for sharing your thoughts. It looks like I will have to buy a new tubedrve because it seems you quit like it?
That makes three of us. I do think that @Charlie Tuna came to the same conclusion, but might be hesitant to admit it in public ;-)
However, given the fact that that Broughton came out with the Studio Boost and later the Studio Boost Mini as standalone versions of that red gain knob, there seem to be more than enough people that not only hear a difference, but also like what they are hearing - and that it's not that nothing's there, it's just that it's not meant for us.
To my ear, console overdrive is a ghastly thing and to be avoided at all costs. I absolutely hated the drive I could coax from the Colourbox, and to this day, think that most of these "Neve" designs sound like they don't want to be driven at all.
The only exception would be the Bogner Wessex pedal, which has a Neve designed Transformer in it that sounds creamy.
Yes that's right. Watch out what you admit through private messages. None of your dirty little secrets are safe with me!
And costs less than something you'd put on your mantle.
Hey now! I did like the functionality of the Studio One, the color scheme (because that’s important, right?), and the sound. I didn’t think the Red Knob lived up to the hype but what could live up to such hype? After I tried the Fake Plastic Trees I put all my preamps on notice because that has th sound and more, feel, I was looking for. Super dynamic with a lot of versatility of sound due to the Gain knob that is the crème de la creme IMO.
Again, I liked the S1 and almost bought one again
for its utility especially when there was one under $250 in the classifieds. I held off because I didn’t need it. It’s a great pedal design and works well but studio console sound isn’t what I’m going for. I felt the same about the TF Minnow and DCx Bass, FWIW.
.... I think I see what you did there
