Tone Report Weekly 181 | Page 47

Drive territory, the unit’s power showed itself. At the noon Drive position (Treble down low), the unit added a bit of color, mainly to chords and double-stops. I didn’t sense that my signal was particularly compressed, but I eked out a little more life from sustained notes than otherwise. At even higher Drive levels, the Cranberry’s distortion was short and punchy. I rolled back the volume knob on the guitar just a bit for a cleaner sound— it’s still a bit dirtier than full volume in lower Drive settings—and rolled it up for rich, full overdrive even at low Treble settings. I was impressed by how well the Cranberry handled open chords at its highest Drive level. Too often, pedals can’t quite handle the harmonic complexity of a full major chord, for example. The pedal will pump out a kind of mush that’s recognizable as a major chord, but just barely. The Cranberry, one the other hand, remained transparent so that I could strum major chords without losing their character. The tiny Low control added a bit of low end, but the difference between settings was rather subtle. Moreover, adjustments were made more difficult by the lack of a visual guide on the control itself. Unlike the topside knobs with their indicator strips, the Low control is on a side-mounted trimpot. Fortunately, I didn’t need to remember which setting I preferred for a given song. Perhaps in future versions of the Cranberry, a more intuitive Low control could be included. real estate on crowded pedalboards. And, given that these pedals are so compact, I’m beginning to think that OneControl could begin a successful “collect them all” campaign for tone hounds across the land. WHAT WE LIKE Transparent, tastefully full overdrive in a small package. CONCERNS The Low control lacked markings that would show the current setting. Despite my minor concerns about the Low control, I felt that the little Cranberry Overdrive delivered remarkably transparent distortion in a no-nonsense way. Its small footprint makes the unit desirable even to musicians with limited ToneReport.com 47