Mooer

SOUND: https://www.youtube.com/watch?v=o5uVohEW2E8&feature=youtu.be Of all the preamps I’ve used, this is by far one of the best; and it makes other pedals sound incredible. There is plenty of warmth and dynamics in the notes, whether playing on the clean channel or the distorted channel. The clean channel sounds very full and rich, whereas the distortion is completely unique in its quality and tone while delivering some high-end sparkle. Both channels sound very amp-like and non-sterile, although it should be noted that the distorted Channel 2 is not high-gain (Metal)… it’s Rock-based or meant for less aggressive playing. Regardless, adding any high-gain pedals to the clean channel sounds marvelous and to the point that it now has become my number one choice of preamp. Even the cabinet simulation in this pedal works well enough that I did not use any other cabinet simulation or load box in the demo video. Although I have several preamps, and some are very specific in quality and sound (as found with Marshall plexi tones), there is something very different with the Blueno 020 preamp and Mooer really captured something great in this micro pedal. The term ‘organic’ has been over-used when describing tones and equipment (whether digital or analog), but it certainly remains true and appropriate with the Blueno 020. I ran other gear into this pedal, including a vintage fuzz by Doc Music Station and the Friedman BE-OD Deluxe and the results have been superior to other preamps that tend to produce a more sterile or thinner sound in comparison. OVERALL IMPRESSION: This preamp is based on one of the best sounding amps that has won various awards, including the Guitar Player ‘The Years Best Gear’ for 1997. Mooer’s Blueno micro preamp 020 emulates the Bruno UG30 and has done a fabulous job at recreating those superb cleans and unique distortions with dynamics and richness that makes this pedal a must-have. It sounds great on its own, whether playing Blues, Jazz or Rock, but when utilizing your favorite dirt pedals into the clean channel you will achieve full-bodied flavor that truly is amp-like. The built-in cabinet simulator seals the deal and whatever technology went into that surpasses what other cabinet sims I have on hand could do… the others sounded fine, but not nearly as good as the built-in cab sim found in the Blueno 020. At a price of $119 Canadian (about $99 USD), this is such a great investment if you’re looking for quality rich tones and a preamp that pulls all the details from your favorite pedals. EASE OF USE: The Blueno micro preamp operates very much like an amplifier. First, there is a basic 3-band EQ (treble, midrange & bass), with volume and gain knobs. Those are fairly straight forward, although I found I needed a lot more treble and far less midrange and bass to get the tone I wanted (very smooth and thick with cleans, but a bit muddy with dirt pedals if you try to push the mids or bass too much). The footswitch works within a dual operating mode, to be addressed later. The LED button serves two purposes, also addressed in this section. Thus far, operating the Blueno 020 preamp is straight forward – adjust the EQs and the amount of volume/gain (that desired and relative to how clean or driven you want it and whether using dirt pedals). Now, onto the footswitch and the LED button: as with most pedals, the footswitch turns the pedal on and off. However, if you hold down the footswitch for 2-seconds it then switches between Channel 1 and Channel 2 without shutting anything off. If you allowed the footswitch to act as an on-and-off control, then you need to access the Channels via the LED button. Now, if you hold down the LED button for 2-seconds the cab simulation engages, which not only sounds perfect with this preamp, but which makes it very useful for direct recording/playing to a soundcard, powered monitor or P.A., and without the need for a guitar amp or speaker cab. RELIABILITY & DURABILITY: Measuring 9.35 x 4.2 x 5.2 cm (DxWxH) or 3.7 x 1.7 x 2.0 inches, and weighing only 160g, the Blueno micro preamp 020 pedal feels heavy for its size, thus suggesting a steel chassis. The footswitch has a solid feel with a soft switch-over (no hard clicking) to turn a Channel on or off or to switch between Channels. Although close to the other knobs/controls and the LED light, the footswitch is set quite a bit higher to those smaller knobs/button to prevent any foot-stomping accidents. The EQ, Volume and Gain controls are small, but are of good quality; and their pots turn smoothly and without feeling loose. The input/output, including the power supply input, all are located low on the pedal (toward its base), thereby providing more clearance of a stomping foot. The Blueno 020 requires a 9VDC power supply with 300mA to function properly (connected in the back of the pedal), although the manual claims a 220mA draw (consequently, best use 300mA). @mooeraudio #mooeraudio https://mooeraudio.ca/product/micro-preamp-020-blueno/

