mistake, or every little
movement of a finger
across a string, in the
way that some “extreme”
distortion pedals often do.
Although the distortion
has many merits, it’s really
the pedal’s equalization
controls that set the
Flextortion apart from the
crowd. The pedal features
not just one, but rather
four equalization controls
built into two knobs. Lowand Mid-range controls
are on the leftmost side
of the pedal, while Highrange and Mid-range scoop
controls are on the right.
Unlike the many
disappointing built-in EQs
this writer has tested, the
Flextortion’s EQ delivers
as one hopes an EQ would
deliver. In other words,
when a knob is turned,
it’s easy to discern the
alteration of the effect’s
tone. For example, turning
up the outer Low knob
(a smaller, inner knob
controls the High end)
will significantly boost the
thickness of the distortion.
Likewise, turning the High
adds an obvious amount of
high end. The Mid-range
scoop is a fun control
because it allows the user
to “hollow out” her tone
or simply to give it a nasal
bite. It actually acted a bit
like a wah pedal’s EQ
when turned back and
forth quickly.
Of course, the Flextortion’s
electronics come housed
in a tastefully adorned and
rugged metal housing.
Its footprint is small, so it
won’t take up too much
space on the pedal board.
The Flextortion might not
seem to have the most
dials, but it’s definitely an
effect that will offer more
tonal range than so many
other distortion circuits.
WHAT WE LIKE
Four-band EQ that’s
actually useful and
responsive, built upon a
tight and rich distortion.
CONCERNS
It would be nice if the EQ
knobs were constructed of
metal (as are the Level and
Gain knobs), particularly
because they sit just an
inch from the foot switch.
ToneReport.com
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