Tim Harrison

It's the best quality guitar I've ever owned. Attention to detail on this guitar is impeccable. The quality of the ebony used for the fretboard is top-notch, it's uniformly black. Not only it has neck-though construction but it also has a high quality real flamed maple top. The thing that left me absolutely awestruck was the tight construction of this guitar. Pots, switches, tuning keys, nothing on this guitar feels rough and loose. Everything feels extremely precise, and it's Floyd Rose set-up is hands down the most stable Floyd Rose set-up I have ever experienced on a guitar. If you have ever played the Pro Series Soloist then prepared to be shocked, this guitar is in an altogether different league than those guitars in terms of refinement and quality. The action on this guitar is really low, and despite of that, it has absolutely zero fret buzz. Shredding on it was as smooth as pressing keys on a piano, the notes just fly off the fretboard like magic. Once you get used to the action of this guitar the action on other guitars will feel high and uncomfortable to you. There's also something special about the internal shielding of this guitar, after using this guitar I realized that my other two guitars have more noise level in the signal than this guitar. About the pickups, well the 59/JB set is good but the JB bridge pickup has really honky and congested mids. So, I plan to replace the JB with the '59/Custom Hybrid to make this guitar sound even better. The stock tuners are great but I have ordered Gotoh SGL510Z tuners from Japarts, they have 21:1 gear ratio, so I'm gonna replace the stock tuners pretty soon.

The Beast NT was my first guitar and I still use it. I bought it for mere $300 at a clearance sale at a local guitar store. From what I heard apparently the shape of this guitar shooed away most customers. The quality of the guitar was damn good even in its stock condition. It's a neck through guitar and the access to higher frets was excellent, the ebony fretboard was pretty uniform in coloration, and frets were nicely dressed. As for the trem, it's an Original Floyd Rose and has rock solid tuning stability. However I didn't liked the glossy black finish of the neck, so I used a 1200 grit sandpaper on the top layer of finish to give the neck a nice satin black finish. Another weak point of the guitar were the pickups, the B.C. Rich B.D.S.M. pickups were high output pickups but they were dark and muddy, sometimes fast played sections used to turn into incoherent mush on those pickups. So I swapped them with a pair of DiMarzio D Activator pickups and now the guitar sounds excellent. Some people call the shape of this guitar immature but I like it. Even after so many years of use I've never faced any problem with this guitar.

I'm genuinely amazed by the quality of this guitar at a mere $500. This guitar employs a nice neck-through construction and the neck profile feels fast. The quality of the ebony fretboard is indeed damn good and the color of the ebony is pretty uniform. Of course, the one I own is in a satin black finish and hence it lacks the flamed maple veneer, but it looks good in its own way. The Seymour Duncan Blackouts sound great for my needs, and the 27" fret scale is good for low tunings. Honestly, this guitar can put many pricier guitars to shame. The only thing I replaced on this guitar is the stock Floyd Rose Special trem, I replaced the whole trem system with an Original Floyd Rose 7-string trem system.

This amp is a criminally underrated high gain amp. The clean channel is pretty usable, crunch channel is great, but where the amp truly shines is the high gain channel. Think if 5150 and Mesa Boogie Triple Rectifier had a baby and then they raise that unholy spawn created by their union on steroids, then that high gain beast will be the BV150H. It sounds massive with a prominent but tight low end. Rhythms sound extremely heavy and chunky, solos literally scream. One thing that needs to be noted about this amp is that through the Crate 4x12 cab it's just painfully loud. I tried to find the reason of such insane loudness and found that the Eminence designed speakers on these amps are based on the Private Jack which has a rather high SPL rating of around 100db. If you're planning to buy one used for home or studio usage I would highly recommend using a load-box or attenuator with this amp. I bought mine used from reverb for a mere $400, and the guy from whom I bought it had the stock tubes replaced by Genalex Gold Lion 12AX7 and KT66 tubes. Edit: I replaced the KT66 tubes with the Tung-Sol 7581A tubes, and I am floored by the change in the sound quality of my amp. The amp now sounds even bigger than before. Chugs sound heavier, the overall tonality sounds thicker and the harshness in the high end is gone. If anyone of you decides to buy this amp I highly recommend swapping the stock power-amp tubes with the 7581A. This amp sounds beastly with these tubes.

