I struggled to do with the
original 250. The no-clipping
setting, ironically, came very
close to the original 250’s
tonality—it was brighter
than the Green channel’s
Silicon settings, but still
compressed when pushed.
I liked its low-wattage-ampon-fire sound at high-gain
settings, but I also liked its
round, bouncy feel with the
gain low and the output
up. The Germanium setting
is a little brighter than the
Distortion+, but I found this
to be a good thing, as it
livens up the squishier, more
compressed character of
the distortion.
daunting at first, but I
quickly got the hang of it. If
I wanted to switch between
my clean tone and the FET
setting, I just made sure the
Gray Channel was set to
Red before a song started.
If I wanted to use the nodiodes setting for low-gain,
same deal. If I wanted to
use a low-gain setting and
a high-gain setting in the
same song, I just started
the song with the pedal
engaged and toggled midsong. These are all things
even I could manage during
a gig. The box is smaller
than it appears, and it’s
got top jacks, so it doesn’t
eat much pedal board real
On the Red channel, I
estate. If you want lively,
adored the LED setting
open gain in a variety of
for high gain; the top end
flavors, you could get a lot
was present without being
of mileage out of the Gray
harsh, and the full low end
had a great bloom. The FET Channel.
setting was a little wilder,
and, when cranked, was
almost like a Germanium
Fuzz Face, but with the
250’s characteristic less-ismore compression. In other
words, I had a lot of fun.
WHAT WE LIKE
Various flavors of unbridled
distortion without excessive
EQ coloration.
CONCERNS
None, as long you don’t
need a more manicured
tone. You, like me, might
wish the FET and LED
settings were on different
channels, but you’ll get
over it.
The Gray Channel’s twochannel, two footswitch
configuration seemed
ToneReport.com
65