with the Fuzz Shape,
it enables this pedal
to cop almost any
gain character
you might need.
Broadly, I loved the
Micro—it’s articulate,
present without being
harsh, dynamic, and
incredibly versatile.
The Flat EQ curve
and mid-cut settings
were both great with
the neck pick up. The
mid boost, despite
the manual indicating
it’s reminiscent of a
TS808, seemed to boost
the lower mids rather
than the more focused
upper mids of a Tube
Screamer; between
this, the generous low
end and more open
top end, the Micro
doesn’t really do what
a Tube Screamer does,
but it does a great
job of fattening up
bridge pickups. The
first bass boost (called
“Santana”) was a little
dark but, with enough
gain and the Drive Tone
cranked it offered thick,
responsive sustain. The
Treble boost setting is
subtitled “A.M. Radio,”
and it does have a cool
band-pass effect that’s
reminiscent of a lo-
fi transistor radio, but
what it really reminded
me of was the mid-‘60s
hits that introduced
the world to fuzz.
Depending on where
I set the Gain and Drive
Tone I was able to get
great Fuzzrite, Fuzz
Face and Tone Bender
(MKI and II) tones. The
mid-scoop setting is
subtitled “Muff,” and
it gets the EQ just
right. That said, I had
to max out the Gain to
approximate Muff-like
levels of sustain but
it was doable.
old-school fuzztones,
and EQ options for
virtually any rig, all in
a teeny tiny package—
next time you have
a dirt need, may
I suggest you check
out the Disnortion
Micro?
WHAT WE LIKE
So flexible, so dynamic,
so articulate, so small,
so inexpensive!
The only setting that
didn’t seem obviously
useful was the second
bass boost setting; it
was too dark at any
setting, with any pickup,
but maybe I’m just
an old fuddy duddy;
regardless, I had five
other settings that were
all useful. So, to recap:
dynamic overdrive,
articulate distortion,
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