What guitarist worth his or her weight in riffs doesn’t adore stompboxes? Pretty much every guitar player has at least one pedal, and online forums clatter on and on about which distortion box is best, who’s making the hippest boutique pedals, and various other effects-oriented babble. And, man, there are gazillions of different pedals out there to talk about. In fact, we’re working on having at least a few hundred pedals nesting in the Guitar Player offices—a situation that was rattling GP Senior Editor and gear guru Art Thompson a little more than a tad. His solution? A pedal blowout!
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We endeavored to review as many models as we could fit in one issue, and then send those puppies back to their respective manufacturers before the multi-colored pedals invading Art’s office started looking like a Tetris game run amok. The staff parceled out review responsibilities, and as this wasn’t the only article we were writing this month, we also invited GP freelancers Jimmy Leslie, Mark Watson, and Dave Hunter, as well as “new face” Danny Rappley to share the joy. All the pedals were tested in live-performance settings, home-studio sessions, and the GP sound lab with a variety of guitars and amps too diverse and numerous to mention.

We managed to fit 28 pedals of all different types into this Pedalmania feature—in addition to the 16 models covered in the distortion roundup and the exclusive first look at the DigiTech Brian May Red Special—for an outright orgy of 45 stompbox reviews! Sadly, Art’s office is not cleared out yet, so stay tuned for more pedal roundups during the next few months. For now, please enjoy this month’s thrill ride through a plethora of effect pedals—Michael Molenda

BBE Boosta Grande

As its name implies, the Boosta Grande ($129 retail/$79 street) is a clean booster that will push a signal up to 20dB without coloring the sound. Whether going for clean, crunch, or saturated tones; using single-coils or humbuckers; or plugging into tube, digital-modeling, hybrid, or solid-state amps, the Boosta Grande is in a class by itself. This affordable, transparent signal booster is a must have for live performance and recording. It’s also a terrific tool for boosting degraded signals, as well as for axes that darken up excessively when you roll off the volume. Simple, rugged, and relatively quiet, it’s a tremendously useful pedal regardless of whether your dream tone is Django’s or Dimebag’s. —Danny Rappley
BBE Sound Inc., (714) 887-6766;

BBE Orange Squash

An essential tool for increasing sustain, a compressor also smoothes the dynamics of your picking to make chords and single-note passages sound clear and defined. The Orange Squash ($169 retail/$119 street) uses a vintage-style FET compression circuit for warm, natural response, but adds a true hardwire bypass to ensure that your straight guitar sound remains perfectly intact. With the Bias level at 5, the Orange Squash provides a nice bluesy sustain. At 7, the response is perfect for putting the pop in your chicken pickin,’ and at 8, the compression sanitizes 1/64th-note high-gain passages. I found the Orange Squash very useable overall, though, like most stompbox compressors, it’s a little noisy at high settings. —Danny Rappley
BBE Sound Inc., (714) 887-6766;

BBE Freq Boost

Boosting treble for solos dates back to when a bridge pickup was first bolted to a guitar, and the birth of electronic effects naturally led to the creation of such primordial treble boosters as the Dallas Range Master, which was championed by Brian May and advanced by Tony Iommi. Designed to cut through midrange clutter like a scalpel, the Freq Boost ($149 retail/$99 street) launches high-end sparkle and shimmering overtones like fireworks. Judicious handling of the single Volume knob is in order, as the intensity of the harmonics can be overwhelming. But after a few minutes of familiarization, you will be ready to jump from dark rhythm to dazzling solo tones with a push of the switch. As with the other BBE pedals, the Freq Boost successfully captures the essence of the original, and puts it in a modern, more flexible, and user-friendly package. —Danny Rappley
BBE Sound Inc., (714) 887-6766;

Carl Martin Quattro

As an unrepentant minimalist and neat freak, I couldn’t be happier with a compact, four-effect pedalboard powered by an integrated 12-volt power supply and built like a ’50s atom-bomb shelter. The bulletproof Quattro ($820 retail/$575 street) can be cruelly battered about without worrying about breakage, I can’t lose anything (including the power cord), operation is idiot proof, and the sounds are fabulous. The robust echo also has a tap-tempo footswitch, the tremolo goes from vintage stutter to chop suey, the compressor adds chunk without artifacts or pumping and breathing, and the overdrives (two drive options are selectable) are meaty and articulate. If only the company had popped an onboard chromatic tuner into the mix, this multi-effects wonderbox would be as unstoppable as the 1972 Miami Dolphins. —Michael Molenda
Carl Martin Research, dist. by Gary Castelluccio & Associates, (973) 772-3333;

