This is a an overdrive pedals runissant and boost compltement indpendants.
No treatment numrique here, no light either, so transistor technology type, but carefully select components and true bypass for both sections.
The MODEL I possde as one of the first to have made t (n4), it does not contain any printed circuit has a t cbl perforated plate, wire thread, trs own fawn. However, the main component of REFERENCE (block amps) Has gum, which prevents the reproduction of this marvel.
Making power is in standard format (boss / ibanez ...) but maintaining the plug into the slot is not firm enough, the gaffer prvoir live to avoid an accidental unplug.
The use of the pedals is very simple, the COBRA is divided into two sections:
1. OVERDRIVE with the usual rglages DRIVE, TONE and VOLUME
- On the rglage DRIVE trs effective position 0 Submitted sound just dirty, and fawn trs drive increased gradually over the first 3 quarters of the race knob. On the last quarter, the drive increases fawn that grows exponentially to the fuzz, it is therefore with a palette of SETTING THE trs drive off.
An internal switch (ncessitant the opening of the pedals with a screwdriver) can range DCAL rglage the drive towards more extreme values, the point 0 as dsormais a pretty straightforward drive.
- SETTING THE TONE The music is fairly limited but, in the spirit cohrence of COBRA, the compliance of the instrument.
The range of rglage plutt BOOST is tense. In plaant button noon, adj good diffrence between the untreated and the IDAL to boost a solo passage of rhythm.
- Switching the boost a long APRS PERIOD of inactivity (ten hours?) Submitted an abnormal amounts of time for sound, a sort of ramp effect that occurs once. Interlocking / dclenchements following does not suffer from this problem.
- Switches the respective sections of Overdrive and Boost trs are close (see photo), which can cause nuisance switching live, prfrer the ballet shoes with creepers.
The sound is close to the Holy Grail of Contents guitarist overdrive. The pedals 100% respect the tone color of the instrument. No band frequency drives is forgotten, no frquence is accentuated Fawn artificial either. The dynamic is also canned. The pedals did what he asks is an overdrive and acts as such. No compression, no nasal sound like some models rputs however, no phasing effect depending on the position of the tone. The small box restores what he sends.
The grain of the overdrive is amazingly warm for such a small box EUND lamps. All this sounds Fawn ultra-natural, sharp cutting edge if we send, if we send the crmeux crmeux is pure bliss.
The boost has apparently t Designed with the same concern for Fidler to CHARACTERISTICS of the instrument. He plays the rle of boost and the fact trs well. No loss in the bass, I even feel that the bass is more lgrement boost the treble, is whether the phnomne is rel or psychoacoustics.
I use it for more than 6 months, RPET, recording, live and fulfills its function with flying colors. Scne on, I use it as his base, constantly on overdrive and I activate the boost that ncessaire ds. APRS had jettisoned a good number of various overdrive and tubescreamers, I am hooked to it and I no hsiter Rasht. I heard that the guys are in full dveloppement MOJO, and it will be possible to try ending for their other pedals that Paris, which is really good news.
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thierryvb's review (This content has been automatically translated from French)