SOUND: Although you can use this reverb + dual delay in a very subtle way (a bit of reverb or delay) you will be addicted to hours of play and experimentation as you turn up the mix and mess around with the knobs. You get eight types of reverbs and 15 types of delays, and you can stack these in any order for some impressive textures. The reverb and each delay has its own Tone knob, so that you can make things a bit darker or brighter, to better contrast or merge with your guitar’s tone. The reverb has a Shimmer knob, which can be applied to any of the reverb types. I really appreciate that feature since many reverb pedals have a ‘shimmer’ type reverb, but you don’t get that feature with other reverb settings. The quality of the sound is 24-bit, which means crystal clarity so that every detail of every nuance seeps through, and I found this true of both clean and distorted guitar tones. And there are some excellent (and very different) sounding reverbs and delays. For example, the Filter and Flange reverbs add some real dimension to a tone, and there’s also a Distorted reverb if you’re looking for some grit. Delay A also has a Fuzzy (or distorted) echo, and both Crystal and Rainbow settings sound incredible. Delay B has modulating echoes, but also a Galaxy echo that is totally unique and spacey. And for those purists there are Spring, Hall, Plate and Room reverbs, besides Digital, Tape, Analog and Dynamic delays. And one of the best features is the Freeze capability – when in Play mode, step on the reverb, or either delay switch, and the effect sustains so that you can play over top. This is like having a synthesizer sing out some incredible swelling tones and dynamics, even with some basic settings. Using an expression pedal further adds to the ambiance as you can assign any aspect accordingly, such as a delay’s time or the reverb’s shimmer, etc. One thing I should add, which I did not demo in the video, is that you can run the delays in parallel. In the demo I had one delay feed into another (and you can have either delay first in the chain). Conversely, you can run them parallel so that neither will affect the other, thereby producing a very different result. OVERALL IMPRESSION: One of the best ambient devices around, the Ocean Machine is highly addictive. I say that with some hesitation since you can use the Ocean Machine like any standard reverb and/or delay, adding just a hint in the mix. However, its real strength lies in its diversity and quality of tonal stacking. There are eight Reverb types, and besides the usual ‘Decay’ knob, you also can adjust the Tone while adding Shimmer (often reverb pedals have a ‘shimmer’ function associated with only one of its patches). There are two different Delays, each with nine types of delay (a few they both share, but unique delays for each). Both delays also have a tone control, and you can save patches, have different divisions (e.g., ¼ notes, ½ notes, etc.) or tap tempos for each, and there’s an expression pedal out so that you can really make things freaky. One of my favorite features is the FREEZE option, which sustains the reverb or delay until releasing the footswitch (and you can play over top the drone). If that’s not enough, the Ocean Machine is MIDI programmable, you can add a ping-pong effect to one or both delays, add a trail to the reverb and ‘merge’ the trails when switching effect types, alter the order of the reverb and delays (e.g., reverb + delay A + delay B… or delay B + reverb + delay A, etc.) and assign an expression pedal to any of the elements (of a reverb or a delay). And then there’s a Looper that gives 44-seconds of recording time (dub as much as you want) and then you can reverse it, play it at half-speed or both. With a stereo-in and stereo-out and adjustable Global EQ settings, the Ocean Machine is a solid buy at $345 Canadian (approx. $299 USD). Overall, there are so many features that purchasing a reverb and two delay pedals would not give you as many options and easily would exceed the price of this one unit. Mooer has set a standard with the Ocean Machine. GENERAL USE: There are two independent Delays and a Reverb in the Ocean Machine. You can select Patch mode or Play mode (settings can be altered in either mode, although Play mode allows for Tap Tempo of the delays (and these can be set independently with different times), as well as the Freeze mode described below. When the unit first powers up you’re at a position you last left the Ocean Machine (it remembers where you left off). There are 24 pre-made patches that you can scroll through (up or down via the Delay switches), and if you make changes in Play or Patch mode you can save it to one of the patch numbers. The demo video included with this review addresses many of the features. The Menu knob allows access to the various aspects, and in there you can alter the millisecond timing of the Delays, if you want to add a Tempo (e.g., quarter-notes, quarter-notes doubled or tripled, etc.), whether you want to add a ping-pong effect to either, what order you want the two Delays and Reverb, etc. If in Play mode you can turn the Reverb and Delays on and off (allowing you to stack the effects while playing); otherwise (in Patch mode), the two Delay footswitches control the scrolling of the patches up or down. When in Play mode, stepping on the Reverb and Delay B footswitches simultaneously enters you into Tap Tempo mode. Also, with either Patch or Play mode stepping on both Delay footswitches enters into the LOOP function. When recording a loop you have 44-seconds of record time and you can add countless dubs. This looper functions easily – one click to begin or end recording, another click to add a dub, two clicks to stop playback, and a hold