Digitech Screamin’ Blues – An Overlooked Late ‘90s Gem

Ain’t nothing more late-90s/early-2000s ‘tude than spelling a pedal name Screamin’ instead of Screaming.  From the name, to the whacky, cartoonish font, this thing just oozes 90's nostalgia. Today we’re diving into one of the often-overlooked pedals from exactly that era: the Digitech Screamin’ Blues.

The one I demoed recently is actually my original unit from back in the day. True to form, I picked it up at the tail end of its production run when the prices had dropped — always on the hunt for those budget bargains. At the time, I really bought into this run of Digitech pedals. Over the years I owned both the Bad Monkey and the Hot Head, and they always felt sturdier than the Behringer offerings of the time while costing less than the Boss alternatives. What I didn’t realise back then was that many of these weren’t just cheaper — in some ways, they were improvements on the circuits they were inspired by.

The secret weapon? That extra Low control.

The EQ Advantage

At a glance, the Screamin’ Blues looks like it’s ditched the traditional tone knob in favour of a simple two-band EQ. But this is where the magic lies.

The High control (in the way I see it, at least) acts much like a standard tone knob, letting you tame brightness or push it forward. The Low knob, however, is a “fatness” control that gives the pedal a ton of flexibility. Many classic circuits — including the ones these pedals were clearly based on — shave off some low end by default. That makes sense if you’re running chunky humbuckers and need to tighten up your sound for clarity, but it’s not always what you want with bright, jangly single coils.

With the Screamin’ Blues, you can dial that low end right back in, giving single-coil guitars more chunk and girth. Push it to extremes and you get a big, woofy bloom of bass, even that small-combo-speaker-struggling kind of sound if that’s your flavour. The EQ here makes the pedal far more versatile than many of the drives it was competing with at the time.

Two Runs, Subtle Differences

Here’s a fun bit of trivia: the Digitech line actually came in two distinct runs. On the surface they look identical, but there’s one key difference: weight.

The early versions feel like you’re trying to lift Mjolnir itself, while the later run is closer to the weight of a typical guitar pedal. Is there any tonal difference between the two? Hard to say without a proper A/B test — maybe that’s something I’ll do in a future video if enough people are interested. But it’s one of those quirks collectors and long-time users love to point out.

The Shadow of the Bad Monkey

Of course, we can’t talk about the Screamin’ Blues without mentioning its more famous sibling: the Bad Monkey. That pedal got a massive second life when Josh Scott of JHS Pedals did a video showing just how good it was. In that video, the Bad Monkey held its own against a whole range of drives, including — somewhat shockingly — an original Klon. The takeaway? Its powerful EQ made it ridiculously versatile.

The other pedals in the series got passing mentions, but the spotlight was firmly on the Bad Monkey. And if you’ve been paying attention to the gear market over the past decade, you’ll know what happens when Josh Scott shines a light on a forgotten pedal. Prices shoot up overnight, sometimes tenfold, and what was once a £10 bargain suddenly becomes a collector’s item.

We saw it happen with the plastic-housed Behringer pedals, we saw it with the Bad Monkey, and part of me is really hoping Josh never decides to do a feature on the Screamin’ Blues or the Hot Head. Some pedals are better left as affordable hidden gems rather than skyrocketing into “vintage collectible” territory. If he decides to, however, I may be sitting on a gold-mine...

Gone but not forgotten

The Screamin’ Blues might not have the meme-level fame of the Bad Monkey, but it has a lot going for it. With its two-band EQ, solid build, and late-‘90s charm, it’s one of those pedals that quietly punches above its weight. Whether you’re using it to add girth to single coils, tighten up humbuckers, or just push your amp into crunchy territory, it’s got more flexibility than most people give it credit for. With the recent leaks of the Badder Monkey, I'm quietly hoping to see a resurgence of this line - but for that, I guess only time will tell.

So my advice is, if you stumble across one in the wild at a decent price, grab it. Just don’t tell Josh Scott.

The Matribox II Pro just got a Serious upgrade...

 Sonicake Matribox II Pro Update – Now with NAM Profiling

The latest update to the Sonicake Matribox II Pro has quietly turned an already capable unit into something much more powerful. The big news is that it can now load .nam profiles, which puts it into the same conversation as some very high-end amp modelling units.

