Setup is very simple, moving from one channel to another with a switch and activate the effect with a second, you can of course change with the saturation effect off. The knobs are a bit light, however, and are quick to turn a kick distracted ...
The metal shell mirror is super class, but super messy, it keeps track and dust with it, and in addition it shows. By loupiote against the blue in the 12AU7 is really fun ... it's still a good gadget but it's class without too much inconvenience, let your next "jacky" take over.
The manual is very basic, it's an A3 sheet folded into 8 languages with 12 on it, but no preset buttons described one by one. The switches are conveniently spaced so that we can press the two together that really having decided not by accident.
The volume buttons are big and gain and can be easily turned with the foot's practice, Eq much less, but in fact it is better ...
In general we feel that the distortion is generated by a lamp and not by transistors. It was not the breadth, depth, feel and the warmth of a distortion amp lamp, but it will be very close, especially in an all-tube, and a mix that we see the fire. The grain is usually very good, saturation very well done, somewhere between Marshall and Vox, very surly and sharp but the gain for rock cut, a lot of body and thick, very medium and large, we out very easily in a group and repeated on a tube amp is a joy.
According to the micro channel overdrive does not begin to clean but have a slight crunch and progresses until a rather large grain, close to a vintage distortion, but it is still in overdrive. Ideal for all that is very saturated, but before 1975/80. At low levels it is also very playable, but overall it's pretty cold and a little metal so it will not so much mellow bluesy crunch, crunch is a surly reminiscent of AC30 top boost, but with a gain close that of a plexi as it saturates much more.
The distortion channel has a button that allows voice to act on the medium to obtain a distortion vintage or modern, the extreme positions being almost unplayable (as the medium dirty, or not at all the meds) there is a range of comprehensive distortion sound, moving from an old to a Marshall's near-Engl (less bass and gain). The gain on the bottom or near bottom, the palm mute are not hyper transcendent, it's more rock than a foot of metal for sure, cepandant we can always do a little with it, but we can not Seriously, go beyond a saturation DICO RATM or Manson for example ... Rock so there is not enough bass for more extreme styles, although known to be very clean with a game quite serious and searched. Good point: even with the gain at the bottom it does not blow at all, even quite unsettling.
The EQ is very effective, and there, even the extreme positions are playable for serious can be very generous but not excessive drooling, treble can give her a very dull but very sharp, surly, hard to blow up the ears. Suffice to say that there is room.
Two problems that can be round: the first is the volume per channel. It will almost inevitably be to build on each channel since with the volume to 3 or 4 hours you get just the same as in bypass. It is therefore somewhat limited compared to its level clean.
Second problem, according to the amp used the sound can become hyper loud, unplayable limit. On some amps I had to have almost treble to 0 and the lower bottom and almost impossible to put a modern voicing even without lowering the treble. All this making a great loss of volume, I then struggled to have a modern distortion sound louder than the sound clean bypass. I do not have this problem on my Blues Deluxe, I can put Eq acute around 15h or 12h without any problems and I again have enough volume to be above the level of my clean ... M'enfin it's still just a little, especially since it tends to be richer in acute levels of high volume.
I lower my rating because of the volume leaves little margin and its compatibility with some exclusive amp. This will require to spend a lot of time searching for a balance between Eq and the voice of the pedal and the clean channel of your amp. I chose to remove a lot of my medium to its clean and not too push the voicing of the pedal to recover still room volume. But it's very debilitating to have a relatively low compatibility with the amps in the rehearsal room equipped I spend a long time to make my sound to the amplifier available, and often I have to finish with a clean sound very dark.
This is a great rock pedal body ... Many, many different sounds, this heat well, very well done as it has the amp. I have not tried many other models because I needed a dual-channel saturation and that it not run the streets. I had found the Jeckyll & Hyde a bit too transistors for me, but it was really quibble, for cons I wonder if it would not have been less difficult with the amp ...
For now I keep it because it suits me very well and that his sound on my amp is great, but maybe I sell it when I change amp ... Try it on an amp similar to his, especially not to blindly, it could be very very disappointed. There is an electronically modified to do to suppress the fever too loud, I did not, it is available on the forums on this pedal.
On Marshall AVT100, Fender Hot Rod Deluxe and Blues (and all their friends) and on FM212 There's good, on Marshall VS100, JCM200 and Fender CHAMP25 there's no good at all ... Go figure. It would be nice if everyone put the amp tested ...