of the footswitch to cancel (erase) any recording made. During playback there is a Reverse switch (to play the recording backwards) and a Half Speed switch (to slow the recording way down for some cool and slow reel-to-reel effects. Of course, you can jam your guitar to the recordings and while making changes in the Reverb or dual Delays. One of the coolest features is the FREEZE option (when in Play mode). You can hold down the Reverb or either Delay footswitch and that effect (e.g., plate reverb, tape echo, etc.) will continue to sustain until releasing the footswitch. You then can play over top the drone, which actually can be quite interesting and lively in detail (particularly when you add Shimmer to the reverb or use an interesting delay like Galaxy). And besides having Global EQ settings you can control both input and output levels for easy integration with other gear. OTHER DETAILS: About the size of three regular sized pedals (since it houses a reverb and two independent delays), the Ocean Machine is of normal size for what it offers (including an LED screen). The dark blue metallic powder coated paint, on a steel chassis, is of good quality and structure. The three footswitches are far removed from the knobs and any other buttons are positioned low onto the chassis. The aluminum knobs are solid. The Menu, Reverb and Delay knobs ‘click’ in place and with each selection. The smaller sub-knobs (e.g., Reverb’s shimmer, decay, tone and mix) and their associated pots turn with good quality. The LED is clear to see and not overly-bright (blue lettering on a white screen). Each footswitch has an LED around the base (green for reverb, blue for delay A and red for delay B), which indicates whether the effect is on or off (excellent for dark stages as they are very noticeable and not too bright). Both delays also blink based on their tempos, e.g., 60 bpm = blinking at 60 bpm. All connections are made in the back of the unit, which saves on some pedal space, besides keeping any cables and the power input out of harms’ way. The unit does not work on batteries and does require 9VDC 500mA power supply.

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SOUND: The Black Truck offers plenty of tone sculpting possibilities. The Hi-Gain component, for example, allows you to either hump or scoop the midrange, besides there being a Tone control and a Tweak control (that shapes and adjusts the lower frequencies, viz., tighter or heavier). The Hi-Gain channel then can be affected by the Overdrive module, which has a Tone control, and if you decide to use the Compressor feature, then it, too, has a Tone/EQ feature. And if that wasn’t enough, there is a five-band Graphic EQ module that you can apply pre- or post- OD/Gain. And so, imagine having the Hi-Gain channel set where you want, then in the middle of a song you step on the OD for added gain, but also a different tone, and then further in the song you apply a different EQ (and pre- vs. post- will give different results). And then there’s the Modulation module that allows you to add Tremolo, a Phaser or Flanger, any of which has a ‘color’ and ‘range’ control for even more tone shaping. And to top it off is a digital Delay/Reverb (you can use either or both in the mix). Now, when all is said and done, musicians are most interested in the sound and quality of the distortion or the Hi-Gain module. It is an analog circuit, and so it sounds pretty good, but the best way to describe it is a very modern and grainy tone. You definitely can get some hard rock sounds from it, but it certainly feels at home in a metal setting. You can go mono or stereo out, and if you use the headphone jack as your mono out there is a built-in cab-sim so that you can go direct to a mixing board or your DAW. The accompanying demo video showcases the Black Truck in a number of settings and with various parameters (although it just scratches the surface in terms of what is possible). OVERALL IMPRESSION: Pricing may vary, but currently the Black Truck is available in Canada for $352. Designed for hard rock and metal musicians, there are no menus to scroll through and it functions with actual knobs and switches. It is an awesome buy and for several reasons. First, it’s a great fly-rig for gigging musicians who want to keep it light with a lot of effect choices and easy hookup to an amp or PA system. Second, home recording musicians will find the analog quality with 24-bit digital ‘space’ (delay/reverb) excellent for direct DAW purposes (besides the headphone jack for quiet practice or for mono out with a cab-sim) and realistic tone. Third, those who may be on a budget, you will get a lot of ‘gear’ in a single unit that otherwise would cost 2-3 times as much if the modules were purchased separately. You get a Compressor, Overdrive, Hi-Gain, a Graphic EQ, Modulation (tremolo, phaser and flanger) and Delay/Reverb. Best yet, you don’t need a pedalboard to contain or accommodate various pedals as they integrate into one simple unit. Each component or module of the Black Truck has a lot of flexibility, including volume, tone, gain controls, depth, tap tempo, noise gate, guitar tuner, stereo output and a lot more. Factor in the FX Loop, which you can add to your amp, you also can plug in additional preamps (Mooer has 20 mini-preamps to date) to increase your tonal palate. It does not come with a