![]() ![]() ![]() The aforementioned sliders could break off easily as opposed to knobs (just be gentle with it – good touch only), but they save space and in my opinion make the visual aspect of tweaking this pedal a bit easier. It combines fuzz, distortion, octave, envelope filter, and swell effects that are controlled with a row of highly sensitive and tweakable sliders. The MicroSynth is a gust of fresh air in this respect as it allows me (and you too) to push the boundaries of guitar tone the way I want to. Maybe it’s because ‘normal’ guitar tones bore me as they can be heard everywhere at all times on everything. I don’t know why I get happy to make a guitar sound like it isn’t. A testament to EHX’s more unique offerings (I’m thinking of the HOG2, POG2, Flanger Hoax, etc.), the MicroSynth was also one of the first guitar synth pedals and remains to be one of the best as most companies even today dare not tread into such experimental territory. They were one of the first companies to sell and mass market affordable effects for guitar/bass and have always been downright creative and original with their designs. If you don’t know Electro-Harmonix then you should go back to pedal school and learn about Muffs and the six-hundred-thousand other pedals they have made sometime since the late 60′s. The pedal I want to talk about has confusing features that have led many a guitar player to sell or throw aside the glorious contraption that is the Electro Harmonix MicroSynth. This one is long (winded) and detailed (much like my other reviews) so I will try to keep side-tracking to a minimum. Hey all you knob lickers! I’ve written another review just for you (don’t tell anyone because they’ll be jealous). ![]() Hello EHX fanatics! My name is Nick and I reviewd the EHX MicroSynth on my effects pedal blog, The Pedal File: ![]()
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