This is the first guitar amp that I bought completely new. If I need to describe the amp in the simplest way, I'll say she's tight. Oh wait that sounded weird, I meant she has a tight bottom. Okay, that didn't sound right either, what I mean is that the low-end response of this amp is clear and articulate and doesn't flub out at all. All thanks to the onboard mid-boost. While playing through this amp, I pretty much run my guitar straight into the amp. The only pedals I use are my wah pedal because I need it for solos, and I keep my SDM pedal on my pedalboard too for occasions when I need to play Swedish Death Metal. All other stuff is handled by the amp. This amp has onboard mid-boost to tighten the low-end response, master volume boost to boost the volume for solos, and even has an onboard noise gate. If you play metal then mark my words, the Invective is hands down one of the best amps you can get for yourself. That being said the clean channel of this amp is excellent too and is voiced like a Fender Brownface amp.

The quality of the cab is top-notch. Now about the speaker, from what I inferred they are designed by Eminence and are quite similar to Private Jack. They have more low-end which makes them sound beefier than Private Jack speakers. Those speakers sound really loud though, and the 4x12 cab loaded with them sounds too loud with my BV150H for indoor usage, but I paid barely $300 for them so I ain't complaining.

I bought them unloaded and loaded up Avatar-UK Fane M65 and H65 speakers in them in X-configuration. I love oversized guitar cabs, I'm a '90s Death Metal guy, and my speaker cab preferences are still stuck in the '90s. These oversized cabs produce a really deep low-end response that works great for my needs. Atlas makes really top-notch cabs. Of course, they're heavily built but that's what I love about them. If you like oversized Mesa/Boogie cabs but you want something which puts those Mesa/Boogie and ENGL cabs to shame in terms of quality then go for this cab, you'll be surprised by its quality. Then again, if you ain't fond of oversized cabs they make normal-sized cabs too, they too are built like tanks.

Although my BV412ST cab works perfectly fine with my BV150H but I always wanted to own the original BV412R cab that was released for the BV150H and BV300H. I am glad I finally found it. It looks the same as my old BV412ST cab but the speakers are different. The label on their magnet displays the product code 86-078-16 (121282R). I contacted Eminence regarding these speakers and I was informed that they are basically 16 Ohm Texas Heat speakers. Eminence initially designed them as OEM speakers for St. Louis Music but they were later released in the market as Texas Heat. The 86-078-16 (121282R) was the OEM name for 16 Ohm Texas Heat and 86-068-08 (121282R) was the OEM name for 8 Ohm Texas Heat. This cab is an interesting part of Crate and Eminence history and to be honest, it sounds beefy with the BV150H.

These speakers were designed for Crate by Eminence. They are similar to Private Jack but compared to the Private Jacks they sound fuller.

The first thing I need to point out about these speakers is that don't judge them by their name or wattage. They maybe 65-watt and have the "M" letter in their name but they have nothing in common with the Celestion G12M65 Creamback. The tonality of this speaker is similar to the G12M25 Greenback albeit with a tighter low-end response, and an overall bigger sound. It has a distinct clarity and articulation that you usually hear from Fane speakers. It's also a lot louder than the Greenback hence pairs great with other speakers. I noticed a strange thing about these speakers while trying them next to Eminence Private Jack and even my Eminence Crate 86-078-16 which are similar to the Private Jack speakers. Either Eminence is too generous about the SPL rating of its speakers, or Fane has quoted their SPL figures low because these speakers were louder than both the Private Jack as well as the Eminence Crate 86-078-16 speakers. These speakers have the nice woody mid-range of the Greenback, to be honest, they sound like a really high-quality Greenback that's somehow better and louder than a normal Greenback. If you're looking for a Greenback type speaker for your high gain amp then try these speakers, you'll love them.