For those not familiar, nam profiling is similar in concept to Kemper modelling. You can capture a “snapshot” of an amp and turn it into a digital file. That snapshot can be just the preamp, the preamp and power amp together, or even a full rig including cab. Better still, you can profile an amp with your favourite drive pedal in front of it, meaning you can bake in that pushed high-gain sound as a single file. Once loaded into the Matribox II Pro, you can still adjust the amp’s EQ, gain, and volume, and—most importantly—it reacts dynamically to your playing. Just like with a real amp, rolling back your guitar’s volume or changing your pick attack gives you different tonal responses.

Nam profiling is still relatively young compared to Kemper or Neural DSP’s Quad Cortex, but it’s evolving fast. The community around it is growing, meaning more and more free profiles are available every week, and the tech itself is constantly being refined by a few dedicated developers. That makes this update a very exciting development for the Matribox II Pro, especially for players who want to get in on the ground floor of something new.

Why Now?

The timing of this update is interesting. Sonicake recently released the Pocket Master, a portable multi-FX unit in a mini format, and one of the first compact devices to offer nam profiling. Not long after, Valeton launched the GP-5, another portable modeller with similar functionality. In response, Sonicake pushed an update to the Matribox II to include a nam loader. What they didn’t make especially clear was that the update also applies to the Matribox II Pro—and that’s where things get very exciting.

The Matribox II Pro Was Already Strong

Even before this update, the Matribox II Pro was punching above its weight. One of its best features is the fully customisable signal chain. With many budget multi-FX units (including earlier versions of the Matribox), you’re stuck with a semi-fixed path: an amp block is always an amp, the EQ is always an EQ, and so on. You might get a handful of free-floating effects you can position pre or post amp, but flexibility is limited.

Higher-end units, like the Line 6 Helix, give you the freedom to build your signal chain however you want. You can load blocks in any order, experiment with strange placements, and really shape your sound. The Matribox II Pro gives you that same kind of flexibility. The only real limitation is DSP power, and that’s a fair trade for the price point.

For example, in the sound demos I put together, I used a cleaner Fender-style nam profile paired with one of the built-in drive pedals, a spring reverb up front, and then finished the chain with a studio compressor and subtle room reverb. That last touch adds a polish that feels like a “recorded” guitar tone, and it’s a trick I picked up from Mr Lamby over on YouTube. The end result was dynamic, characterful, and surprisingly refined.

Final Thoughts

The Matribox II Pro was already a hit here at Budget Pedal Chap. It offered flexibility, solid tones, and features you’d normally expect from pricier units. With the addition of nam profiling, Sonicake have taken things to another level.

This wasn’t an update anyone was clamouring for, but now that it’s here, it feels like an upgrade we didn’t even know we needed. Whether you’re already a Matribox II Pro owner or just looking for a budget-friendly way into the world of amp profiling, this update makes the unit far more appealing.

It’s another sign that Sonicake aren’t just keeping pace with the competition—they’re quietly raising the bar in the budget multi-FX world.

A budget 1176 can't be that good, surely?

 Sonicake Source Compressor Review – Studio Sheen at a Budget Price

Compression is one of those effects that divides guitarists. Some players swear by it, others avoid it completely, and many don’t fully understand what it does. When you think of guitar compression, chances are your mind goes to the MXR DynaComp or something similar: a pedal that gives you that iconic squishy, “pop and snap” tone. It’s a sound that has found a home in genres like country, funk, and pop, and while it has its place, it can feel limiting if that’s your only experience of compression.

But compression can be so much more. At its best, it’s not just a special effect—it’s a studio tool that enhances your playing without getting in the way. A good compressor should give you sustain, consistency, and polish. It should make you sound like the best version of yourself, even when you’re just plugged straight into a clean amp.

That’s where the Sonicake Source Compressor comes in. Inspired by the legendary 1176 studio compressor, this little pedal aims to deliver the same kind of studio sheen in a compact, affordable stompbox. And it might just change the way you think about compression.

Not Just Another Squishy Comp

The 1176 is one of the most famous studio compressors of all time. Unlike guitar-focused comps that give you a very obvious “squash,” the 1176 was designed to be transparent, musical, and versatile. It can be pushed into dramatic territory, but most of the time it works behind the scenes—lifting the quieter notes, taming the louder peaks, and giving everything a consistent, professional sheen.

