I recently bought a LPD Pedals Fifty5 overdrive pedal.
What do I think of it? Here are my First Impressions.
You might want to grab a drink for this one. There’s a lot to cover, as the Fifty5 has three different tone characteristics to explore …
Table of Contents
- What Did You Buy?
- Why Did You Buy It?
- How Long Did It Take To Import?
- How Much Did It Cost To Import?
- My Rig Today
- How I’m Using The Fifty5 Today
- Config 1: Chasing The Champ
- Config 2: The Tweed Deluxe
- Config 3: The Bassman Sound
- Discussion Points
- I Want To Say Something About The Noise Floor, But I Don’t Feel Very Confident In My Opinions
- A Brief Mention Of The Volume Control
- The Fifty5’s Low-End Character Is Unusual
- Is It A Problem If You Don’t Rock A Hybrid Rig?
- Boomy Guitars Aren’t The Pedal’s Problem To Handle
- Use The LPD Dutch ’24 To Clean Up Boomy Guitars At Source
- The Low-End Character Creates Recording Options
- Final Thoughts
What Did You Buy?
I bought a Fifty5 overdrive pedal, made by LPD Pedals out in Arizona, USA.
I bought mine directly from LPD Pedals, and imported it into the UK.
The Fifty5 is a boutique overdrive pedal that chases the tone of three of Fender’s iconic tweed-era amps: the Champ, the Tweed Deluxe and the Tweed Bassman.
It does this through a pair of Voice and Headroom switches on the front of the pedal. Each switch has two positions, (hopefully!) giving the pedal quite a bit of versatility. I’m going to explore that in this blog post 🙂
Why Did You Buy It?
I collect tweed-tone pedals, especially ones that name-check actual amps from the tweed era. The fact that this pedal might do three of those amps in a single enclosure? I have to try it, and see how much I like it.
I also picked this up because I could buy it directly from the boutique pedal maker. Most of the time, I end up buying second-hand examples of tweed-tone pedals because they’re out of production. Honestly, it felt good to give my money to the folks who made the pedal for a change!
How Long Did It Take To Import?
I ordered it late Tuesday night (UK time), and it was sat on my pedalboard before I’d even finished first coffee on Friday morning. (I then spent all of Friday playing with this pedal and writing up this blog post!)
I really happy with how quickly it was sent out and how quickly it was delivered. I would definitely order from LPD Pedals directly again.
I definitely get anxious when parcels take a long time to turn up. Here in the UK, we currently have a real problem with the parcel delivery industry’s poor standards of service and customer support. It’s pretty much impossible these days for a recipient to contact a courier when a parcel goes AWOL.
So it was such a relief for me to see this order turn up completely trouble-free.
How Much Did It Cost To Import?
It cost me an additional £85 to import two pedals at the same time. That’s a mixture of taxes and fees to the UK government, and admin fees to the courier.
That’s separate to the shipping charges that I paid to LPD Pedals at checkout.
I had to pay the import charges to the courier, and they had to be paid before my parcel was delivered.
My Rig Today
Today, I’m playing:
- my Postmodern 63 Telecaster (aka Mirage) and my Les Paul CR8 (aka GP)
- into the Axe-FX 3 (for tuner and maybe some EQ tools)
- out to my pedalboard
- back into the Axe-FX 3 (for amp, cab, delay and reverb)
- out to my audio interface
- and out to my DAW.
Mirage is completely stock. It features a neck humbucker and a single-coil bridge pickup that’s reverse mounted. You’ll hear it in both the bridge and middle pickup selector positions.
GP is rocking a set of Sigil Bluesman Snakebite pickups, which are vintage-voiced and vintage-output humbuckers. Normally, I only use it in the middle position (because that’s where any Les Paul’s magic is to be found). Today, though, you’ll also hear it in the bridge position.
On the pedalboard, I have the Ceriatone Centura, Dutch ’24 and Fifty5 in separate loops on my trusty Gigrig G2. When I’m not using a pedal, it’s completely out of the signal chain, so that it cannot colour the sound in any way whatsoever.
I’m using the Centura today because (to my ears) it sounds identical to my real Klon KTR pedal. It’s setup in the classic Klon clean boost config: Gain around 8 o’clock, Treble around 1 o’clock, and Level aiming for unity at around 9 o’clock or so.