The combination of G12M25 and G12H30 is quite an iconic one. That set-up has been used by numerous bands in the '80s and '90s, it always sounds perfect. So, when I decided to get the M65 speaker for my Atlas guitar cab I also decided to get the H75 to put them in the old tried and tested X-configuration in my cab. I'm glad I did because together they sound even better than the G12M25 and G12H30 combination. As for the tonal qualities of this speaker, it sounds like a really great quality Celestion G12H30 speaker albeit with the clarity and articulation that you only hear from Fane speakers. If you swear by the old-school G12M25 and G12H30 combination in your guitar cabs then try these speakers, you'll like them even more than the Celestion speakers.

They are the stock speakers in my BV412R cab. I contacted Eminence about them and I was informed that they are basically 16 Ohm Texas Heat speakers. Eminence initially designed them as OEM speakers for St. Louis Music but they were later released in the market as Texas Heat. The 86-078-16 (121282R) was the OEM name for 16 Ohm Texas Heat and 86-068-08 (121282R) was the OEM name for 8 Ohm Texas Heat. Now about the speaker themselves, guess what I like them. They have a fat and warm mid-range but at the same time they really make your guitar heard in a mix. Their low end response is clear but soft. As of the high end response, I will say its high end is clearly controlled to stay in the upper mid region, due to this reason it has absolutely zero fizziness, but at the same time it cuts though the mix rather aggressively. Mixing this speaker in band mixes is actually even easier to do than the Vintage 30. Some folks have recommended me to mix these speakers with the Swamp Thangs. I have heard good things about Texas heat and Swamp Thangs being mixed together, so I will certainly get some Swamp Thangs to mix with these speakers, but I won't get rid of these speakers even when I replace two of them with Swamp Thangs. It's not everyday that you come across a part of Eminence speaker history. I'll most probably put them in a separate 2x12 cab.

Since my BV150H is a 150 watt tube amp it's absolutely unusable in my home and small venues. For such locations this attenuator is indeed a life saver. Due to the ridiculously high wattage of my amp I use two such attenuators with two parallel outputs of my amp. Then I set my cab to operate in stereo mode and then I connect the outputs from the two attenuators into the stereo inputs of my cab. It adds minimal coloration to my amps tone. Compared to many other reactive attenuators it costs pretty low too. Of course it doesn't have stuffs like IR loader and other bells and whistles but then again I never felt the need of such stuffs. I prefer to record my amps in the old fashioned way, with microphones.

I bought it to control my Yamaha SPX 2000. So far it works fine.

It's hands down the most vintage sounding wah. It employs true-bypass switching and hence doesn't impact the guitar tone when bypassed. Its components are hand-wired. The quality of this wah is absolutely unbelievable for its price.

Finally after a long search in the used market I managed to procure this pedal. It was kinda pricey for a used pedal but worth it. This pedal is just perfect for my amp. My BV150H has too much gain on the tap and tightening the low end with a Tube Screamer or similar overdrive just never sounded right with it. There was just way too much signal clipping with those pedals and thus it made the overall sound way too harsh. Finally this pedal solves those problems. It boosts the mids but doesn't clip the signal. With this pedal before my amp my guitar sounds damn tight, huge and beefy, and the harshness is gone.

After using my Airis Effects Merciless Distortion for some years I realised that my guitar tone doesn't have the same beefiness and girth as that produced by old Swedish Death Metal bands who used to use MIJ HM-2 pedals. I also realised that due to the low gain of the Merciless Distortion, it doesn't sound right unless boosted by an overdrive pedal. That's why I switched to this pedal. There's nothing revolutionary about this pedal. The best thing about this pedal is that it is an exact clone of HM-2 albeit with true bypass and it sounds exactly same as the MIJ HM-2, nothing less, nothing more. This pedal has simplified my signal chain.