That’s the design philosophy behind the Source Compressor. Yes, you can dial in a squishy, funky snap if you want, but more importantly, you can get that “always-on” sparkle that enhances your tone without shouting about it. For me, that’s the real magic of compression. The best compressors are the ones you forget you’re using—until you switch them off and suddenly feel like your tone has lost something.

A Clever LED

One of the neatest features on the Source Compressor is easy to overlook at first: the LED indicator. Normally, this just tells you if a pedal is on or off. But here, it also changes colour depending on whether the compressor is actively working.

When the LED turns from green to red, you can see the exact moments when the compressor is clamping down on your signal. For compression, that’s incredibly useful. Why? Because the golden rule of compression is that if you can obviously hear it working, you’re probably using too much. A good comp should be felt more than heard, and having that visual feedback helps you set the controls without overdoing it.

It’s a simple addition, but one that makes this pedal stand out.

Controls – Simple but Powerful

The Source Compressor has three controls you need to pay attention to; they’re cleverly chosen and give you more flexibility than you might expect.

In – This is essentially your input control. Push it higher and you’re hitting the compressor harder, which results in a more obvious squish and sustain. Pull it back and you get a subtler, more transparent effect. This is the control that determines whether you’re in “DynaComp country snap” mode or “1176 studio sheen” mode.

Dry and Out – Dry blends in your clean, uncompressed guitar signal - Out blends in the compressed signal. Parallel compression is a studio trick that mixes the original with the processed tone, and having this on a pedal is fantastic. It means you can keep all the attack and character of your natural playing while still benefitting from the sustain and polish of compression.

Between these three knobs, you can dial in anything from a very transparent, invisible polish to a more aggressive, characterful squash. It also has the expected attack, release and ratio controls you'd expect if you've ever used a comp in your DAW or in a studio. Between these controls, there isn't many  comp sounds you can't get.

The Feel of Compression

Describing compression is always tricky because, unlike delay or distortion, it’s not an effect you necessarily want to hear. It’s about feel.

When set right, the Source Compressor makes your guitar feel more controlled, more confident. Notes sustain for longer. The volume between your hardest strums and your softest touches feels more consistent. Chords sound fuller, single notes sound more expressive, and everything just feels glued together.

This subtlety is the exact reason why I really hate demoing compressors on the channel. I absolutely love them to play, but unlike a distortion pedal where you can clearly hear a difference, a comp is a much more subtle beast. Add to that the compression and tonal discrepancies you get by uploading to YouTube itself, it can be very difficult to get across the virtues of a good compressor in a tone only demo. This is my cross to bare, however. I love my job here at BPC, so having to make a convincing compressor demo every once in a while is a small price to pay. 

Spend Some Time With It

This isn’t the kind of pedal you can just plug in, twist a knob, and immediately get everything it has to offer. The Source Compressor rewards time spent tweaking and listening. Because compression is so dependent on your guitar, your playing style, and your amp setup, you’ll need to find the sweet spots that work for you.

But once you do, you’ll realise just how versatile it is. Want subtle sustain for clean picking? It can do that. Want a classic country snap? No problem. Want to push your solos forward without changing your tone? Easy.

It’s the kind of pedal that grows with you, and once you’ve learned how to get the most from it, you’ll wonder why you didn’t use one sooner.

Is It for Everyone?

If you’ve never used compression before, the Source Compressor might surprise you. It won’t wow you with dramatic tones the way a fuzz or delay might. Instead, it will quietly improve everything you play. For beginners, that can be hard to appreciate at first.

For more experienced players, especially those who want that polished, studio-like feel, this pedal makes a lot of sense. It’s also small, affordable, and solidly built, making it easy to add to any pedalboard. 

I was watching an interview with the king of livestreams, The Lamb, and he put it in a fantastic way. I'll paraphrase him here for the lack of having the actual wording he used, but what he said essentially was that the guitar tones we all know and love were never direct. They were flavoured with the microphone used to mic the cab, the room they were recorded in, the console that it was all running into and almost certainly a bunch of studio compression used on individual tracks AND the master tracks too. 

We are striving to attain those iconic guitar tones we have heard on records throughout the years, so doesn't it make sense that we should pepper in a bit of studio style compression every now and then too?

If you’re into subtlety and refinement, you’ll love it. If you’re only into wild, obvious effects, it might feel underwhelming. But remember: compression is one of those “secret weapon” effects. Once you get used to playing with it, it’s hard to go back.