Carl Martin Red Repeat

Designed to be a simpler, more affordable version of Carl Martin’s well-known DeLayla analog echo unit, the Red Repeat ($159 retail/$110 street) delivers a wide range of musical, classic-sounding echoes, and has a very clean, transparent sound. The Red Repeat is capable of creating echoes ranging from subtle, reverb-like expansion to rockabilly-approved slapback to longer delays of up to 600ms. While the Tone knob doesn’t have a great deal of effect on the delayed sound, the other controls proved useful for a slew of applications, including a fantastic array of spaced-out sonics when twisting the Time knob with various Echo and Repeat settings. This pedal isn’t a tone sucker in bypass mode, but it does suck batteries rather quickly, so an AC adapter (not included) is recommended. —Jimmy Leslie
Carl Martin Research, dist. by Gary Castelluccio & Associates, (973) 772-3333;

Carl Martin Surf Trem

Simpler and less costly than Carl Martin’s TremOvibe analog tremolo pedal, the Surf Trem ($128 retail/$90 street) didn’t exactly dazzle during tests in the GP sound room and on the road. The Depth knob must be turned up significantly to make the effect stand out, and the upper end of the Speed control’s range is so fast that the effect disappears into flutter. The flimsy battery compartment door was also broken upon arrival, raising durability questions. It’s unclear what makes this pedal particularly surf-worthy, other than the greenish-blue paint job, which began chipping on the first road trip. The Surf Trem’s Speed Racer-approved retro look is hip, but this isn’t a particularly inspiring tremolo pedal. —Jimmy Leslie
Carl Martin Research, dist. by Gary Castelluccio & Associates, (973) 772-3333;

Danelectro FAB Chorus

With controls for Mix, Speed, and Depth, the FAB Chorus ($19 retail/$15 street) is clear-sounding, versatile, and surprisingly wide-ranging. It isn’t as rich and delectable as some of the ’80s classics from Electro-Harmonix, MXR, and others, but it’s on par with many of the more generic modern chorus pedals that followed—which, at this price, is a steal. There’s plenty of swirl and spin on tap with the Depth control maxed, and Speed runs to both faster and slower than most players will require. To its credit, the FAB Chorus avoids being harsh or metallic, and it’s a very palatable sounding box overall. If you occasionally want to evoke “that sound” in a mono-only rig, but aren’t a chorus devotee, spend your wee dram o’cash here. As with the other FAB units, the Chorus isn’t especially noisy, and it translates your guitar’s pickup and control changes fairly well. Also, the glaring cobalt-blue LED leaves no doubt of the FAB’s status. —Dave Hunter
Evets Corporation, (805) 389-4605;

Danelectro FAB Flange

A flanger can be an acquired taste, and the better tasting ones can put a major dent in your gear budget. For the cost of an hour’s parking downtown, the FAB Flange ($19 retail/$15 street) recreates a hefty dose of everything from subtle swishes to grinding industrial and robotic effects. What it notably lacks, when compared to classics like the ADA Flanger or Electro-Harmonix Electric Mistress, is the chewy multi-dimensionality of the effect, but, c’mon, the Flange makes a lot of sound for pocket change. The Speed and Depth knobs do what you’d expect, and the Regen knob takes you from a gentle and almost phaser-like swoosh to honking, metallic, comb-filter-like sounds. The Flange shares with its mates an ever-so-slight change in tonal integrity when you compare the bypassed mode versus your guitar plugged straight into the amp, but no more so than in many non-true-bypass pedals costing many times this price. —Dave Hunter
Evets Corporation, (805) 389-4605;

Danelectro FAB Echo

This pedal really needs “slapback” added to its moniker, because all the FAB Echo ($19 retail/$15 street) gives you is a quick, vintage-toned slap-style echo preset of around 70ms to 80ms. Repeats from single to multiple are available via the Repeat control, at an intensity determined by the Mix knob. Limited though it may be, this pedal does what it does very well, and with no fuss or fiddling required. It may be the only echo pedal a budget-minded rockabilly wrangler needs, as well as a useful addition to a pedalboard that carries another echo pedal used for longer delays. No tubey richness or tape simulation here, but the Echo performs admirably for its insanely low price. All prior FAB-series comments regarding noise, bypass integrity, LED intensity, and responsiveness to your guitar apply here, as well. —Dave Hunter
Evets Corporation, (805) 389-4605;

