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ToneCandy Spring Fever Reverb

ToneCandy Spring Fever ToneCandy Spring Fever Reverb

Vintage Guitar has given us a great review in the April, 2010 issue - page 136.

Ultimately, the Spring Fever is tough, good-sounding pedal that does a fine job of emulating true spring reverb. It carries a boutique price, but you're paying for Sherman tank-level construction and deep attention to detail, aside from excellent tone. Certainly, you can get a cheap reverb pedal for a fraction of the price, but you won't get a true bypass signal or such warm tones. And because it's built for a lifetime, Spring Fever may be the last reverb unit you ever buy.

Pete Prown - Vintage Guitar Magazine

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ToneCandy Red Hot ToneCandy Red Hot Pedal

The ToneCandy Red Hot Pedal gets the rare 5 star rating from Premier Guitar Magazine

I'm going to go out on a limb on this one and say throw away your Marshall Guv'nor pedal now. After playing Tone Candy's Red Hot, you'll never go back. The Red Hot is more naturalistic, had less clipping, is more articulate, but still retains that "stack in a box" feel and sound. Each of the ToneCandy’s pedals is made of the finest parts available. Mike Marino is a passionate player and road tests his prototypes on stage for months prior to finalizing his designs, and I think this technology-meetsreal-world approach gives ToneCandy pedals an edge in a somewhat glutted market.

Adam Hunt - Premier Guitar Magazine

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ToneCandy Sugar Rush ToneCandy Sugar Rush Overdrive

Vintage Guitar Magazine

The ToneCandy Sugar Rush pedal offered a transparent, crunchy overdrive that's fairly touch sensitive and very musical, with no irritating overtone. The Tone control is subtle, but functional, as you can gently roll off the high end without making it sound muddy or losing attack. The Skull control dials in anything from a light overdrive to a moderately thick distortion.

ToneCandy Sweet Drive ToneCandy Sweet Drive Pedal

The ToneCandy Sweet Drive Pedal gets the rare 5 star rating from Premier Guitar Magazine

The tone from the amp was fat, incredibly smooth, organic and extremely touch-sensitive, if a little on the dark side. Turning up the Tone knob to about 5 o'clock cleaned things up quite a bit, but interestingly enough it seemed to act more like a wet/dry knob on an effects loop rather than just a standard Tone knob. The guitar and amp's natural sounds became a little more apparent as the tone knob was turned up, but the Sweet Drive's original signal was still present and supportive.

Adam Hunt - Premier Guitar Magazine

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ToneCandy Skull Pedal ToneCandy Skull Overdrive Pedal

Vintage Guitar review in the November, 2011 issue.

In the second/distortion mode, the pedal’s "sinister" persona comes to life, with a full-on distortion that is loaded with gain, mids and attitude. It's still crunchy, but with substantial available gain and a nice bump to the mids, for a thicker tone. It's an excellent solo distortion, ideal for single notes and pinch harmonics, as well as big power chords that ring forever. Even with the Level control dialed back to a relatively low setting, the Skull renders a full, fat sound, and doesn't wimp out or get thin and buzzy. While the second mode is less transparent, its coloration is very musical and thick, and still allows notes to jump.

The ToneCandy Skull Overdrive offers a solid, transparent overdrive along with a thick, over the-top, rock-ready distortion in a one well-crafted box with
an appealing vibe.

Phil Feser - Vintage Guitar Magazine

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ToneCandy Overdrive/Distortion ToneCandy Double Overdrive and Distortion Pedal

The ToneCandy Red Hot Pedal gets the 4 1/2 star rating from Premier Guitar Magazine

If you wondered about the origins of the Red Hot pedal, there’s no need to swab its cheeks and send a DNA sample to the GenoGraphic Project—its daddy is right here. The Double Overdrive shares the same threestage gain structure as the Red Hot, but with a couple of twists. The first is that you can activate either the Maximum Boost, which will engage all three gain stages for an increase in volume and saturation or the Medium Boost, which engages only two of the pedal’s three gain stages. Pretty tasty.

Another feature is the Fat-4 knob. The Fat- 4 isn’t a new holiday added between Lent and Easter, but a four-way rotary switch that selects four different degrees of low-end response. This is a handy feature for players who switch between single coils and humbuckers during the middle of a set, or who switch between using a combo with a single 10” speaker at home and a 4x12 cab live. Obviously a single 10” will respond differently to bass frequencies than a deep 4x12, so increasing and decreasing the bass response from the Fat-4 knob is an easy way to preserve your tone from home recording purposes to live rigs.

There is a marked difference between the tone of the two and three stage Medium and Maximum Boost settings. The Medium setting is a nice sort of rhythm setting and, like the Sweet Drive, it cleans up nicely depending on your attack and guitar’s volume. Unlike the Sweet Drive, it seems to take a little more coaxing-the guitar’s volume almost full up-to produce its crunch tones. When the Medium Boost come to life it’s quite satisfying, but a little anemic compared to the Maximum Boost, especially when you engage the Maximum Boost for a solo. It would be nice to be able to regulate this volume difference a little better; hopefully this will be addressed in future editions.

Adam Hunt - Premier Guitar Magazine
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