You should know that there are not many components in this kind of pedals, the circuit is just stupid, but what makes the price and that the components are sorted and "hand" tested to guarantee the same rendering on every pedals. It is made entirely by hand elsewhere.
Level settings: gain a knob, a knob volume, jack in, jack out, the shell is cast aluminum and there is a plaque to unscrew to change the 9V battery. There is no external power supply connector, but it must be able to tinker quite simply.
I put 6: Simple and efficient solid but not super versatile and lack of power supply connector (which was not very complicated to add).
Manufacture super strong. It seems that this form was chosen in order to support the switch easily whatever is the "angle of attack" by the foot, OK why not. And "Aillet" protect the knobs kicks nuisance finally this contributes mostly retro futuristic design that impresses the gallery when we leave the beast (but I do not yet speak of what it is when it engages !).
To use the bin is the Roots: not a lot of adjustment so you will not use your head too much, and the pedal delivers its character to all the sauces.
So I did not try masses of different saturation pedals, I really wanted a good sixties fuzz and much much more dirty: I tested the big muff, and almost all other rockets by Roger Mayer.
The big muff is between fuzz and distortion and can therefore be assessed only by itself, I love it but I preferred a true fuzz roots, which could mix with crunches and overdrive the amp for more sound panel: in general I prefer mixing several simple things than turn a knob on one pedal only!
Then over the sounds of Roger Mayer were modern and I liked less, but this one Ouahou! Some say it's the most garish, it gives a lot of color in the upper register, it is true, but also a great big boost in the bass, with a grain, but then a grain ...
We can already get very different sounds with the gain volume knob alone, but the bottom is really the land of the Doors, Jefferson Airplane, Janis Joplin ... (Ac not please everyone)
By combining the crunch or overdrive the amp, you can very easily arrive at 70's sound to sounds, or to Hendrix's style (since this is what he was doing). One can easily find big muff sounds.
In addition to pushing the distortion behind, we hear more pedal too but it serves big boost cradingue, great for grunge (Smashing Pumpkins also boosting their distortions a la the fuzz) or for the dirty metal. Used on a peavey 112 (or amp like that), it can trigger for example instead of pressing the switch "more drive": it is about the same result (no body) but much typed, a little dirty but I love it!
But be careful because like I said there is too much damn load in the low and it can make the slurry very quickly on some amps with some adjustments.
Well the price is impressive for a distortion pedal as simple but damn the sound is there! For those looking for the dirty fuzz anyway! Of course one should not be a fan of metal solos dynamics.
For the dirty grunge noise (Sonic Youth, Dinosaur Jr. ..) solo or sixties, it is perfect. For rhythm must go easy on the gain, but it can also go really well, especially for blues.
But it is done only for the dirty blues / rock : solo sounds for funk, soul, reggae, plug in there on a fender and slightly crunch which will bring tears to his mom! 'cause the sound is roots, full well, though singing ...
So to summarize it is not a versatile pedal, but you can still get out quite varied stuff if you combine with other more or less light saturation, and when you love this kind of sound is the splayfooted ! For burning his Stratocaster in public in monterrey, it is also quite appropriate.
I have not tried many pedals but I knew what I was looking for and I am very happy with my choice!