power supply and does require a minimum 9VDC 1000mA adapter (Mooer has a 2A adapter for $29.95 Canadian), but it does come with a protective carry case. GENERAL USE: There is a lot of flexibility with the Black Truck, including how to hook it up straight to an amp or PA system (and whether to use it in an FX Loop or to integrate other gear in its FX Loop), and so I will provide some simple guidelines. If you want to keep the tone subdued and fairly clean, you would use only the Overdrive module on low. You can add in the Compressor if you want to boost the signal or even-out the loudness of your tone (and add a bit of sustain). Only when you want to get more edgy would you kick in the Hi-Gain, which sounds fairly meaty just at 9-o’clock, but nothing over the top. As you approach 12-noon, the Hi-Gain setting really soars, and beyond that you may want to apply the Gate (which is actually quite good and does not sap your tone or sustain). The Overdrive, Compressor and Hi-Gain components all have their own EQ or Tone controls, and so there’s plenty of tone shaping possible. The Hi-Gain also has a Mid switch to either add or scoop the mid-range frequency, as well as a Tweak knob to tighten up or fatten the low end. There is a 5-band Graphic EQ (100 HZ, 250 Hz, 1,4 kHz, 4K Hz and Level) that allows you to cut or boost accordingly, and you can apply it pre-gain or post-gain, depending on how you want to affect your tone or affect the OD/Hi-Gain elements. The Modulation module has a lot of possibilities, and includes Tremolo, Phaser and Flanger. With either of these you can control the ‘color,’ ‘range’ and ‘rate,’ thereby giving you more sweep, less/more low and high end to the effect, the degree of mix, etc. This module also includes a Rhythm Knob so that you can adjust the sub-division or tap tempo division of the modulation, such as a 1:1 ratio (very long and sweeping effect) half, quarter, eighth notes, triplets, sixteenth (for very rapid pulsating) or random. The ‘X’ setting produces random sub-divisions if you’re looking for something more off the wall and unusual. The Delay/Reverb module is digital and very clean. I like this module since you do not have to choose between Delay or Reverb (although you can), but can mix the two. Both elements have the usual controls of mix, and how much decay/feedback/time you want. As with any multi-effects unit there are dozens of possible combinations, and so operational instructions beyond this point is moot. Hook-ups need to be considered as well. There is an FX Loop that can be integrated into an amp, or you can bring in other effects (sandwiched between the OD/Hi-Gain and the other modules). This is a great place to add other preamps to diversify the Black Truck’s tones. There is a Stereo Out (although you can choose mono), as well as a headphone out that you can use as your mono out as it also includes Cab Simulation. The Tap Tempo remains active (the light around the footswitch pulses to its bpm), and so at any time you can tap in your tempo and it will affect the Delay/Reverb and Modulation modules simultaneously (or you can affect only one of the modules with a different switch operation). To access the guitar tuner, hold the Tap Tempo down for a few seconds, tune up, and then step on the Tap Tempo to return to the effects. You also can save 5 presets. To do so you switch on or off any Module you want (or don’t want) and then hold down one of the footswitches (1-5) as to where you want to save that preset. Keep in mind that the preset only saves what Modules are on or off and not where the knobs/toggle switches are set. To flip between Live mode and Preset mode you step on the Tap Tempo and footswitch #1 simultaneously (thus putting you in Preset mode) and then step on the desired preset (numbers 1-5). OTHER DETAILS: Measuring 370 mm (D) X 96 mm (W) X 51 mm (H) or 14.5 x 3.8 x 2 inches and weighs 1.23Kg (2.7 pounds), including the weight of the carry case, the Black Truck is highly portable for gigging musicians, but also a space saver for those wanting a lot of gear in a small package (and with footswitch accessibility). The six footswitches are ‘soft’ switches that do not produce any noise (clicking) when engaged. Any knobs or toggle switches located near any of the footswitches are set lower and are safe from any stomping feet. LED lights are built into various knobs and the LEDs (status lights) associated with the footswitches are located around the base of each switch. All knobs and toggle switches feel solid during operation, and the knobs’ pots feel smooth and of quality construction when turned. All mini-knobs for each Module (e.g., volume, tone and EQ of the Overdrive) have built-in lights so that you can see the settings in a dark room, which partly is a safety factor (you can see where the Black Truck is located), but certainly convenient if needing to change any setting. All inputs and outputs are located in the back, including the power source, headphone jack, etc. Battery operation is not supported and you do require a minimum 9VDC 1000mA power supply, and so be certain to have enough juice flowing or you could damage the unit. Mooer has an optional 2A power supply (PDNW-9V2A-MP). The padded carry case with handle is a nice bonus, for easy transport, but also to protect the Black Truck en route to a gig. In terms of size, think of a flute case.

