Every pedal we have an opinion on.

The classic dynamic blues overdrive — the pedal John Mayer used on Continuum-era tours.

Stacking gain stages without stacking pedals — the routing matrix on the front panel does the work.

The $99 Tube Screamer that beats most $200 Tube Screamers — the entry-level pro-tier overdrive.

The transparent overdrive with the three-band EQ — the pedal you reach for when a Tube Screamer is too mid-heavy.

Every Stevie Ray Vaughan record — the single most famous overdrive sound in electric guitar history.

The cleanest 'always-on' transparent overdrive on a modern pedalboard — the modern Bluesbreaker.

Settling the 'which Tube Screamer is best?' argument in a single box.

Inventing the 'transparent overdrive' category and creating the most absurd resale market in pedal history.

The Led Zeppelin I lead fuzz — Page's 'Communication Breakdown' and 'Whole Lotta Love' solo tones.

The Boris guitar tone — Pink, Heavy Rocks, Akuma no Uta — boiled into a pedal.

Every Gilmour solo from Animals onward — the canonical heavy-fuzz pedal of rock guitar.

The Comfortably Numb solo lead tone, packaged as a stompbox.

Every Jonny Greenwood record from The Bends onward — the most range-having distortion pedal under $100.

The compact 'direct-to-FOH' rig — the pedal that made fly-dates possible without a backline.

Being the country/Americana session compressor — present on a lot of Nashville records.

The warm, dark BBD analog delay that ducks behind the playing — the canonical My Bloody Valentine delay tone.

Turning the delay pedal into a memory device — playing back what you forgot you played.

The single-pedal answer to 'I need a long stereo delay with a long stereo reverb' — the canonical shoegaze pedalboard fixture.

Modulated, drifting, two-headed analog-voiced delay — the pedal for the player who wants their delay to misbehave.

Being the canonical delay on every pro touring pedalboard — the pedal you don't have to think about.

The convincing tape-delay sound — the U2 slap, the Floyd Echorec — without the actual Echoplex.

The Echorec sound from Pink Floyd's Meddle and More — every multi-head delay sound in one box.

Recreating the Lexicon 224 — the reverb behind every Steely Dan record and every '80s film score — in a stompbox.

Defining the modern ambient-guitar reverb sound — every Justin Vernon shimmer chord runs through one of these.

Generative ambient reverb — used by every Eurorack-curious guitar player.

Sounding like a VHS dub of itself — the canonical lo-fi tape simulation.

The Andy Summers 'Walking on the Moon' chorus — every dreamy clean rhythm tone from 1980.

The Roland Dimension D — the chorus you can't hear, but you can hear when it's off.

Recreating Neve-style console saturation on a pedalboard — the Sgt Pepper's bass tone, on demand.

Turning the looper from a utility into an instrument — the ambient performer's most-used pedal.

The granular ambient pedal that defined a generation of post-rock looper performances.