The Axe-FX 3 is running my 57 Vintage pedal platform preset (which I have just gone through and done the gain-staging on). The 57 Vintage is voiced to help tweed-tone pedals sound as good as I know how to. I think I’m entirely in Scene 1 today, and flipping various EQ tools on and off as I go. (Whenever I turns these on, I’ll make sure to mention them!)
I did briefly try the Fifty5 through my 65 Clean preset (which sounds more like a typical “Fender clean channel” kind of amp). I haven’t got any demos of that for you today, though, because there’s already so much to cover (19 demos just through the 57 Vintage preset!).
On 18 of the demos, there’s no post-processing done in my DAW. All the delay and reverb was recorded at the time from my Axe-FX 3.
Today, though, I did find a reason to explore some post-processing in my DAW for one of the demos. I’ll make sure to clearly call that out when we get to it.
All of the demo audio has been level-matched before publishing.
How I’m Using The Fifty5 Today
Explaining The Two Switches
The Fifty5 is kinda sold as three pedals in one: as a Champ, as a Tweed Deluxe, and as a Bassman.
There are Voice and Headroom toggle switches on the front of the pedal, and the idea is to use different combinations of these switches to get each of the sounds.
I’m using these settings to select the different amp tones that the Fifty5 offers:
| Chasing … | Voice Switch | Headroom Switch |
|---|---|---|
| Champ | Down | Down |
| Tweed Deluxe | Up | Down |
| Tweed Bassman | Up | Up |
I hope I’ve got those right! The pedal doesn’t come with a manual, and I couldn’t find a similar table on LPD Pedal’s website, so any misunderstanding and mistakes here are mine and mine alone.
I Can’t Tell You How Close The Pedal Comes To Those Amps
I don’t own a Champ; I don’t own a Tweed Bassman; and I’ve never played either amp. I can’t credibly comment on how well the Fifty5 does at chasing their sound.
I do own a Tweed Deluxe. It’s a modern re-issue from Fender. I’ve written about it extensively. I am planning to sit down this year and do some comparisons between my Tweed Deluxe amp and my tweed-tone pedal collection. I’ll make sure to include the Fifty5 in that comparison.
Until I do that, I can’t tell you how close the Fifty5 will get you, sorry.
If you can’t wait for those comparisons, and want the sound of a Tweed Deluxe amp from a pedal today, go and buy the Universal Audio UAD Woodrow. Or get a ToneX One; it comes with a very nice collection of tweed amp captures.
What About The Fourth Combination?
The table above is missing a combination: Voice switch ‘down’ and Headroom switch ‘up’.
I haven’t recorded any demos of that today. I spent all day going through the other three combinations with two guitars (and added EQ tools), and just ran out of time.
I’m hungry, and I want to go and eat!
Okay, okay … I did spent a few minutes with this setting (just a few minutes, mind!). It sounds really good to me. With the Voice ‘down’, the Fifty5 filters off a nice chunk of the low-end from my guitars. I don’t feel the need to boost it with a Klon at all.
If you’re buying a Fifty5 for yourself, I recommend that you start with this setting (Voice ‘down’, Headroom ‘up’). Don’t do what I’ve just done, and leave it until last! 🤦♂️
Config 1: Chasing The Champ
Settings
I’m running the Fifty5 with the Voice and Headroom switches both in the ‘down’ position. Gain is around noon, and the Tone control is up around 1:30.
With The Telecaster
Let’s start with my Telecaster. I’m on the bridge pickup.
I don’t know about you, but I think we’re off to a cracking start right there.
To my ears, it’s got that mid-range energy and clarity that I adore. I don’t know how to explain it: that mid-range just sounds right to me. It’s vintage (energy in the upper mids) but still balanced (no huge holes further down the mid-range).
There’s also enough gain for the palm-muted notes to sound driven, without it sounding like I’m doing heavy metal chugs. The pedal has a lot more gain on tap should I ever want it, too.
If this is the best sound that I can get out of the Fifty5, I’d be very happy with my purchase.
I’m done, right there. I’m going to switch guitars and see how it fares with something a bit beefier.
With The Les Paul
Here, I’m using the bridge pickup of my Les Paul, with the volume knob turned down to around 8. I don’t normally do this. It’ll become apparent why shortly.
All other amp and pedal settings are the same as they were when I used the Telecaster.
