Sabbadin himself). One is a
run-of the-mill true-bypass
switch, while the other is a
tappable “Deform” switch,
only engaged while players
actively press the switch;
once one lets go, it goes
back to normal. This Deform
is a sort of self-oscillation
for the fuzz, and sends it
spitting into faux bit-crushed
madness, depending on
where the Synth control
is set.
The tone of the fuzz is very
much silicon, with a bright
and aggressive top end.
However, it is a little more
subdued then most vintageinspired pedals I’ve tried,
which in the Mostro’s case,
is a good thing. I usually
like my fuzzes wild and
untamed, but the more
modern voicing of this
fuzz, along with the more
unpredictable “synthesizer”
effects, may not be
incredibly conducive to
noise-free musical operation.
On the lower-gain side of
this pedal, I was pleased to
find that the fuzz responded
well to my pick attack and
volume knob, and had a nice
high-end gnash to it, with
just enough body to help it
cut through a mix. Playing a
couple high gain Radiohead
licks, I kicked on the Deform
at unsuspecting moments to
sort of jar myself out of my
fuzz-induced reverie, which
was quite fun and seemed
to match the context of
the seminal experimental
rock group. It never really
turned dark in most of
my testing, but the surely
twisted Deform setting will
undoubtedly knock both
players and their audiences
out of their comfort zones.
WHAT WE LIKE
Tight and bright silicon fuzz
with just the right amount of
body to stop it from being
shrill. Deform setting quite
a bit of fun for bringing on
the unexpected.
CONCERNS
Can be a little onedimensional at times.
Finding a sweet spot will
take some time.
ToneReport.com
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