The tuner is excellent. Its polyphonic tuning system is the niftiest thing I've ever seen on a tuner and its strobe tuning mode as accurate as one of those big strobe tuning units, but its display is kinda dim.

I use it as a volume boost in the effects loop of my amp. I don't hear any impact whatsoever on the tone of the amp when the pedal is engaged, all it does is that it provides nice volume boost for solos.

This compressor pedal is unlike any other compressor pedal out there. First let me make it clear, if you want a compressor for warm optical compressor style tones, or those biting FET or OTA compressor style tones, or those smooth Vari-Mu compressor style tones then this ain't the pedal for you. This ain't exactly an effect pedal, it's a high quality and transparent VCA mastering compressor stuffed in a pedal. It's meant to be a mastering tool. It lets me get rid of the harsh transients produced while using my distortion pedal with my amp and master my final guitar tone. Usually in studio we do so with the help of VCA compressor plugins but with this pedal I can take my studio quality mastered sound live. All I need to do is put it in the effects loop of my amp and then master my guitar tone with it. If y'all looking for a pedal to make you sound as good live as you do in studio then get this pedal. It's price is no doubt damn steep for a pedal but I have no regrets because this little pedal can put even rack-mount VCA compressors to shame.

It may not be as good as those high end UAD, Apogee and RME interfaces but nevertheless it's a good quality interface which works well without issues and has lots of connectivity options.

The compressor section is damn transparent, it lets me dial just the right amount of compression on my mics. Since I use it to record a heavily overdriven high gain amp I don't use too much compression, but nevertheless it provides me just the right amount of compression. The noise gate is a nifty addition.

I had to sell off many of my effect pedals in order to buy it but it was worth it. The quality of effect algorithms are top-notch, they're as good as those higher-priced Eventide and Lexicon units.

It's a bit pricey but it's hands down the best rack-mount mixer out there. It's ruggedly built, this mixer can take the beating of a live tour with aplomb. As for its audio quality, it's one of the cleanest sounding mixers out there. The preamps on this mixer are excellent for my needs because they don't impart any coloration whatsoever to the signal produced by the microphones. I love neutral microphone preamps, that's why I absolutely adore the microphone preamps on this mixer. Another thing I noticed is its low noise floor. When I powered it on for the first time it was so dead silent that I had to double-check whether it was really powered on or not. I even played around its equalizer section and still, there was no noise from this mixer. Those Tascam, Alesis, Behringer, Rane rack-mount mixers are just pretenders to the throne, this mixer is the true king of rack-mount mixers.

I always wanted to own a HUSH Ultra and now that I own it I have to admit it has surpassed all my expectations. Presets, transparent noise reduction, this unit is just perfect.

Got two of these babies from the used market. They work great for equalizing the microphones I use to mic my guitar cab. They even have 1/4" jacks so I can even run them in the effects loop of my amp if I ever need to.

Good ole Focusrite. Sounds beautifully clean, plenty of gain and built like a tank.

It's funny how they market it as a kick-drum mic but once you use it as a guitar mic you would realize that it is hands down the best guitar mic money can buy. It sounds perfect for recording amp cabs. Whoever designed this microphone must be an effin' genius. Edit: I bought one more for me. Now I have a pair of these microphones. I am in love with this microphone. Mixing the sounds of the condenser and dynamic elements of this microphone gives me such a clear, detailed, and huge sound that I don't hear from other microphones. I'm not sure how they have designed their condenser element, because it works excellent for high gain recordings, and no in my case, it's not a normal high-gain scenario, think of Incantation and early Devourment level of high gain and you'll get the idea. Any other condenser microphone used at the same distance from the speaker cab as this microphone would have turned the signal into a muddy and incoherent mess due to the proximity effect.