Foxx Fuzz Wah Volume

How can you not dig a pedal that comes in six glorious shades of fuzz—especially when it uncorks all the fab tonal grooviness of ’70s guitar rock? Sonically speaking, you can’t. (Well, at least I can’t!) The FWV ($399 retail/$329 street) includes the company’s Tone Machine fuzz circuit, and it delivers all the soaring, buzz-bomb shimmer and grit of that legendary ’70s pedal. Kicking in the octave switch (which can be literally kicked on with the side of your foot) adds a high-end cry that launches solos and riffs into the Hendrix zone. The wah—which offers Brite, Mellow, Funky, and Mellow Plus settings—is serviceable when used clean, but rages with beatific brutality when coupled with the fuzz. The early version FWV I tested had a creaky treadle—which Foxx says has been beefed up on the latest production model—and it was difficult missing the fuzz switch when I just wanted to toggle between wah and volume. —Michael Molenda
Foxx, (801) 224-2998;

Foxx Phaser

The Phaser’s ($399 retail/$329 street) main claim to fame is Brian May’s use of the effect on some classic Queen tracks, but this baby has the vibe, spookiness, and attitude to work with everything from stoned country to modern metal. Although the pedal’s watery phasing is definitely seated in ’70s-era warble and swirl, an Auto/Manual switch lets you use the treadle to control phase speed and depth—which is a wonderful option for “animating” your playing by adding some ebb and flow to riffs, lines, chord progressions, and solos. You can’t really dial in a ching-ching, ELO-style glimmer, but everything else—from slow, sensual undulations to modulated chatter—is good to go. The Phaser and Fuzz Wah Volume can be powered via an optional AC adapter or a 9-volt battery. —Michael Molenda
Foxx, (801) 224-2998;

Glasstone Tin Can

The first offering from Canada’s Glasstone Amplification, the Tin Can ($595 retail/street price N/A) is a two-channel preamp powered by a pair of 12AX7 tubes, and it features a 3-position Gain Boost switch on each channel to provide up to four footswitchable sounds. While tremendous tube tone is available from this unit, the Tin Can should be set up before a performance as the black housing and knobs make adjustments on a dark stage challenging. Also, keep the 5-band EQ switch enabled, as the Tin Can sounds like its namesake with the EQ bypassed. Spending time to adjust the EQ, Gain, and Boost functions to your taste reaps huge tonal dividends. Every tube tone I can think of—from Johnny A surf to Zack Wylde drive—is in this box. The Tin Can is reasonably quiet for direct recording, and both a balanced direct out and a headphone jack (with speaker emulation) are included. —Danny Rappley
Glasstone Amplification, (780) 951-1267;

Ibanez Weeping Demon

This sucker is a both demon and a monster—a demon because it absolutely stole my soul, and a monster because it’s packed with features. The Weeping Demon ($166 retail/$99 street) is a wah lover’s dream. Period. You can tailor the tension of the treadle to your foot’s delight, adjust the “Q” of the frequency peak, tweak on/off to be instantaneous or delayed, select whether depressing the treadle or hitting a footswitch turns the wah on and off, dial in the wah level, and click to a “low” mode optimized for 7-strings and basses. Obviously, the tonal versatility of the Demon is awesome. I crafted extremely vocal-esque articulations, funky chicka-chickas, Mick Ronson-inspired shrieks, lo-fi gurgles, and laser-beam sizzles, and every exploratory tweak simply brought on more giddy joy. The road-tough Demon—I kicked the pedal off a stage, tossed it into gig bags, and catapulated myself off the treadle—can be powered via a 9-volt battery or an optional AC adapter. —Michael Molenda
Ibanez, (800) 669-8262;