Wow. Just listen to how much extra gain there is, just by switching guitars. That matches my experience playing my Telecaster and Les Paul into my Tweed Deluxe amp.
Listening back, I probably should have turned the Tone up on the Fifty5 a little bit. Or maybe it’s just time to put fresh strings on my Les Paul, perhaps?
Still, I do like how rounded the notes sound. That’s a key thing that I want to get out of the tweed tones that I dial in. It’s right there, without me really trying. That makes me very happy.
And there’s a nice thickness to the notes too. Even though this is the Champ setting, the Fifty5 is definitely reminding me of how my Tweed Deluxe amp saturates the mid-range. Very very nice.
Normally I stick to the middle pickup position. I’m a great believer that that’s where the magic is to be found in a great Les Paul. And this is where things get even more interesting.
When I was recording, the low-end sounded really thick and prominent. Far too thick for my taste. Listening back, I don’t think it’s as bad as I feared, but it is a concern. I am in the ‘less bass’ Voice setting, after all. What’s it going to be like when I’m in the ‘more voice’ setting on the pedal?
I’ll get to that soon enough.
For now, what can I do to clean up that unwanted low-end from the recorded signal, without resorting to post-process EQ in my DAW?
If I wind back the bridge pickup just a tiny amount and turn on a tilt EQ after the Fifty5, I get this tone:
Mmm. I think that’s bringing out the character of the Fifty5’s mid-range in a really nice way. Arguably I’ve dialled out a little too much of the low-end, but that’s something that’s easy to tweak in the EQ tool that I’m using as the tilt EQ.
I’m just a home hobbyist, so I’ve no idea how well that sound would work in a mix. Tell you what, though, I’d definitely give it a go!
Overall, the Fifty5’s Champ config is worth the price of admission on its own. But regular readers will know that I’m not here for that. I’m here for that 5e3 Tweed Deluxe thing. So let’s get to (what I hope is) the main event.
Config 2: The Tweed Deluxe
Settings
I’m running the Fifty5 with the Voice switch ‘up’ and the Headroom switch ‘down’. I’ve turned the Gain up to around 1 o’clock, and kept the Tone at around 1:30.
According to the website, this adds more low-end than the Champ config, while keeping the more saturated gain structure. That sounds promising to me … but does more low-end from the pedal going to sit nicely with these two particular guitars?
With The Tele
Let’s get straight to it. I’m back on my Telecaster, and I’m on the bridge pickup.
Okay, I’ll say it … who needs a Les Paul when a Telecaster can sound like that? I’m not kidding. I think that’s a really good medium-gain rhythm tone. I don’t need more gain than that for what I enjoy. If anything, I’d probably dial it back a bit.
The top-end does sound a little spiky at times to me. Clearly, my playing technique isn’t as smooth and even as it could be! I feel like the pedal should be compressing the top-end a little more than it is, now that we’re into medium-gain territory? I don’t know on that one.
Out of curiosity, I switched to the middle pickup (neck humbucker + single-coil bridge) to hear how it sounds.
I think that’s a very muddy sound.
And here, I do run into a limitation of the Fifty5: I can’t find a way to dial this out on the pedal alone. At its extreme setting, the Tone control doesn’t filter out enough bass to clean up this mud … and it also introduces a harshness in the top-end that’s not for me.
This isn’t a complaint about the Fifty5. Mirage (my Telecaster) does put out an unusual amount of low-end for a Telecaster. I’m quite used to having to throw in additional EQ tools to make Mirage play nicely with overdrive pedals.
After a lot of tweaks (tilt EQ between guitar and Fifty5, turn off Depth in the amp, go with a single SM57 virtual mic), this is the best I could do:
I don’t remember the last time where my bag of EQ tricks let me down like this.
To my ears, it’s just too muddy and sludgy. I’m not hearing enough note separation when playing chords. I’m not hearing much note definition in the top-end.
That’s not a sound that I have a use for. But maybe someone else will.
With The Tele And A Klon Klone
The normal fix for this is to use a Klon-style pedal in front, to cut back the low-end a bit while adding more emphasis to the mids. I went back to my original Axe-FX 3 settings and gave it a go.
On its own, this wasn’t quite enough for me. I had to add a tilt EQ after the Fifty5 to clean up the low-end coming out of the pedal. I also rolled back the volume control on my Telecaster a little bit. And this is what I got.
