Tone Report Weekly Issue 114 - Page 51

like some forgotten piece of Soviet-era technology. The knobs are unlabeled, which is a bit of a pain, and requires a bit of blind tweaking even with the manual to fully understand. There are controls for Volume and Gain (which is also sensitive to pick attack), a Bass cut, a Treble control, and a Headroom switch to toggle between a more compressed, softer character, or a brighter and clearer character. missing here, even with the Treble maxed out. This pedal would be best paired with a brighter Fenderstyle amp, as using it with a darker amp would result in an absolute mudfest. Adding a bit of delay, and tweaking the controls further, I was really surprised at the gain structure of the Savior Machine. As advertised, the harder I dug in, the more dirt spat out of my speakers. I could see the clarity peeking out from under the blankets If I had to best describe of midrange, the harder the sound of the Savior I picked, the more clarity Machine, I would say it’s came through. I had good a darker Soul Food-style overdrive, with a mid-heavy fun really thrashing at each note to try and coax out Marshall-style tonestack. the clearest tones possible. I found it very hard to get If you like your transparent that cutting, clear, almost hollow overdrive sound with overdrives on the darker this pedal, but it is marketed side, and you find most of the pedals on the market to people who would enjoy too bright or too jangly, this a darker overdrive that is most definitely the pedal isn’t covered in mud. Using for you. a bright Strat to try and coax out some Butler Tube Driver or Boss BD-2-esque tones didn’t really go as planned. A lot of the highend clarity—so important to a good overdrive, in my opinion—was unfortunately WHAT WE LIKE Very unique gain structure with pick attack. Probably the only overdrive I know of that can work after reverbs or delays. CONCERNS Without labeling, controls can be confusing. 51