Michael Klein Audio Design Crissaegrim Boost/Overdrive/Distortion

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My idea behind Crissaegrim was to have a single pedal that could cover aspects of a clean boost, an overdrive, and a high-gain distortion. That being said, I didn't want it to be an "okay" at a bunch of things, not awesome in anything. It was important to me for it to sound balls awesome in all scenarios. I wanted it to rule in front of a clean/cleanish amp, a vintage crunchy amp, as well as a boost into a high-gain amp to sculpt the tone more. The 6 controls might seem a bit overwhelming, but I know you'll pick up on how to use them each pretty quickly.

Top Row Controls

LVL (level): this is the output volume control. Think of it just like what it is - the volume control. Generally speaking, I like this control cranked, or close to it, at all times.

ATK (attack): this is pretty unique, but I think this translates well. This is a distortion control that is separate from the actual gain control (more below). ATK literally blends in a distortion circuit in the pedal. As you turn ATK up, the distortion circuit becomes more prominent.

In a typical pedal, you're limited to an overdrive-type sound, or a distortion-type sound. A low- gain distortion does not sound/feel the same as a high-gain overdrive, and vice versa.

Obviously, there is a strong interaction between ATK and DMG (more below on DMG). As you turn DMG up, the impact that ATK has increases, and the character of clipping moves from more of an "overdrive" to more of a "distortion" sound, and anywhere between. With lower DMG settings, the ATK control will have less of an impact, but it is still there albeit subtle.

I think that more than just adding clipping, what you'll notice is a change in the compression and transient response of your playing, which was 100% intentional on my part. This control is very much a "more feel than hear" type control, so don't be discouraged if you don't notice night and day differences with it!

DMG (damage): this is pretty easy to use - think of this as the standard-type Gain control in a pedal (Rat, Tube Screamer, whatever). If you want to use this pedal as a neutral clean boost (which you can) just turn this all the way down, or most of the way. If you want more clipping/overdrive, just turn it up.

Note that like some amplifiers, or about any pedal, there is an interaction between the DMG (gain) and LVL (volume) controls. If you want to use it as a clean boost, or slightly gritty boost, you can crank the LVL and use the DMG to boost the signal more.

Unlike the aforementioned pedals, through a good clean or slightly crunchy amp, you can get pretty heavy with the DMG and ATK both cranked, or near cranked. Crank LVL as well to get nice and heavy.

Bottom Row Controls

HIGH - this is an active EQ and I have it carefully centered at a frequency that adds brilliance and sheen without getting harsh or nasty. Noon is the pedal’s “flat”, natural voice.

Unlike most active EQs, you can seriously crank this control without it getting stupid and cheesy sounding. This took a lot to get right (make it brighter without harsher), but I think it's there.

When boosting a high-gain amp, don't be afraid to turn this up to increase your pick attack and "stringiness".

Conversely, you can turn this down to get a nice Tom Warrior-inspired sound. UUUUUGGHH!

MID - this is also an active EQ. Again, noon is the pedal’s “flat”, natural voice.

I chose one of the most important frequencies for the guitar for this to carve out.

Boosting this control really thickens up the midrange and adds a nice “woodiness” to response. On the other side, you can pull this control out gradually to get some nice heaviness and chunk. ...that almost hollow, multi-dimensional chug thing. Using Crissaegrim as a full-blown distortion control, you can turn the Mids down a fair amount to get a pretty convincing VH140C-like tone.

LOW - guess what, another active EQ. Like High and Low, noon is the pedal’s “flat”, natural voice. That being said, you’ll notice the very low frequencies are a bit attenuated at this setting. This is intentional! You can get those frequencies back by turning the control to about 2:00 o’clock.

This is also another very important guitar frequency, and like the other controls I wanted the user to be able to really push or cut each control without it getting obscenely stupid. As a boost, turning this up adds a satisfying chug, and turning it down REALLY tightens up a muddy amp.