When you think about it...

The Sonicake Source Compressor isn’t about flashy tones or gimmicks. It’s about delivering a studio-grade feel in a simple, affordable pedal. With its clever LED, flexible controls, and inspiration from the legendary 1176, it offers far more than most budget compressors.

It’s not an instant-gratification pedal—you’ll need to spend time with it to really unlock its potential. But once you do, you’ll have a versatile, always-on tool that makes you sound more polished, more consistent, and more confident as a player.

If you’re curious about compression or looking for an upgrade from the more one-dimensional options out there, the Source Compressor is a fantastic place to start. It’s proof that even budget pedals can deliver professional-level results when they’re designed with care.

If you'd like one of your own and you'd like to support what we do here, consider using this affiliate link (use code: budgetpedalchap for money off too)
https://www.sonicake.com/products/source-comp?sca_ref=1425095.S0avGvl0i2

Demon FX Precision Drive - Insane gain for an overdrive...

A modern take on tight gain 

When it comes to modern high-gain guitar tones, there’s a formula that has become almost universal: a roaring amp with a drive pedal in front of it. For decades, the humble Tube Screamer has been the go-to option, beloved for its ability to shave off some low-end flub, tighten up the response, and add just enough bite to help riffs cut through the mix. But as guitars have evolved—seven strings, eight strings, even nine in some cases—the demands on pedals have changed too.

Enter the Precision Drive, originally created by Horizon Devices (the company co-founded by Misha Mansoor of Periphery). Designed specifically for modern metal players and extended-range guitars, it set out to be a drive pedal that could do what a Tube Screamer does, but with more flexibility, more clarity, and more gain. The Demon FX Precision Drive is based on that original design, bringing the same feature set into a more budget-friendly package.

First Impressions – More Than Just a Screamer Clone

When I first read about the Precision Drive, I assumed it would be a straightforward Tube Screamer alternative: something to cut bass, shape mids, and add a touch of sizzle to a high-gain amp. That assumption only tells half the story.

Yes, the Demon FX Precision Drive can absolutely act as a front-end shaper for heavy amps. Its Attack control is particularly handy here, letting you dial in the low-end tightness to suit not only standard-tuned guitars but also the extended low notes of 7- and 8-string instruments. If you’ve ever found a normal overdrive pedal to be too muddy or undefined on the lowest strings, this feature alone makes a big difference.

But beyond that, this isn’t “just another Screamer.” It’s far hotter, far more modern, and has a personality of its own.

More Gain, Different Voice

Most Tube Screamers work best when used as a boost in front of an already cooking amp. They rarely have enough gain on their own to function as a standalone distortion for heavier styles. The Demon FX Precision Drive, on the other hand, has plenty of gain on tap. You can easily run it as your primary dirt pedal, and it doesn’t fall apart when you push it harder.

The EQ voicing is also distinct from the familiar Tube Screamer mid-hump. It’s tricky to pin down exactly why—it’s probably in the way the mids are voiced—but it has a more modern, open feel to it. Instead of the nasal focus that some screamers have, the Precision Drive can cover a lot more of that mid-range spectrum.

When I plugged it in and started riffing, I found myself moving away from chug-heavy riffs and leaning into classic rock-style playing. That’s when it hit me: it had a very similar feel to the Fulltone OCD, a pedal renowned for giving some quality cooking amp tones with a dynamic quality to it. The Demon FX Precision Drive offers that same sense of touch sensitivity and openness, but with the added shaping power of its unique controls.

The Controls – Versatility at Your Feet

The control layout is straightforward but surprisingly versatile. In addition to the usual Drive, Tone, and Level knobs, you get two extras:

Attack – This is the key to the pedal’s identity. Turn it down, and the low end blooms more, useful if you want a thicker response. Turn it up, and the low end tightens right up, perfect for palm-muted riffs or extended-range clarity. It’s like having the ability to fine-tune exactly how the pedal interacts with your guitar’s bottom end.

Bright – Another welcome addition. This lets you bring in more top-end presence if your tone feels too dark, or rein it in if things are getting too glassy.

Together, these two controls mean the Precision Drive isn’t locked into one role. It can be a modern metal tool, sure, but it can also be dialed back into a crunchier, almost classic rock-style drive, or even set up as a solo boost to push your amp over the edge.

