DOT DOT DOOM

Not sure where to start with the Dot Dot Doom. It does so much (and so well) that it makes me sick. Fanged, vicious fuzz sounds, absolutely unfathomable amounts of low end heaviness, all the top end bite currently allowed by the laws of physics, crazy sustain, a tone control that will drive you insane, expression control…oh, and the ability to go from classic, thick walls of fuzz to warped octave madness with the sweep of a single knob. 

 

That, I guess, scratches the surface. 

 

At its most normal, the Dot Dot Doom is the heaviest fuzz pedal out there, with absolutely no low end loss whatsoever (really!) and a shimmering fizz at the top. You’ve probably never heard a fuzz with this much of all the frequencies you want. I know I haven’t. Between the hyper-musical, wide range of the TONE control and the MID control filling in the scoop to taste, you’re able to dial in whatever exciting tone you can dream of (note: if you dream of boxy/dull/thin/boring tones, Dot Dot Doom is not for you). Your days of having to choose between heaviness and teeth, scooped and flat, are over. Plug in an expression pedal and get wild, phaser-like sweeps while you play. 

 

And then there’s the THRASH knob. The Dot Dot Doom is certainly harmonically interesting enough already, but THRASH pushes it into some very strange realms indeed. Shattered octaves. Weirdo transients. Starved tones that retain a completely unnatural, ghostly, sustain. It shouldn’t work but it does. 

 

Play in drop G#, play the lowest fattest bass you can find, pummel this thing with booming drum machines - whatever you give it - Dot Dot Doom can distort sources beyond recognition and you’ll still hear all the lows, highs, and mids you want. It's your friend if you want the best "classic" sound. It's your buddy if you want to disgust your neighbors with absolute noise. It's your pal anywhere in between.

 

Transistor-based, all analog, true bypass. 

VOL: Controls the output volume of the pedal. Because some settings are louder than others, adjusting the volume will come in very useful. Be CAREFUL - it can get loud. 

 

THRASH: On the far left, you’ll get a thick, rich fuzz sound. Start turning THRASH to the right and things become increasingly harmonically strange. Around noon, the sound will cross over into a world of demolished octaves and starved signals that maintain an eerie sustain. Back off your source’s volume for a less distorted sound. 

 

TONE: Controls the tone by blending two powerful, hyper-musical resonant filters. To the far left is low-passed, to the right is high-passed. In between you get a mix of both worlds. An expression pedal plugged into the EXP jack will fully take over this control. When expression is plugged, the TONE knob will do nothing. 

 

MID: Interacts dynamically with the TONE control, filling in frequencies between the low and high pass filters in the tone circuit. To the left, MID will you give you a very scooped tone. To the right, the scoop is filled in. This is not a normal (boring) midrange boost where an arbitrary frequency is boosted. It is instead restoring frequencies, and those frequencies depend on where the TONE is set. Basically: turn it up if you want a less scooped sound. 

Weight: 11 oz. 

Dimensions: 5” x 3.625’ x 2.125” (including jacks and knobs)

Power: 9V DC Boss/1 Spot style 2.1mm positive ring, negative tip. 

Current draw: 2mA