Line 6 Space Chorus

It was only a matter of time before Line 6 began offering their Tone Core line of modeling stompboxes as separate modules that can be popped in and out of a single Tone Core Dock chassis (Mono $99 retail/$69 street; Stereo $112 retail/$79 street). The Space Chorus module ($55 retail/$39 street) offers three chorus modes (Chorus, Tri, and Vibrato), as well as a tap- tempo function, which controls the throb of the Space Chorus’ Speed control. In Chorus mode, I gleaned a satisfyingly delicate modulation associated with old-school analog units. The Tri mode time-warped me back to 1985 with a shimmering, glossy, even goopy chorus that will delight fans of over-the-top modulated sugar. In Vibrato mode, I was afforded some pretty warped tones that could get seriously detuned and—in conjunction with the tap-tempo function—morph into some of the pedal’s most ridiculously over-the-top sounds. —Darrin Fox
Line 6 (818) 575-3600;

Line 6 Tap Tremolo

Sporting Opto, Bias, and Pan modes, the Tap Tremolo module ($55 retail/$39 street), attempts to recreate classic amp-trem circuits, as well as give guitarists the option to align trem undulations with a tune’s tempo. The Tap Tremolo does an admirable job of recreating classic Fender amp trems from the ’60s (Opto mode) and British amps from the ’50s (Bias mode). But with the addition of the Shape control, you’re able to customize the trem’s character from a smooth sine wave to a helicopter-chop square wave and all points in-between. The Peak control is the pedal’s most interesting feature, as it enables you to effect the speed of the tremolo simply by adjusting your picking attack. Play hard, the rate of the trem speeds up, play softer, and it slows down. This, coupled with the tap-tempo function will undoubtedly inspire you to explore new tremolo frontiers. —Darrin Fox
Line 6 (818) 575-3600;

Line 6 Verbzilla

Boasting 11 presets ranging from Plate and Cave to ’63 Spring and Chamber, the Verbzilla module ($99 retail/$69 street) also sports a Trails switch, which allows the reverb to trail on even after you turn the pedal off. Sweet. The Tone control was a major help in taming some of the digital sheen, as well as making the spring simulations a bit more believable. The Octo preset allowed for some interesting textures, as its decay is actually harmonized with an interval of your choosing via the Time control. All of the Verbzilla’s presets are clean sounding with natural, even-sounding decays, and the pedal was dead quiet in front of my cranked 50-watt Marshall. Now if Verbzilla would just spare Tokyo... —Darrin Fox
Line 6 (818) 575-3600;

Moollon Chorus

At first glance, five knobs might seem like overkill for such a basic effect, but after playing through the Chorus ($430 retail/$380 street), you may wonder how you ever got by without them. Among this pedal’s most enticing features are the separate level controls for the Wet and Dry signal levels, which allow you to put some serious punch on your chorus sound, or blend in just the slightest shimmer on your boosted, straight guitar sound. The Tone knob affects the wet signal only, allowing you to darken or brighten the chorus textures while keeping your guitar’s sound untouched. Other hip details include the large Speed knob, which is easily manipulated with your foot, and the GW109 buffer circuitry, which helps prevent treble loss when driving long cables and/or multiple effects. —Mark Watson
Moollon Musical Instrument, (822) 351-4201;

Moollon Compressor

Clean, quiet, and natural sounding, the Compressor ($340 retail/$299 street) performs as if it was designed for guitars. This stylish box can add mild sustain in a very unobtrusive manner, but, even in heavily squashed settings, it has none of the pumping or breathing characteristics you can get from some compressors. Used for clean sounds, the Compressor can help articulate notes in chords, and deploying it on distorted tones increases punch, thrust, and sustain. The Volume knob lets you easily match your dry and effected signal levels, while also providing for a bit of volume boost when you turn it up. Whether you’re a seasoned veteran or a compressor newbie, you’ll find the Compressor an easy-to-use device with a quality, professional sound. —Mark Watson
Moollon Musical Instrument, (822) 351-4201;

Moollon Lotus Octah

An electronically faithful reproduction of a vintage Tycobrahe Octavia, the Lotus Octah ($330 retail/$295 street) features the same spec parts (including the transformer) and circuit as the original, but packs a true bypass to ensure your straight signal remains uncolored. The Lotus produces vintage-style fuzz with a subtle, octave-up sound, but, unlike some original Octavias, it’s quiet, it tracks well, and it’s so stable that it even sounds cool with chords. The Lotus turns into a wild-man fuzz when revved up, but it always cleans up nicely when you turn down your guitar. The Volume knob can produce a huge jump in level—which is great—but having the Volume and Boost controls mounted on the front of the housing makes it a bit of a pain to perform quick onstage adjustments. —Mark Watson
Moollon Musical Instrument, (822) 351-4201;