Who Is It For?

For me personally, this isn’t a pedal I’ll be reaching for too often. My playing leans more toward low-to-mid gain, and the Precision Drive is simply too hot for my tastes. But that doesn’t mean it doesn’t have value—it just has a different audience.

If you’re a modern metal player, especially one using a 7- or 8-string guitar, this pedal will feel like a natural fit. It’s designed with your needs in mind: the Attack control makes extended-range riffs tight and defined, while the overall gain structure ensures you’ve got plenty of saturation without the mush.

For more general players, the Precision Drive could easily serve as a primary overdrive/distortion. Its versatility means it can adapt to a wide range of genres, from classic rock crunch to modern metal chugs, and it stacks well with other pedals. Used as a boost into a high-gain amp, it delivers exactly the kind of clarity and focus you’d want in a live mix.

Comparisons and Context

It’s impossible to talk about this pedal without referencing the Tube Screamer, because that’s the benchmark for this category. Where the Tube Screamer is mid-focused, relatively low-gain, and often used as a “set-and-forget” boost, the Precision Drive feels like its modern evolution: more gain, more flexibility, and more tailored to contemporary styles.

At the same time, it shares DNA with pedals like the OCD, offering a more amp-like feel and dynamic response. That combination makes it stand out, because you’re not locked into the classic “tight boost” role—you can actually build whole sounds around it.

And then, of course, there’s the value factor. The Horizon Devices Precision Drive is a well-regarded pedal, but it’s not cheap. The Demon FX version gives you access to the same overall design and philosophy at a fraction of the cost, which makes it appealing to players who want the functionality without the boutique price tag.

Final Thoughts

The Demon FX Precision Drive is a pedal that wears its influences clearly (*ahem*) but this isn't anything new for Demon FX, you kind of know what you're getting here. On paper, it looks like a simple high-gain drive with some extra EQ options. In practice, it’s a versatile, modern-sounding overdrive/distortion that can cover far more ground than you’d expect.

Is it for everyone? No. If you live in the world of blues, low-gain classic rock, or edge-of-breakup tones, it might feel like overkill. But for modern players, especially those venturing into extended-range territory, it’s a smart, flexible option that can easily become the backbone of a rig.

It may not replace the Tube Screamer as the all-time classic, but in many ways, it’s the logical next step for players who need more than what that little green box has to offer. And for the price, the Demon FX Precision Drive delivers a whole lot of bang for your buck.

When you want Shimmer on a Budget, you gotta Gokko for this one...

 Gokko Divine Shimmer Reverb Review – Sparkle on a Budget

When you think of shimmer reverb, your mind probably jumps to the high-end powerhouses of digital effects: companies like Strymon, Eventide, or maybe one of the more recent boutique builders pushing the boundaries of ambient guitar tones. Shimmer has long been one of those “premium” effects, the kind of sound manufacturers like to use to show off the capabilities of their top-shelf algorithms. It’s lush, complex, and notoriously hard to get right.

At the budget end of the pedal market, attempts at shimmer have been patchy to say the least. The Mooer Shimverb is a classic example: the room and spring modes are perfectly fine, but the shimmer? Let’s just say it didn’t win many fans. So when Gokko asked if I’d like to try out their Divine Shimmer Reverb, I approached it with a healthy dose of scepticism. Could a budget pedal really pull off one of the most difficult reverb styles convincingly?

Plugging it in, though, was a very different story.

The Layout – Simple but Purposeful

The Divine is built around two main components: the reverb itself and the shimmer effect that sits on top - both of which are controlled independently.

The reverb control alters the dwell, giving you a snappier, tighter ambience at one end or stretching out to a huge, expansive wash at the other. On its own, the reverb is solid but fairly neutral. It’s not dripping with character like a vintage spring or cavernous plate, but that feels intentional. If the base reverb was too colourful, it would end up fighting against the shimmer and creating a confused mess of sound. By keeping the core reverb more restrained, it provides the perfect canvas for the shimmer to shine.

And make no mistake—the shimmer is the star of this show.

The Shimmer Effect – From Subtle Sparkle to Organ Swells

Shimmer, at its core, is an octave effect layered onto the reverb trail. In the Divine, this manifests as a delicate overtone that can either add a gentle sparkle or morph into something far more dramatic depending on how you set it.