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The Mooer micro preamp 009 -ENGL Blackmore is a great preamp! The cleans are fuller than most and the Hi Gain channel is articulate and bright. I compaired it to my AMT Elect E-1 (ENGL Fireball -JFET preamp) and found it to be very dynamic. Awsome value. I got more chord clarity from the AMT but the Mooer was brighter & w/ 2 channels. I boosted them both w/ a TS7 Tube Screamer and it lit it up. Solos are nice and present in the mix and harmonics are abundant. The mids can be cut heavy w/o an extra eq I found! m/ Classic Brutal ENGL tone! Can be used to turn a good amp into an entirely diff sounding amp thru the FX loop return.

I bought it used for home purpose because it was a bargain and because I like tweaking tubes amps. My cab with a jensen CR10 was already powered by a very powerfull d class amp, I was happy with it behind my modeler, until I used this thing instead. It gives right away this "cooked amp" feeling, this thing that no modeler can really reproduce (and by the way it gets very hot quickly). No need to push the gain or make it loud, it's deeply there anyway. I took the time to take it appart and trace the pcb for schematics. It's available on diyaudio. Components and build are fine. On the scope it clips at 7V / 8 ohms (3W rms) and is very linear below that. As I said previously, as every A class tube amps it gets very hot even idle, and this can lead to issues especially on summer, as tube sockets are soldered directly on the (decent quality & design) PCB.

UTILIZATION This is a small pedal. If you do not like small pedals, then this will not be for you. Don't buy a pedal that you know in advance is small and then complain about it's size. Even though these are small pedals they are not too difficult to dial in, unless you're inexperienced and/or have fat sausage fingers. It would be nice if Mooer had put small white dots on the two smaller knobs, but that is easily rectified with a little paint. SOUND QUALITY I'm a power seller on eBay for vintage music equipment, especially pedals, and I've bought and sold literally thousands on them at this point. As such, I've had the opportunity to try out more rare, expensive, and obscure pedals than the average person ever will. I'm fairly adept at judging what is a good sounding pedal and what isn't or what is a good value for the money and what isn't. Personally, if you're looking for a cheap auto wah and can find one of these used in the $40-$50USD range, then pick it up. Are there better and more expensive pedals that do the same thing? Sure. Of course. But don't ignore the Mooer Funky Monkey just because of it's size or price; it's a good pedal and I like it a lot. My guitars: 3 Fender American Standards, a 20th Anniversary 1974 Les Paul Custom, a 1981 Les Paul Standard (Tim Shaws), and a Rickenbacker 330. My amps: A 1977 50w Marshall JMP MK.II, a 1984 100w Marshall 2203 JCM 800, a 1987 Marshall 2558 Silver Jubilee 2x12" combo, a Mesa Rev. G Dual Racktifier, a Mesa Strategy 500, a Roland JC-40 Jazz Chorus, a Vox AC15C1, and a Peavey Bandit 65. With all of that in mind, again, I think this pedal is a really good pedal for the price. To my ears, through my equipment, it sounds good and I like it. OVERALL OPINION Mooer pedals can certainly be hit or miss, but in this case I think they did very well with the Funky Monkey. I've owned this pedal for over 4 years now and I don't think that I'll ever sell it. It's not something I use a lot or on a regular basis, but when I need this specific sound it does it's job and it does it well. This is the only Funky Monkey that I have ever owned, as I usually don't deal with too many modern pedals as I do vintage, and I've never felt the need to sell it. It does what I need it to do and it was cheap, so that's a win/win in my book.