Moollon Vintage Wah

A great-sounding wah with a familiar, vocal-inflected flavor, the Vintage Wah ($340 retail/$299 street) is voiced to ape Hendrix- and Cream-era-Clapton tones. This beautifully engraved pedal is unique in that it can be ordered with either a split bypass or a true bypass. The split-bypass version, which is the one I tested, is designed to produce the most authentic vintage sound. Its bypass circuit yields a slight treble loss, making it a bit warmer and wooly sounding compared to the true-bypass version. The only concerns I had with this pedal were that its rocker was too floppy to stay in position for use as a tone filter—à la Mick Ronson or Michael Schenker—and that some odd background noise and crackle could be heard when running into a variety of distortion and fuzz pedals. —Mark Watson
Moollon Musical Instrument, (822) 351-4201;

MXR Phase 90 CSP-101S/SL

Arguably the Holy Grail of stompbox phasers, the Custom Shop Phase 90 reissue ($159 retail/ street N/A), is a dead-ringer cosmetically and sonically to the classic orange box that was introduced in 1972. Available with an on/off status LED for $30 more (the original pedal did not feature an LED), this new rendering sports the expansive headroom of the original unit, which gives the pedal a smoother, more musical phasing compared to early reissues. You can use it like Eddie Van Halen, and set the Speed control to its lowest point for a sweet and subtle notching effect that gives single notes a sublime, tactile toothiness that encompasses every note. As you inch the Speed control up, the Phase 90 morphs from subtle, chewy modulation to green-in-the-face Leslie-like warbles. The Custom Shop Script Phase 90 is proof that there’s a reason some pedals are classics—it’s because they rule. —Darrin Fox
MXR, dist. by Dunlop Manufacturing, Inc., (707) 745-2658;

MXR EVH 117 Flanger

With its Eddie Van Halen-approved striped graphics—as well as a switch that instantly calls up the man’s hallowed swoosh on “Unchained”—the 18-volt EVH 117 Flanger ($299 retail/$189 street) sports the same bucket-brigade circuit of the original MXR Flanger from the ’70s. Offering Manual, Width, Speed, and Regeneration controls, the EVH 117 gave me everything from exaggerated jet noises to sinewy chorusing and warped slapback. Activating the EVH switch (which sports a tiny, yet bright on/off LED) disables all of the aforementioned controls, and, as advertised, apes the “Unchained” tone with aplomb. How much this feature actually matters is debatable, but there’s no denying the EVH 117 is a no-brainer for players jonesing for a modulation effect that can yield both subtle textural washes and whacked-out sci-fi effects. —Darrin Fox
MXR, dist. by Dunlop Manufacturing, Inc., (707) 745-2658;

Nady TTV-2 Dual Tube Tremolo Vibrato

Two ingenious features of the fat and warm sounding TTV-2 Dual Tube Tremolo Vibrato ($199 retail/$159 street) are its Output control (which allows you to boost the vibrato or tremolo effects way up for solos) and 3-position Vibe switch (which gives you a bright natural sound on position 1, and progressively darker textures on positions 2 and 3). At low Rate settings, the TTV-2 can produce incredibly slow and throbbing effects. Sweep the knob past the 12 o’ clock position, and it delivers insane amounts of modulation. The TTV-2 doubles as a wonderful noisemaker for sci-fi-style special effects, but there are a couple of potential bummers. Turning the intensity and rate knobs near full up can seriously pummel your speakers—even with your guitar muted—and the included wall-wart power supply (which attaches to the pedal with a heavy-duty 4-prong ring-lock connector) has a very stiff, bulky cable that may be difficult to secure on your pedalboard. —Mark Watson
Nady Audio, (510) 652-2411;

Pigtronix EP-1 Envelope Phaser

The EP-1 ($279 retail/$219 street) is an optical device that employs “harmonically-tuned” asymmetrical phase shifting to produce sounds reminiscent of a vintage Uni-Vibe, some unique vowel-like phasing effects, and much more. But the EP-1 also has an onboard envelope follower that dishes up funky Mu-Tron III-type sounds by sweeping the phaser in response to playing dynamics. With its highly interactive controls (including a Character knob that continuously varies modulation waveforms from smooth to choppy, and an Invert switch for selecting additive or subtractive phasing), an external envelope trigger jack, and the ability to control modulation speed with an optional expression pedal, the EP-1 packs impressive sound-shaping power. All this adds up to a unit capable of producing a huge range of great sounds—some entirely original. If you want to use an expression pedal to sweep the Phaser like a wah pedal, however, you’ll need to order some custom-shop work. —Barry Cleveland
Pigtronix, (917) 941-2861;

