dlammey

It didn't take long to dial in a great sound. I struggled with the Eric Johnson fuzz not cutting through in a mix, but this has the right frequencies for me and I got to play it in a live scenario and was very pleased! Mini fuzzes are a blessing, with the 9v plugin and compact size, this is the only way to fuzz now days. I run the compressor after and paired with a DOD Looking Glass (matching chrome) I get a smooth sustaining lead tone.

The octave becomes more apparent when you play higher notes or especially 12th fret or higher. This means you're able to play chords still and not have to turn it off to go from rhythm to lead. Now if you hit a chord hard you can hear it almost break up and do some cool, almost synth sounding stuff. Two note chords sound great with this especially root note and 4th together and do some tight percussive riffs. Naturally it's not a clean octave but that's the cool factor about it. I run it before my Fuzz Face and they are a match made in heaven. Love this pedal.

It offers the essential notes and octaves that can be used to really compliment your playing. it helps to understand that certain notes in the scale you're playing get off when you shift to say, 4th or 7th up. you just have to understand where you're at. to be safe come back to the root note and let it rip! I love the 5th notes especially. The main three notes in a triad can be raised to the 5th and sound very pleasing. Very Joe Satch. I mention all this because it's easy to just use it for octaves and miss out on using it as an extension of your playing. Now the main reason you'll own this is to octave 1 or 2 up, and it sounds fantastic! you'll find yourself keeping the shift and return to a minimum but if you study the knob positions and relate it to your tempo, the slow shift is very smooth and rewarding to watch the lights as you hear you guitar sore. A cool thing I didn't know it did was flip engaged and disengaged. Start at momentary "Off" and turn it on to your pitch you want, then set it to Momentary "On" and you'll stay shifted and momentary will be to shift into your original pitch. Stuff like that lets you know they programmed it backwards and forwards to be pretty seamless. Now I'll keep the 5 star rating because it's digital and it's not necessarily it's fault but it didn't take fuzz well. I have a Fuzz face after the Ricochet and tried to get a octave fuzz sound and it didn't pull it off. I understand you need an analog octave for that, not a big deal. Another note is the Return part of the stack knob had a rough/sticky spot where it struggled to turn smoothly. This is probably just a small hiccup, but it was a little disappointing. Ricochet is a winner! Buy it. It's a fun pedal.

It takes up a lot of space but it's beefy enough to lay it on the ground next to your pedalboard and still feel sturdy. The expression feature works great and I imagine adjusting the tension would help for octave-up-like pedals. Super modern looking compared to, say an Ernie Ball. Note: If you use it for expression make sure the "Minimum" knob on the side is all the way off. You'll wonder why your Pitchfork didn't go from octave to octave.

This compressor is not on anyone's radar but it should be. I thought I needed a compressor with a Blend, but this is better than that, it's very transparent. I used to tweak compressors to a point of madness but this just does what I expect in the dynamic side and leaves what I liked before I turned it on. The input is nice for accommodating for different pickup outputs and Squish can be all the way off unless you want to play country riffs. It would be nice to incorporate an Attack/Release knob, as I think it might sound sloppy for most people when you raise the Squish up. (Toadworks describes it as Tight Attack and Slow Release) I'm not a compression expert but I know I'd be oblivious If I gave it 5 stars. Still a solid pedal!

This is a subtle EQ, which is nice because some EQ sounds nasty until you dial it in. Turn the Volume up to get a little grit, but I use the Volume to send a perfect level into the next pedal. In fact it does wonders for my Eric Johnson Fuzz in cleaning it up. Give an okay amp some Mid range warmth and use the toggle switch to pick three different amp-like sounds that are all very usable. In fact they each make you want to play differently, it's not just a color added to your sound. This is the first pedal in my chain because the EQ is more apparent that way. I'll always have this on my board!

I chose the Boing over a local boutique reverb, because it was clear in the high-frequencies and the sound just popped and brought a quality I can imagine Fender amp lovers...well love. I do recall a bit of volume loss but I run it after my Belle Epoch and the BE brought back the volume.

This is considered an amp-in-a-box. It is dynamic to your playing the way an amp would compress to your playing. Without the Snarl switch I'd be fine with the low gain sound but it really cranks! Make sure to have Volume as high as you can go and adjust Gain to get the right volume. I believe it adds more of the color of the pedal and the chunky notes sound fuller. I traded a $300-400 Tiny Terror for this and never really regretted it because it's a good pedal. As of now you can find it for a hundred bucks, buy it!

I waited a long time to get a transparent boost pedal and this might not be the boost most people expect, but it dials in a specific clean sound very well. Can add a ton of Bass and Highs.

Just a little gain will do. This has a warm saturation that's very mid heavy. Play it through a slightly dirty amp (or stacked with another overdrive) and you have the sustain that reminds you of Andy Timmons signature lead tone. Raise the Treble and lower the Bass to get a more focused Marshall attack.

Gives me a slight grit after my clean tone for all sorts of sounds. If you think of it like a Tube Screamer you'll understand that it's best at low gain to accentuate the compression of your tube amp.

I currently put it after my other overdrives and its uncompressed bite zero'd in on the tone I was looking for. The key is the "Tone" knob. If you don't hear enough low end with "Phat" off than lower the Tone and raise the level a bit. This also nails fuzz tones with "Phat" on and "Gain" up.

These strings don't have a break-in process for me, they feel good and last fairly long for uncoated strings. I'm sold for life.

Added gain can be useful on this wah but it sounds pretty convincing for a clean wah as well. Very mild but pleasing "sweep". Great for song build-ups, I've used in a Praise and Worship environment for years.