Strymon dominates the reverb world

Strymon commands the reverb pedal market like Gibson and Fender do for guitars. The brand's influence is unmatched in this space.

The Flint is everywhere

John Mayer, Noel Gallagher, Billy Corgan, Gary Clark Jr., and Graham Coxon have all used it. For Mayer fans, it's a crucial part of his rig.

Built like a tank

The Flint has a robust brushed-aluminum chassis that protects the circuits inside. It's proven to be one of the most hard-wearing workhorse pedals available.

Compact but not tiny

While not exactly small, the Flint doesn't take up too much pedalboard space considering it hosts two effects. Any space sacrificed is worth it.

Intuitive and easy to use

Each effect gets its own side with a bypass switch, three-way toggle, and dedicated controls. Normal operation is so easy you could do it in your sleep.

“If, like me, the sight of a BigSky MX gives you cold sweats, the Flint is an excellent entry point into top quality Strymon effects.”

MIDI adds 300 presets

The V2 added MIDI connectivity, letting you save and recall up to 300 presets using an external controller. It can be a faff to set up though.

Hidden secondary controls

Pre-Delay, Tap Division, and Boost/Cut are tucked away. You access them by holding footswitches, which isn't the most intuitive layout.

Three reverbs, three tremolos

You get '60s Spring Tank, '70s Electronic Plate, and '80s Hall Rack reverbs. Tremolos include '61 Harmonic, '63 Power Tube, and '65 Photocell.

Mix and match any combo

Thanks to independent toggles, you can pair any reverb with any tremolo. The V2 also lets you determine the order of effects.

The '60s spring reverb shines

Set on the '60s mode with controls around noon, you get a no-nonsense spring reverb reminiscent of vintage tube amps. It's digital but could fool anyone.

Subtle tremolo for lead lines

With Intensity around noon and Speed at nine o'clock, you get a tone tonic that thickens lead lines and adds character to jangly melodies.

Ambient soundscaping capabilities

The '80s Hall setting with cranked Mix and Color creates incredible textural pads. It filled a 30,000 capacity stadium magnificently.

“I used the Flint when I played at Portman Road Stadium, and the thought of those reverbs still gives me goosebumps.”

Color control adds grit

When bumped, the Color control gives a darker vibe with almost gritty character. It affects decays with an irresistible musical break-up.

Extreme tremolo gets gnarly

Crank the controls for choppy, seasick-inducing warbles. Pair it with fuzz and overdrive for bit-crushy, shoegaze tones.

“You can really crank the controls to get into gnarly, choppy territory.”

Stereo input is a gamechanger

The V2 adds a Mono/Stereo input switch. The V1's sum-to-mono input was problematic when running stereo effects like chorus beforehand.

Premium analog input circuit

The V2's JFET input circuit offers improved responsiveness to playing dynamics. It's particularly noticeable when rolling back guitar volume.

The simplest solution wins

As a standalone reverb, you'd struggle to find three better algorithms in one unit. Add three distinct tremolos and it's a winning formula.

“It's good enough for some of the most particular toneheads on the planet, and it's good enough for me.”

Still the pedal to beat

It's the most popular reverb-tremolo pedal on the market for a reason. You can't get any better for what it is at $349.

“It's one pedal that has never left Mayer's pedalboard and except for some very minor cases, I doubt it will ever leave mine.”