Oh – that’s interesting!
Normally, I use my bag of EQ tricks to make Mirage sound more like a traditional Telecaster’s middle position. Here, though, it still sounds like Mirage’s middle position to me. I can still hear the influence of the neck humbucker in there.
Honestly don’t know if I have a use for this sound, but I do think that it is a usable sound. And I like that.
With The Les Paul
Let’s switch back to the Les Paul, and see how it gets on with the Fifty5 in the Tweed Deluxe config.
I’m back on my bridge pickup, with the volume turned down to around 8. Here’s how that sounds:
It sounded great in the room when I was recording it. Listening back, though, I probably should have turned the pedal’s Gain down a bit and kept the Les Paul’s bridge pickup volume up at 9 or so. That might have given me a bit more note clarity.
[Or maybe you should have changed those strings by now – Ed]
Next, I’m switching to my Les Paul’s middle position. Amp and pedal settings haven’t been changed at all. I’m expecting this to be a little too sludgy.
And yup … I’m afraid that it is.
For comparison, here’s how the same Les Paul sounded with the DanDrive Tweedy 5B3 in the middle position, from a recent blog post:
Please keep in mind that the Gain on the Fifty5 is higher, and we should assume that it produces more low-end as a result.
Even so … hopefully you can hear that there’s a lot more low low-end coming out of the Fifty5? I’m a great believer that a great tweed-tone needs a solid low-mids foundation. But that’s a little too much for my tastes.
What can I do about it? There’s a few options available, none of which I’ve made a demo of.
- Normally, I’d turn to my EQ bag of tricks, and see what I could do about reducing the amount of low-end that reaches the pedal in the first place.
- Another option (which I only thought of while doing the write-up afterwards) is to turn up the Tone on the Fifty5 and turn down the neck pickup on my Les Paul. That sounded really good in the room, and got pretty close to the sound of the DanDrive Tweedy 5B3.
When I was making the demos, though, I went with a third option …
With The Les Paul and Klon Klone
I’ve kept the same settings, and just kicked on the Centura in front of the Fifty5. Here’s how that sounds:
Certainly while playing it, that right there is a tone that I wish I could bottle.
As always, listening back I think that there’s still room for some tweaking … but I also think that it is a tone that can be further tweaking.
Very very happy with that.
I could (and probably should) stop at this point. I’ve explored what I’m here for. But I don’t want to go until I’ve tried the third option that the Fifty5 offers.
Config 3: The Bassman Sound
Settings
For this, I’ve got both the Voice and Headroom switches in the ‘up’ position. This caused a bit of a volume jump, so I’ve turned the Volume down a little bit to try and compensate. Gain remains around 1 o’clock, and Tone remains around 1:30.
I’ll come back to that Volume change later on.
With The Tele
Once again, I’m back on my Tele’s bridge pickup. All other pedals are off, and so are any EQ tools that I’ve been using.
Here’s how that sounds.
To my ears, that right there is the “classic” tweed-tone pedal sound. It’s immediately familiar, and (in a good way!) sounds similar to many other tweed-tone pedals.
That makes three great tweed tones that I’ve been able to get out of the Fifty5. Three tones, one pedal. Most tweed-tone pedals only have one of these tones in them!
Next up, I’m going to switch to my Tele’s middle position (neck humbucker + single-coil bridge). I haven’t changed anything on the amp or pedal. Here’s how that sounds.
Not a surprise by this stage. If your guitar has a lot of low-end, it’s clear that the Fifty5 is going to make sure that you know about it!
To tackle this, I don’t want to rehash the techniques you’ve already heard me use. I feel like trying something different. In the old days, a problem like this may have been addressed by adding some EQ on the recording console.
I’m going to emulate that, by using an API Vision console plugin in my DAW:
The API Vision is five plugins in one. I’m only using two parts of it: the 215L Sweep Filter and the 550L EQ Filter sections.
- I’ve added a hi-pass filter at 120 Hz in the 215L Sweep Filter section.
- I’ve added a -4 dB cut at 30 Hz in the 550L EQ Filter section.
- I’ve also added a -4 dB cut at 240 Hz in the 550L EQ Filter section.
And here’s the result:
That’s certainly a sound that I haven’t had before.