Pigtronix OFO Disnortion

The OFO ($249 retail/$189 street) provides overdrive, fuzz, and octave effects that may be combined or used individually. The overdrive’s five gain stages endow it with a pleasing balance of smoothness and tube-like glassiness, and it responds beautifully to playing dynamics, and cleans up nicely when you roll back your guitar’s volume. The fuzz section features a six-position rotary switch that selects filters ranging from ultra-bright and crispy to dark and muted—all with impressive focus and individual note articulation. With its Gain control fully counterclockwise, either effect works as a clean boost. The octava—a frequency-doubling effect—is positioned before the distortion circuits rather than after, resulting in a fat yowl that is considerably less raspy and unruly than most. All three effects are astonishingly quiet—even on extreme settings—and combining the octava with overdrive and fuzz in parallel yields some wonderful and unique hybrid tones. —Barry Cleveland
Pigtronix, (917) 941-2861;

Rocktron Cyborg Digital Destiny Delay

With its new Cyborg Digital Destiny series, Rocktron is waving the digital effects flag loud and proud. The mono-output Digital Destiny Delay ($279 retail/$179 street) sports eight user-tweezable preset slots, as well as 56 additional memory slots that can be accessed via MIDI. The pedal offers 500ms to 2,000ms of delay time, tap-tempo and Reverse functions, a modulated delay called “Phazdly,” and a Hold function for creating and layering loops. Overall, I was extremely impressed with the timbre of the Destiny’s repeats—it’s easily one of the most organic and musical digital delays I’ve heard. But unless you’re using MIDI, the only way to change patches is to bend over and manually turn the Preset knob. The Destiny’s onboard HUSH noise reduction is way effective, as it lets every note decay naturally while zapping extraneous hiss. If you’re a MIDI-minded player, there’s a lot to like about the Digital Destiny Delay, but even technophobes will revel in the pedal’s warm repeats and tap-tempo utility. —Darrin Fox
Rocktron, (269) 968-3351;

Rocktron Cyborg Digital Destiny Reverb

Offering the same preset scheme as the Digital Destiny Delay (eight user slots with 56 more available via MIDI), the Rocktron Cyborg Digital Destiny Reverb ($279 retail/$179 street) delivers Plate, Room, Hall, and Stadium reverb types, as well as Rocktron’s popular HUSH noise-reduction circuit. Even though there is no spring reverb simulation—and the pedal sports only a single mono output—fans of dynamic, gloriously expansive digital reverbs will dig the Cyborg’s high-quality sounds. I particularly dug how the pedal reacted to the dynamics of my playing. For example, I dialed in a cavernous Stadium reverb, and was able to coax myriad textures—from warm and subtle to big and brash—simply by adjusting my picking attack. Unlike the Digital Destiny Delay, you can access the pedal’s eight presets without MIDI, but you have to scroll through them sequentially. When all is said and done, every reverb setting is extremely musical, and offers enough sheen to satisfy the most finicky digital dweller. —Darrin Fox
Rocktron, (269) 968-3351;

Z.Vex Ringtone

There are two kinds of guitarists in the world: Those who love ring modulation, and those who don’t know how to use it. The key to musical use of this often snarky and alien-sounding effect is to tune the modulation pitch to the general key of the note or riff being played, thus producing satisfying overtones and complementary harmonics. Through the use of its pitch adjustment knobs, the Ringtone ($489 retail/$349 street) cleverly allows you to tune ring modulation to a whopping eight different keys, and pass manually through each with a stomp of the Step switch. The Ringtone can also be set to cycle automatically (in sequential or random order) through each setting, which produces cool robotic sounds. As with other Z.Vex pedals, this colorful little hand-painted stompbox is the size of an MXR Phase 90, leaving plenty of open real estate on your pedalboard for other effects. If only its price tag were similarly petite. —Jude Gold
Z.Vex Effects, (952) 285-9545