Damage Control Solid Metal

Wonderful, very professional, in / out most remote outlet (that's great, we can let the pedal or the amp, it will avoid damaging the special power supply).
Two four-story tube preamp (AX7-12 is a dual triode), and your attention please: the first tube is used as preamp (gain or cascading classical) while the second is how it used amp ( either push-pull Class A / B).
It is intelligent, cascading two wins more than enough (first tube) and the push-pull brings warmth and dimension to its difficult to describe.
No background noise so your grater is correct (Fender refrain), which is still seen staggering rate saturax available.

UTILIZATION

It's very simple, nothing to do with my brand womanizer! Bulk is adjusted eyes closed, just the lyrics button that changes the curve is a bit nonstandard.
The boost (which activates the push-pull circuit) is much more manageable than, execrable, the womanizer. It not only adds volume, but the magnitude of the sound. This gives us two options: either a jump in volume for solos or with the drive set to easy on a different sound in structure, therefore not possible boost for solo ...

SOUND QUALITY

Firstly, it should settle the clean channel of your amp flat-not-quite sexy, or it is too much!
For the solid metal has such a temperament and such a range of equalization that would be a shame to distort. So, set the amp Raplapla enough, no worries to have.
2 channels in use is much better than Ben womanizer and tube factor finally used in circumstances. So you sound a bit steep-acid to rhythm, and a beautiful solo for consistency.
Without the boost I find it too small and not hot enough, besides the sustain is not great.
Cons with the drive by around noon and turned the boost, there is the great class. You have everything: warmth, definition, scope, precision, sublime bass and treble ends, it really any good at all good.
Nothing to do with the tube factor that bears absolutely no comparison (I know I have one).

OVERALL OPINION

You probably will not do blues, why Zont the liquid blues (which I think acquiring a hammer I am), but surprisingly the classical-modern rock sounds are fabulous musicality.
For edgy, with a grain scoop like and function like threshold in Beelzebub well I really think you're very, very happy but then!
In fact, I play this thing with a Apex2 a beefy amp and a trio is absolutely hellish. Say what you like, but the sound barrier it is physically something, then think about a drug earplugs ...
And I have not even tried other tubes in the solid metal, we can imagine even better results with a little patience.
I love this solid metal! Versatile but not slap what friends!

Update in late May: pedal more versatile than I thought, especially with a fender yngwie malmsteen is a scratching issue particularly low output level (but totally silent as well). The solid metal gives it the gain that otherwise is impossible without a ton of background noise, always with the boost option (always silently, that is amazing at this rate distortion) and heat / flexibility of Class A. In summary this is THE pedal it takes for this amazing guitar (usa scallopée rollercoaster, model 2007). In comparison, the traditional option-ts7 YJM-marshall tsl issue was the total area noise / sound / complexity, now it YJM-solid metal-tsl clean and noiseless sound of hell! Thank you, Damage Control!
The solid metal is very adaptable to any guitar, just adjust the drive to switch from one to another, in concert is amazing simplicity.
I await the end of the guarantee to experiment with other lamps in there, it's fabulous to have this option but the result is already fantastic!