It is not working correctly. Before you send it back for a refund, check out one that works. This is a great pedal and it gives you access to sounds that you cannot get any other way.

This is a way creative instrument. If you still do not like it then get a refund but you should at least check out one that works.

Rick EH

There are many great distortion and overdrive pedals out there. EH has such a wide variety of pedals that each have their own style and musical flexibility.

To Dawson: Lowering the Bias does not produce a lot of static. This pedal really is quite a revelation. If you experiment, you will find many cool tonal variations. It is a matter of experimenting.

Both the OD and Distortion are very flexible and offer different tonal possibilities. I really like using the bias and volts to effect the stacked sound. It takes a little bit but there are some definite sweet spots.

The Germanium4 is very flexible. The possibilities are much more than the normal OD setup. Just the fact that you stack the OD with the Distortion using 4 germanium chips is huge. It is just a matter of interacting the controls. The Bias etc…everything makes a difference.

Also the Overdrive and distortion and really different. Learning each individually really gives many recording and performance ideas.

The sound that the Ring Thing produces is stunningly complex. The tracking is sensational and the tonality can only be limited by your ability to design what you hear in your head.

The Frequency Analyzer is a great pedal. Organic tone and it does have a great tone.

The Ring Thing encompasses so much more potential. Totally flexible and if you like Bells, well having polyphonic tracking of different harmonic regions produces scary good results.

Go try it out and I guaranty you will buy it!

I personally like the original POG. The bass octave is a little fatter and you can detune the upper octaves for a slightly watered effect.
The size and power of the Micro Pog is tempting. If you use the pedal for gigs then the size is perfect.

The POG cannot do the same thing as the Octave Multiplexer. The POG is a polyphonic octave divider that works with fixed and set harmonic intervals. Octave Multiplexer is a ring modulator. The output result comes from multiplying two signals. The resultant harmonic ranges from clangourous/metalic to really pleasing harmonic sympathy.

The Octave multiplexer is a deadly little pedal. Really organic and metallic BUT it can also can be so musical.

However, the combination of a Micro Pog and Octave multiplexer together would really be interesting. I have never tried that but I will now.

Yes, the POG and Micro POG deliver excellent (slightly brighter) bass. A little EQ and it is perfect for covering a bass part at a gig. It is not a bass guitar but it is dam- close.

Not arguing with you but it is different than any Muff that I have heard when the tone is bypassed. Being here, I think that I have been able to go through every vintage Muff from the beginning on.

You are right about the early models that have a tone bypass. The difference is that the Wicker takes on an entirely different character with a much more organic and contemporary tone.

I love all of the Big Muff incarnations because they all stay true to the Big Muff tone. Pretty amazing actually. Yet the Wicker is just different.

I agree with everything you say and maybe it is me but the tone bypass is just an amazing punch and it keeps a uniform attitude no matter how soft or hard it is hit.

Virtually every aspect of the Microsynth and Bass Microsynth are dependent of amplitude signal. If you run a consistent signal (ie a a keyboard signal or synth with long decay or release) you will note the consistency and duration of the signal in every parameter control are even.

Since you will be using the Microsynth from a stringed instrument then your accuracy of playing along with how hard you are hitting the Microsynth at the input really make a difference in how evenly the the output signal is maintained. Yeah, this is a great box. Once you get the hang of the variability of triggering from a stringed instrument, it becomes an absolutely essential tool.