Can you hear how the overdrive texture sounds so different to what I’ve recorded in other demos? Let’s go back to my Tele bridge pickup demo, and compare the two:
Yes, I do prefer the character that I get when I’m on my Tele’s bridge pickup. But how much of that is because it’s the sound that I’m used to? I suspect the answer is: quite a lot.
I need to make more use of post-EQ in my DAW, and explore the possibilities with this sound a lot more.
With The Tele And The Klon Klone
I want to hear for myself the difference between cleaning up the mud in the DAW versus trying to prevent the mud in the first place using pedals.
I’ve disabled the plugin in my DAW, so that (once again) all you’re hearing is guitar, pedal and (virtual) amp & cab. I’m still on the middle position of my Telecaster. I’ve enabled the Centura once again, and also switched on the tilt EQ after the Fifty5.
Here’s how that sounds:
As a quick refresher, here’s that EQ-in-DAW sound again:
I don’t say this very often … the Centura isn’t doing it for me here. I don’t think it’s able to strip away enough low-end to make this work. I prefer the results of applying EQ in post.
There are other Klon klones out there, and (in my experience) many of them do take away far more low-end than the Centura does. One of those might be perfect for this job.
And, of course, there are other pedals that I can use in front of the Fifty5 to shape the tone. I’ll come back to that before I finish up.
With The Les Paul
I’m back on the bridge pickup of my Les Paul, and once again I’ve turned the pickup volume down to around 8. Here’s how that sounds:
Mmm yes. That’s the kind of tone I’m looking for. Love the mid-range, love the solid low-mids foundation, and there’s a nice crunch to the top-end that differentiates it from what I think of as the Tweed Deluxe sound.
You might be able to hear a low thud on that demo. I can dial that out simply by turning the amp’s Depth control down to zero. (I probably should turn that off by default in the preset!)
There’s just one thing: the sound we’ve just heard … that’s the kind of sound I want to hear when I’m playing my Les Paul in the middle position. If I actually switch to the middle position, how does that sound?
To my ears, that’s suspiciously similar. So close, in fact, that I went back and double-checked to make sure that I hadn’t recorded this in the bridge position by mistake!
I think the Fifty5’s coping really well with the extra low-end that’s coming from my Les Paul’s middle pickup here. If I was to tweak this, I’d probably dial the neck pickup back a little bit more, and probably reduce the Gain on the pedal a touch too.
Already very happy with how the Bassman config works with my Les Paul. And I’m not quite done yet.
With The Les Paul And A Klon Klone
Staying in my Les Paul’s middle position, I’m going to throw on the Centura. I haven’t touched the amp or pedal, and I haven’t switched on any additional EQ tools …
… because I simply don’t need to. Judge for yourself:
I can’t help but feel that regular readers will have heard me dial in that kind of tone time and time again – and for good reason: I think it’s a great sound.
Discussion Points
I Want To Say Something About The Noise Floor, But I Don’t Feel Very Confident In My Opinions
These are the first audio demos that I’ve recorded since I finished setting the gain-staging of my 57 Vintage pedal platform preset. As a result, I don’t have a direct apples-to-apples comparison to refer to.
During the recordings, I was very aware of audible noise at the tail-end of the demos (where the sustained notes trail out). Can you hear it too?
Listening back, it’s nowhere near as bad as I thought it was:
But when I compare it to (say) the DanDrive Tweedy 5B3 demo from last month (before I improved the signal-to-noise ratio of my rig), I do think that there’s some extra noise from the Fifty5.
I’m not trying to warn you off the Fifty5 here; I’m not saying that it’s a noisy pedal at all. I’m hearing a little bit of extra noise, and it may be that the Fifty5’s noise floor is a little higher than some other pedals.
I wish I had tools and a repeatable technique that I could use to measure the noise floor!
A Brief Mention Of The Volume Control
I did find it a little tricky to get the Volume dialled in.
With the way my rig is setup, I’ve got the Fifty5’s Volume control well up past noon. For the Champ and Tweed Deluxe settings, it was somewhere between one o’clock and two o’clock. For the Bassman setting, I’ve dialled it back to just below one o’clock.
That doesn’t sound like a big move, but in the room, it produced a sizeable volume drop. In this part of the volume range, it doesn’t seem to take much of a pot turn to change the volume by quite a bit.
It wasn’t unusable or anything. It just felt a bit fiddly to me compared to other pedals that I’m used to.
