For metal. Just metal.
The Blademaster is a high-gain distortion pedal especially designed for metal. If distortion is blade, BladeMaster is the master born to manifest the blade to its ultimate. Normally, high-gain metal distortion delivers a fe...
For metal. Just metal.
The Blademaster is a high-gain distortion pedal especially designed for metal. If distortion is blade, BladeMaster is the master born to manifest the blade to its ultimate. Normally, high-gain metal distortion delivers a feeling of hallow out, with a dull and stiff tone, strictly matching some special amps, while BladeMaster offers a full tone similar to a high-gain tube amp. With three levels EQ and WOW clip (LFE), you could easily obtain your desired tone no matter ferocious riff or full metal solo, and the outstanding dynamic brings you authentic and sensitive feeling by each picking. BladeMaster will easily activate your amp to a roaring monster with ferocious distortion screaming. True bypass design.
Another unexpected buy. Rather than the bitey, tight sounding distortion I was hoping this to be, the Dr. J Blademaster is as sludgy, as fat and as filthy as a distortion could be without being a fuzz. In a good way, nonetheless, a blessing in disguise, but definitely not for the conventional.
The pedal is indeed very loud. The distortions are saturated and compressed, and could be difficult to adjust to your needs. This must have been an issue since the design stage, so three-band equalization knobs are added to shape your own wild wall of sound, particularly thin out unwanted screeches.
The first thing you would probably notice when engaging the blademaster is the omnipresent muddiness. It's just a generally muddy pedal, and it cannot be dialed out with the low knob. If you're a modern metal player aiming for a focused and defined sound......stay away from this pedal and screech away, as palm muting is nullified in any setting.
Doomy, sludgy metal players will find this pedal bliss. This pedal mashes notes together to form a gooey putrid mess, without clipping them so much that they thin out one another. I tend to play large chords and ring notes out one by one - in this context, the oozing notes build upon the last, saturating the passage with electrifying tension.
Then there's the "wow" switch. It takes mids away and back, suffering a considerable volume drop. I don't really find it necessary.