This is a really fun pedal to mess around with for all things indie, r&b, funk, psychedelic, and more! I really love the how the compressor sounds, and each of the different waveforms is useable. I think this pedal has a general character it imparts on your sound, but it’s also flexible enough that you can find different applications for it. It works well as a compressor with subtle pitch modulation, a wacky square wave vibrato, and lots of chorus and vibrato tones in between.

When I first got this pedal and plugged it in, I had it in the chorus setting and I played that first chord, it made me smile big time. was the best chorus sound I’ve heard. I then had to explore the lofi settings, fast triangle vibrato, medium sine with sea sick depth, and the slow square, all sound amazing. I have used this after a delay to give it a warped sound. I’ve also used this in front of my signal chain too just for the compressor! This pedal has such a warmth about it. I have had this pedal for many years and it still brings a smile to my face.

There are a LOT of pedals that can make you sound like an old record, tape machine or bitcrushed answering machine. A lot. Some have a wall of switches and options. Some cost as much as a guitar or two.

Only a handful, however, appear repeatedly on both studio and gigging musicians' boards. Even fewer remain there for years. Fewer still for decades.
This is one has.
But why?!

Well when Joel (Chase Bliss) took on his boss's challenge (Zachary Vex of ZVex) to create a circuit that did in realtime what the old sagging looper chip in the Lo-Fi Loop Junky did he must've scratched his not inconsiderable noggin and wondered what he could bring to the party.

The answer is a sweet-spot cocktail of:
- frequency shelving and modulation massaging that just pours warm, buttery smelted audio chocolate all over your crispy cracker playing and then caramalises it. It's like an addiction.
- compression that lies beneath everything, but in an audiophile grade in that is created by people who understand why it exists in the first place, and how it can be applied dynamically without the need for the musician to ride the dial...
- to this they've stacked an EQ that isn't an EQ but a Banxandall-esque attenuator and parametrtic boost to lift the thickened instrument into the needed area of a mix to still cut or blend where needed...
- then you've got the "lo-fi" dialability that shelves those upper frequencies that are the reason our ears are tiring of digital and seeking analogue retroactivity, all whilst adding a woofy sag that adds warmth to even the iciest shrillness...
- and finally making use of the modern cliche of lo-fi, the chorus/vibrato...but one with a breadth of frtequencies relevant to musicality and sweetness and not seasick noisemongering. 3 waveforms too...try hitting your notes bang on the squarewave edge for an amazing oriental oddity by the way.

Okay, look, this is the peanut butter and jelly, s'mores with oreos, tweed wrapped butterscotch secret weapon for all occasions and the creation of two of the most innovative minds (and ears) in the pedal world.
If you're reading this then you already know you're in need of one.

I'm hungry now.