At low settings, the shimmer gives your playing a beautiful, airy top-end. It doesn’t overwhelm the note, but instead adds a glistening halo around your sound. It’s subtle enough to use in everyday playing without feeling self-indulgent, the kind of touch that can lift a clean tone or add dimension to chords in a mix.

Push the control past halfway, though, and things get interesting. The shimmer starts to dominate, transforming into something that feels less like reverb and more like an instrument in its own right. There’s an overpowering overtone and a bit of an organ-like quality to it, reminiscent of a Wurlitzer filling out a ballroom. In fact, it reminded me of the iconic organ sound in Blackpool Tower Ballroom—lush, majestic, and unmistakably “big room.” As a side note, if you ever get the chance to visit that ballroom in person, it’s worth it. Even if dancing isn’t your thing, the atmosphere and sound are something to experience, a true slice of British culture (the afternoon tea is banging, btw).

With everything cranked—reverb, shimmer, and level—the Divine even veers into self-oscillation territory. This is the first reverb I’ve used that genuinely starts to feedback into itself in a musical way. It’s chaotic, sure, but in the right hands, it could be a goldmine for experimental players.

The Level Control – More Than Meets the Eye

One of the most intriguing aspects of the Divine is its level control. At first glance, it behaves like a standard mix knob, blending your dry guitar signal with the wet reverb + shimmer. But spend a little more time with it and you’ll notice it’s capable of going fully wet.

That opens up a lot of creative possibilities. By running the pedal in fully wet mode and splitting your signal with an ABY box beforehand, you can keep one chain completely dry while sending the other into ambient oblivion. From there, add modulation, pitch-shifting, or distortion after the Divine and suddenly you’re sculpting textures that go way beyond traditional reverb use. It’s not how most players will run it day to day, but for soundscape enthusiasts, it’s a hidden gem of functionality.

Everyday Use – A Second Reverb With a Twist

So, is the Divine likely to kick your trusty Mosky Spring or TC Hall of Fame Mini off your board as your go-to reverb? Probably not. Its base reverb, while entirely serviceable, you would be doing it a disservice if you were to try and run it as a subtle, everyday reverb when it is capable of so much more - and honestly, I think the others have just a bit more charm about them, in this way of using it at least.

Where the Divine really makes sense is as a second reverb option. Paired with a standard verb, it becomes your “special effect” pedal—the one you kick on when you want to step outside the norm and dive into more atmospheric territory. Think of it as the equivalent of owning a classic car. Sure, you could drive it on the school run every day, but that’s not really the point. The joy is in pulling the top down on a sunny day and letting the experience take over.

Dial it back, and you can make the Divine work as a general-purpose reverb. But to buy this pedal and not use the shimmer would be missing the point. The whole charm lies in those sparkling overtones and the ability to push your guitar into organ-like territory or even into feedback loops of ambience.

Value and Positioning

At this price point, shimmer reverb is still something of a rarity. Gokko (who, for context, have taken "inspiration" from Caline’s Wonderland pedal here - thanks for those in the comments who've made me aware of this) have managed to bring a usually “premium” sound into the budget space with surprising success.

Of course, if you’ve played the top-end shimmer reverbs, you’ll hear the difference. The Divine isn’t as polished or endlessly tweakable as something like a Strymon BigSky. But then again, it’s not trying to be. What it does is capture the spirit of shimmer in a way that’s inspiring to play, fun to experiment with, and accessible to players who don’t want to spend several hundred pounds on a pedal that they might only use occasionally.

Bottom Line

The Gokko Divine Shimmer Reverb is not your everyday, bread-and-butter reverb pedal. It’s not trying to be. Instead, it’s a gateway to a whole other palette of sounds—sparkling overtones, organ-like swells, and even chaotic self-oscillating feedback if you’re bold enough to push it there.

Is it flawless? No. The base reverb is fairly plain, and if you’re looking for one reverb pedal to cover all situations, this probably isn’t it. But as a second reverb to stack with your mainstay, or as an affordable way to explore the shimmer effect without diving straight into the high-end market, it’s a strong option.

If you’re curious about shimmer but have been put off by the price tags attached to the big names, the Divine is a refreshing surprise. It’s not perfect, but it’s fun, it’s inspiring, and it shows that shimmer doesn’t have to be reserved for the elite end of the pedal world.

Sometimes, a little sparkle is all you need.