I got this microphone from a seller on Reverb. I've never owned a vintage microphone before because I was never into vintage gear. I decided to go for this microphone because I wanted to add some vintage mojo to my otherwise modern rig. The very moment I put this microphone before my guitar amp my jaw hit the ground. Never in my life, I had ever used a dynamic microphone that's as neutral and detailed as this microphone shaped masterpiece from AKG. I used to swear by microphones like the Sennheiser MD441U, and Electro-Voice RE20, but holy hell, this microphone f**kin' butchers them. It has no proximity effect. What I hear in my room is what I get on my recordings. I swear I'm gonna hunt for more AKG D224E microphones in the used market and buy them. AKG needs to re-issue this microphone. This microphone is the gold standard of cardioid dynamic microphones and deserves to be back in the market.

I heard good reviews about this microphone, but here's the thing, when folks start claiming stuffs like "flagship killer", "better than the Royer R121" for a microphone I usually take those claims with a grain of salt. I bought the microphone because I wanted a reasonably priced but decent quality ribbon microphone, but after using it I will say genuinely impressed by this microphone. I can't believe I'm saying this, but I prefer it over the Royer R121, and Beyerdynamics M160. It captures details so much better than those microphones and although it has the warmth of a ribbon microphone it doesn't add unwanted boxy and woofy low mid and mid-range coloration to your guitar tracks. It has an excellent linear tonal response. It's hands down one of the most mix friendly ribbon microphone I have ever used. No I won't use phrase "good microphone for the price" for this microphone, this ain't some cheap alternative to the industry standard ribbon microphones. This is a high quality ribbon microphone that is being sold at a price that is affordable for working musicians.

I've been a Logic Pro user since the early Logic Pro days. I still remember the first time I used this DAW, it was my introduction to the world of DAW, before that, I used to use an old Fostex B16 16-track tape recorder. Since then I've been a loyal user of Logic Pro. When Apple discontinued the Logic Pro and replaced it with the Logic Pro X, I was kinda apprehensive so I stayed back on the Logic Pro. Eventually, I decided to move on the Logic Pro X. From the very get-go, I realized that the Logic Pro X did have a lot more features than the Logic Pro 9, that being said at first I found it to be quite difficult to get used to the Logic Pro X. My biggest problem was that they dropped the support for 32-bit plugins. I had to replace many of my legacy plugins with new 64-bit plugins. It was a hassle but it was worth it. I have tried other DAWs like the Bitwig Studio, Tracktion Waveform Pro, Ableton Live, but in the end, I fall back to Logic Pro X. I feel a lot more comfortable to work on Logic Pro X than other DAWs.

They came stock on my Agile Interceptor Pro, and they sound damn good.

I have them on my B.C. Rich Beast NT guitar and this set of pickup did wonders for that guitar. The guitar used to sound muddy and mushy with the stock pickups but with these pickups it sounds excellent. They are more articulate than EMGs or any other active pickups but at the same time they have output like EMGs.

They are the stock pickups on my Jackson USA Select Soloist guitar. They sound good, can't go wrong with the 59/JB combination. The '59 pickup in the neck sounds smooth and warm, but, I'm not fond of the JB. It has a really honky and congested mid-range response. So I plan to replace the JB with the '59/Custom Hybrid.

I use these tubes on both of my amps. If I need to describe them in three terms they will be, high gain, extremely low noise, long lasting. I have compared their noise levels next to TAD 7025 grade modern Chinese 12AX7 tubes and the difference in their noise levels is phenomenal. These tubes exhibit substantially less noise than the TAD 7025. If that isn't enough they also don't produce the harsh fizz exhibited by the current crop of 12AX7 tubes made by Shuguang. Another thing I have noticed about them is that they are far more robust than the current generation of Chinese 12AX7 tubes made by Shuguang. It seems that the Beijing military factory actually manufactured better quality tubes than Shuguang. The best thing about them is that despite all those advantages they cost cheaper than the tubes sold by TAD, and Groove Tubes. If you own a Crate BV150H or 300H, Mesa/Boogie Rectifier, or an amp like Invective that belongs to the 5150 family then quit wasting your money on the TAD, and Groove Tubes and get these instead.

