Tube-fed fuzz that bites back.

At street level the city hums like a tired preamp. Up here it is ozone and bad ideas. The Raccoon leans on a battered breaker panel and turns the Infinity control to wake the first engine, Electrified. It runs a tube-flavored diode model: smooth bloom, clear pick attack, the kind of drive that can replace your go-to “always on” pedal. Nudge Infinity toward the middle and the circuit hands off into Supercharged, a silicon-based engine with chewier mids and extra grit. Push it all the way and you hit Overloaded, a more experimental diode network for gnarlier textures when the song needs to misbehave.

Kyle, for his part, is learning a lot about being a live diode stack. When the Raccoon dials in SURGE, the mids step forward and the whole circuit gets a touch more gain. Same core tone, more presence in the mix. Flip Meltdown while Overloaded is running and everything tips into super-compressed, almost octave-up behavior: palm mutes smear, single notes bloom into ghost harmonics that were not in the room a second ago.

Tone etiquette still applies. Input sets how hard you lean into the front of the circuit. Tilt steers the source brighter or thicker before it hits the fuzz so the engines react the way you want. Drive decides how far you push those engines, based on where you park Infinity between Electrified, Supercharged, and Overloaded. After the chaos, the HP and LP filters sweep off fizz or clean out mud. The built-in Speaker Sim moves you from direct to room: Off for plain line sound, Bright for bite, Dark for basement weight, Boxy for forward midrange. Volume restores politeness, and the Mix knob lets you run parallel filth or go full send on a bus.

“Mixing should be fun. If it crackles, glows, and makes you grin at the meters, it passes QA.” — the Raccoon, tightening a lug nut with his teeth