OK, for those of you wondering about this pedal, here's my thoughts... To start with, here's my background: I play every Fri/Sat with a country cover band, in a range of venues from small bars to casinos. We have a female vocalist, male vocalist/acoustic, electric, bass, and drums. My gear: Warwick Corvette 5 $$ into a VT deluxe, Carvin Bx500, and Acme B2 (or B1500/B4). What I was hoping for from this pedal: A useful, musical way to add some heft to the mix when the electric guitar kicks over to lead. An acoustic doesn't fill that hole. I needed the pedal to add a decent lightly overdriven chord that would sit in the mix and add some chunk to the occasional drive chorus. I was hoping the pedal would be very useful on Jason Aldean/Brantley Gilbert type stuff. I also hoped that the clean tone would be usable to allow more use on less-crunchy songs. I also needed it to not require extra setup, mixer channels, or other gear to sound decent. What I got from this pedal: First impression out of the box was good. Very well-built, solid, and smooth pots. Seemed up to the rigors of regular gigging. Plugged in and lost that good impression. TONE: There's a reason that the online videos only show heavy overdrive tones. The clean is terrible. And a slight twist of the knob brings you into heavier drive than I could use in my setting. The pedal gets very quickly into major crunch if that works for your genre, you'll be fine, but if you're into subtlety you'll not find it. The overdriven tone itself is really poor. I knew this going in, but I didn't think it would be that bad. It was First Act pedal bad. Solid State, Gorilla practice amp bad. When run through the Mix out into the bass amp, I was not happy with the separation of the 2 tones I felt that the crunch wiped out any clean mids/highs, resulting in a driven bass tone along with the effect. That might work for some bands but for country, I needed clear deep bass with distinct separation. And I didn't care for the drive through the bass amp. I then tried 2 other setups using the Effect Out. I tried running the effect only to both my Bogner Alchemist 2x12, and direct to my mixer/pa channel. With both setups, I tried other OD's 2 Way Huge pedals, a Pork Loin and a Green Rhino. The guitar amp got the best results. Running into the Green Rhino to the Alchemist clean channel was the best tone I could wring out. The Pork Loin needed a better clean tone to add the light fuzzy clarity it does well, and at heavier drive got too fuzz-muddy. The Green Rhino is a great match for this pedal. It has great tone, but most importantly you can roll off below 100 hz. This carves out space in the drive for the clean bass tone to sit underneath and keep its own sound in the mixture. This is, IMO, as good as you're likely to get for an OD to pair with the Fission. It did occur to me that the thin, buzzy tone that the stock OD has could have been Fishman's attempt at the same effect- a tone that could sit above the bass in a mix. The best tone I could come up with, by itself, sounded like a cheap solid state Crate amp. That said, I could see it, used sparingly, sitting in a stage mix without taking up too much sonic space. It won't stand alone and would probably be best covered by another guitar which defeats the purpose... Tonally, this pedal will work if you are in a band using major crunch most of the time. For the right niche, it could be functional but not fantastic. I was intrigued by the idea of running the Effect out to an Acoustic Simulator pedal, but didn't have one handy to test that may just do some good things for the clean tone. Would be worth some exploration. PLAYABILITY This is where the pedal fails the most. There's no good way to use it sparingly. It doesn't kick in and out subtly, and when it is on, it doubles EVERYTHING you play. That's fine if you're playing whole notes or quarters, but if you are playing a moving line through the key, it replicates every little move in Crate-tone powerchords. This doesn't work especially in country music, with the walking and moving basslines. I really could only come up with 2-3 songs, at most, in our 5-hour set that would have a real home for this tone. Another type of band might find more use for it. EASE OF USE So, in order to get that almost-acceptable tone in a live setting, I would have to bring a guitar amp, a mic for the cab, and another pedalboard, and all of the associated cables. I'd need another channel on the mixer. And I'd have to schlep all of that in addition to my rig. All of that is just not worth it for a few songs. And the cost... for those few songs, a Fission + a Green Rhino + an amp & mic, or a modeler to go direct... just too mich. Hire a decent guitarist for a few months instead, and get the better-paying gigs with your full new sound. In summary: If what you are looking for is a poorly-skilled powerchord-only backup guitarist with a crappy Crate solid-state guitar amp and an uncanny ability to mimic your every single note, regardless of what's best for the song... this is your pedal. I really wanted to like this pedal. I even kept it after requesting an RMA return ticket, just to wait a few days and give it another shot. I just couldn't make it be musical. It's a brilliant idea with some fatal flaws, in my opinion. WHAT IT SHOULD HAVE HAD: Listen up, Fishman. Here's what you need to do this effect right: 1)A momentary switch to engage when held down, and disengage when released. 2)A Hold feature: when you hit the initial note in a measure, stomp down and hold and it will maintain that chord while the bass is free to move independently. This would be a HUGE leap in usefulness for the pedal. As it stands, there is no way for the bass player to use the pedal in a way that doesn't neglect the bass role either through lead-guitar-noodling that abdicates the bass role, or through oversimplification of the bass part to humor the pedal effect. A hold feature would allow both roles to work independently. It's the only way I can see that the bass can still fill its role, independent of the crunch effect. 3)Decent clean tone. Not even asking for 'good' here. Just acceptable. 4)Lose the 4th below. Worthless. 5)Allow any/all combinations of octave up, 5th, and 2 octave up. 6)Did I mention a hold feature? 7)100 hz roll-off on the effect, like on the Green Rhino an adjustable pot. Critical for tone separation. 8)Oh, and a 'hold' feature. So, there you go mine is off to be returned to Zzounds. Wish I could have loved it. For the right band, it could be handy but it demands a very narrowly-defined sonic niche, it requires too much extraneous gear, and it requires some degree of abdication of the bassist's role.