I use it in the phase inverter position of my Invective. The problem with phase inverter tubes is that they suffer a lot of wear and tear. I like using long plates in phase inverter position but almost all modern long plate tubes are prone to failure in that position. So, after wasting a lot of a cash on modern production tubes I decided to give the NOS tubes a go. I was planning to plunge my cash on Mullard but then my local amp technician advised me to grab this tube. First and foremost thing about this tube is that it's quite reasonably priced by NOS standards, next is how robust it is. My preamp tubes have come and gone but this old boy keeps running in the phase inverter position like a boss. As for tonal difference, the clean channel exhibits a bit more saturation than before. The crunch channel exhibits quicker break-up and saturation. As for the overdrive channel I noticed remarkable improvement in high end clarity as well as in the overall thickness of the tone. They also extended, and beefed up the low end response of my amp, and the low end now sounds more powerful but at the same time it sounds clearer than before. That brings me to my question, why isn't this tube that well known? I have people in my friend circle who used NOS Mullard 12XA7 tubes in their high gain amps, I recommended them these tubes. Some of them replaced their Mullard tubes with these Sylvania tubes and all of them were impressed by how good it works in high gain amps. They noticed an improvement in the overall gain too. This tube right here is the best tube a high gain amp fanatic, and an amp hot-rodder can ask for, but too bad people barely know about them.

I'm a sucker for low priced NOS tubes. Now here's a thing about the Ei ECC83. Those who have used them in '90s know that if you buy them from a good reseller they can be the best and most robust tube you'll ever buy, but if you buy them from a shady source they will be the shittiest noisy garbage you'll ever find. They were excellent tubes but they had piss poor quality control. Back in the '80s and '90s these were marketed by both Mesa, as well as Groove Tubes and were highly recommended for the P.I. position. Some of the best amps back then like the Mesa/Boogie Mark IIC, Dual Rectifier Gen. 1 used them in the phase inverter position. Back in the '90s they used to be my go-to tube for the phase inverters of my amps. If you find a good one then they last really long. However when they stopped selling them I stopped buying them too. Most ones out there were faulty and prone to serious microphonic issues, so buying them was a risky affair. Then I found these folks at RAM Tubeworks who sell tested and selected Ei ECC83 tubes. So, I decided to give them a try, and ordered them for my old and trusty Crate BV150H. I opted for the Low Noise graded Ei ECC83 from them. They sell a Super Low Noise graded one too, but hey I needed a tube for the P.I., no need for a SLN tube in that position. It wasn't too pricey, cost me just $55 which is more or less similar to what all those so called premium re-issue tubes from New Sensor sell for. Now about their performance. The ones I bought from RAM Tubeworks are actually graded better than what I used to buy from Mesa, and Groove Tubes. I had my fears about them being microphonic and noisy, but these ones were actually the good ones. They are everything that I used to love about them in the '90s. They're very clean, transparent, and have extended high and low end. However at the same time they don't have any harshness. Their highs are extended, clear, and detailed but they aren't harsh. They are great tubes, and thank goodness there's finally a seller out there who sells them tested and screened for good performance. For all Mesa/Boogie, and Crate BV150H or 300H users out there, folks you can now buy your favorite phase inverter tube from the '80s and '90s once again without the fear of running into the bad ones.

I switched to this pedal from the MXR Noise Clamp and I'm genuinely blown away by the improvement in my guitar tone. I use this pedal in the same 4-cable X-configuration as the MXR Noise Clamp and I am stunned by how transparent it is. All I needed to do is to play around its knobs and that's it. No tone suck and tone coloration whatsoever.