I’m not used to cranking pedals up this high. It’s definitely above unity gain, but it’s not exactly slamming the front of my amp really hard either.
As with the noise that I might be hearing above, it’s not a problem, just something that I noticed enough to think it was worth noting down for my First Impressions.
The Fifty5’s Low-End Character Is Unusual
In my experience with tweed-tone pedals, the Fifty5’s low-end behaviour is unusual.
The vast majority of tweed-tone pedals that I’ve tried do one of two things. They either filter out a lot of excess low-end, or the low-end just overloads the distortion section of the circuit and the pedal’s borderline useless without external help.
The Fifty5 seems to do neither of these things. And that alone makes it interesting to me.
But is it really a problem? I think it heavily depends on your signal chain.
Is It A Problem If You Don’t Rock A Hybrid Rig?
I’m using a hybrid rig (a mix of digital and analogue gear). This rig gives me a lot of tone-shaping tools. I can put them almost anywhere in the signal chain – before the pedal, and/or between the pedal and the amp – because I’m using the four-cable method (4CM for short).
But only two years ago, I was running a fully-analogue rig of valve amp and real cabs. Would the Fifty5 have worked in that kind of setup? I think that would come down to what amp and cab is being used. And what guitar too.
With a Les Paul, it was easy enough to take away excess low-end using a couple of pedals (Klon klone in front of the Fifty5, a tilt EQ after the Fifty5). I didn’t need to tweak the amp at all.
My Telecaster … that was more challenging, because it’s quite a boomy instrument!
Boomy Guitars Aren’t The Pedal’s Problem To Handle
I do need to stress something: Mirage (my Telecaster) does put out a lot more low-end in the middle position than your typical Telecaster. Pedals just aren’t going to be voiced to cope with it, and that’s never the pedal’s fault.
So far, I haven’t found any amp tweaks for cleaning up the low-end that I’m truly happy with. Everything I’ve tried ends up messing with the mid-range character, sadly. I think the mid-range character from this pedal is its best feature. Anything that interferes with that is a hard ‘no’ from me.
If I was using Mirage with a valve amp, I’d try to clean up the low-end before it reaches the Fifty5.
Use The LPD Dutch ’24 To Clean Up Boomy Guitars At Source
When I can’t get a single drive pedal to fit into the rest of my signal chain (for whatever reason), I often solve this by turning down its overdrive (so that it runs a lot cleaner) and then using a second pedal in front to provide both the overdrive and EQ.
My pedal of choice for this is normally the Wampler Tumnus Deluxe, with its fantastic 3-band active EQ. Today, though, I’ve got another option to try. Enter the other pedal that arrived with the Fifty5: The LPD Dutch ’24.
For this next recording, I’m back on the Tweed Deluxe settings of the Fifty5 and I’m using the Dutch ’24 a bit like a Timmy pedal. I’m using its bass EQ to shelf off some of Mirage’s low-end mud, and its volume and gain controls to provide most of the overdrive in the final recorded guitar tone.
Even though I haven’t spent very long on dialling this in, I already like what I’m hearing. There’s some low-end thud that I still need to clean up (by turning my amp’s Depth control all the way down to zero), for sure.
I think I prefer using the Dutch ’24 over using the Centura here:
What do you think? Let me know in the comments below.
The Low-End Character Creates Recording Options
In a recording setting, I think that the low-end character is a good thing: it offers more flexibility and creates creative options to explore. And regular readers will probably recall that I love having options.
I can finagle the low-end in different ways, and each technique gives me a different end-sound. If it’s too much, I can clean it up at the source (using pedals before and after the Fifty5) or in post (using plugins in my DAW).
Here’s a quick comparison / reminder of the differences between the two techniques:
And I’m only just scratching the surface of the possibilities here.
Final Thoughts
I think that this is an excellent tweed-tone pedal. But don’t take my word for it: listen to the audio demos and decide for yourself.
Most pedals really only have one tone in them. The Fifty5 arguably has four: the three you’ve already heard today, and the fourth setting that I didn’t record any demos for (and which might just be the best of the bunch too!)
That alone makes it worth the cost, I reckon.
The thing I like most, though, is that the Fifty5 also gives me something different. Off the top of my head, I can’t think of another pedal that handles low-end in the way that the Fifty5 does. This gives me new options to explore, and new creative choices to make.
And that’s my idea of fun.