SOUND: To describe the Mooer Preamp 019 you could definitely say it is ‘amp-like.’ A true preamp with cab simulation (which you can turn off), the sound is authentic, rich and dynamic. https://www.youtube.com/watch?v=YTcfhbyqWNo&t=1s The Clean channel is crystal clear, no matter the 3-band (treble, mids & bass) EQ settings. Using a lot of treble does not make it harsh and using a lot of bass does not make it muddy. Overall you can achieve some great classic rock lead tones on Channel 2 (high-gain channel), whereas Channel 1 (clean) works well for both undistorted passages and when you want to integrate your favorite distortion/drive/fuzz pedal. The cab simulation aspect is impressive, as well. Often I use a different brand of cab simulator when reviewing gear (recorded direct to DAW), but the built-in cab sim in the Preamp 019 sounded superior and a better match. On a related note, although I have used a different preamp when testing pedals, I found the Preamp 019 produced equal, yet different results. What I mean is, when driving a fuzz or distortion through the other brand of preamp, you would get a particular sound (obviously). When driving those same pedals through Preamp 019 those pedals, too, sounded very good, yet very different. This makes sense since every preamp has its own tonal characteristics and the same dirt pedal can sound very different with different preamps. Since Mooer has 20 different preamps in its repertoire, it could be an addictive and enjoyable trend in ‘chasing the tone.’ In a different review I’ll be looking at Mooer’s Preamp 020 (based on the Bruno UG30) and I will include how pedals sound through that amp. OVERALL IMPRESSION: Mooer has established itself in the effects and audio industry over the past few years, and with this being the first review I’ve done on one of its products I can see (and hear) why. Now, the Preamp 019 is considered by Mooer to be “a faithful recreation of a 1967 50 Watt British classic, sampled from the personal collection of Tracii Guns in 2017,” and I’m not one to argue otherwise, nor do I have the experience to challenge that notion. What I can say is that this little pint-sized pedal delivers an enormous amount of tone that sounds very real and dynamic, just like an amp/cab should. And having reviewed other ‘Marshall-type’ gear, the Preamp 019 does have that characteristic in spades. You get crisp cleans, the overdrive channel is very warm, yet punchy (with a ton of harmonics and dynamics) and the tone quality continues to sound great as you roll off the guitar’s volume. Although you can run the Preamp 019 direct into recording software or a board, it also was designed to be put through your amp’s effects return – in doing so, you not only get your amp’s sound, but when the Preamp 019 is engaged you resort to a Vintage 1967 Marshall 50W Head! In fact, this is how all the Mooer preamps are designed to work, thus offering musicians an amp sound they like at a fraction of the cost and size (weight!). EASE OF USE: The UK Gold PLX Preamp 019 operates very much like an amplifier. You have a basic 3-band EQ (treble, midrange & bass), with volume and gain knobs. The footswitch offers a dual operating mode, which I’ll describe later. The LED button also serves a few purposes, as I’ll explain. So far, much of this is straight forward – tweak the EQs and the amount of volume/gain desired (although keep in mind that a lot of Gain actually sounds pretty darn good when you roll back your guitar’s volume). The most advanced part of this pedal is the footswitch and the LED button. The footswitch can turn the pedal on and off, whereas the LED button allows you to select Channel 1 (clean) or Channel 2 (overdriven). However, if you hold down the footswitch for 2-seconds it then switches between Channel 1 and Channel 2 without shutting anything off. And if you hold down the LED button for 2-seconds you engage the cab simulation (which is highly useful when connecting direct to a soundcard, powered monitor or P.A., and without the need for a guitar amp or speaker cab). RELIABILITY & DURABILITY: Measuring 9.35 x 4.2 x 5.2 cm (DxWxH) or 3.7 x 1.7 x 2.0 inches and weighing 160g, Mooer’s Preamp 019 requires a 9VDC power supply with 300mA to function properly, which is a lot of power for such a little guy (then again… it’s a preamp and they push a lot of power). The pedal feels heavy for its size, and so I presume the chassis is steel. The footswitch is solid in feel, but has a soft switch-over (no hard clicking) to turn a Channel on or off or to switch between Channels. The footswitch is somewhat close to the other knobs/controls or the LED light, but the switch is set quite a bit higher to prevent any foot-stomping mishaps. The EQ, Volume and Gain controls are small, but appear to be of good quality; and their pots turn smoothly, as well. The input/output, including the power supply input, all are located low on the pedal (toward its base), thereby providing more clearance of a stomping foot. https://mooeraudio.ca/product/micro-preamp-019-uk-gold-plx/ @mooeraudio #mooeraudio