As a user of Subdecay Quasar phaser I had high hopes from this flanger pedal too. I have to admit this pedal completely meets my expectations. It's hands down the best flanger pedal in its price range.

If you're looking for a traditional phaser than stop looking at this pedal and this review, this pedal ain't for you. However if you want a phaser which lets you experiment with different phasing effects then this is the pedal for you. This pedal has too many options to play around with, some of the settings can often sound disorienting and trippy when used with high gain set-ups (think of experiencing phasing effect while tripping on acids). Although I love to try out different settings but sometimes I hold back (especially while playing live) because some settings on this phaser can be brutally disorienting and can play with your head in a weird way (lets just say you won't want to experience that feeling while playing live). Absolutely crazy phaser pedal, and the best part is unlike many boutique phaser pedals it's indeed pretty reasonably priced.

The pedal looks clean and since it's an analog delay it woks great for OSDM. The tap tempo switch is quite handy for varying the speed of the delay. It's sounds kinda too clean for an analog pedal though, so if you're a fan of dirty and extremely lo-fi sounding analog delay pedals then this pedal ain't right for you. However if you're looking for an analog delay pedal which sounds quite clean by analog delay standards then just go for this pedal. It strikes the perfect balance between clarity and the analog warmth. However there are many things which need to be improved in case of this pedal, it needs a volume knob to fine tune the volume of the delay repeats, it also needs a tone knob to boost highs and cut lows or cut highs and boost lows according the needs of the user, it requires more tap divisions, it needs options for 8th note triplet (1/3) and quarter note triplet (2/3) tap divisions, and it needs an expression jack to control various parameters. Of course those additions will increase the price to some extent but I don't think there would be a significant increase in price.

I bought it used and all I can say it's hands down one of the best analog chorus and vibrato pedal I've ever used.

I bought this pedal to replace my MXR GT-OD. It's not because that my GT-OD was bad, however the GT-OD never used to sound right with my amp. I used to use the GT-OD as an upper mid boost to tighten the low end of my amp, it did the job great but with one caveat. When the tone knob was dialled up it also used to do funny stuff to the highs of my amp, with it my amp sounded peaky and harsh in the high end. Turning down the tone knob was counterproductive because then it used to add too much low mids which used to make my amp sound muddy. This pedal solved that issue. The EQ section of this pedal is like a godsend for me. With this pedal I can tweak the frequency response to specifically boost my amp in a way that the natural high end response of my amp stays unaffected and doesn't sound harsh, but at the same time the low end sounds tight. This pedal is the perfect overdrive pedal for my amp.

Instead of putting my effects in the loop of the Noise Clamp I wire the Noise Clamp in X method with my amp. This not only ensures excellent noise reduction even at highest gain levels but also ensures that the gate responds properly to the guitar input and doesn't suck your tone and signal quality. It's a complicated way but it's indeed the best way for using this pedal with high gain setups.

Works like a charm for tightening up the low end of my BV150H.

I have compared this pedal to my bandmate's original MIJ Boss HM-2. The way this pedal works is quite different from a normal HM-2. It's tonally same as HM-2 but it has substantially less gain. Its less like a distortion pedal and more like a overdrive or tone shaping pedal that has same tonality as the HM-2. However due to less gain it can be used before an overdriven high gain amp. With this pedal my amp does the heavy lifting for generating those distorted and overdriven sounds. What this pedals does is that it shapes and pushes my guitar tone in a way that when placed before my overdriven amp my amp produces the signature Swedish Death Metal buzzsaw tone. Unlike the usual HM-2 into the crunch channel set up, this set up sounds less compressed and the overall distorted tone sounds way more controlled. It isn't as thick sounding as HM-2 because it doesn't compress the sound but this ensures that the sound remains free of mud. At $150 it hell lotta cheaper than other boutique HM-2 clones and used MIJ Boss HM-2.