Like May’s other pedals, the Demon Girl is a simple affair with one button, three knobs, and one lever. It’s well made and each of the modulators feels solid and smooth. Elliot’s graphics feature a busty, evil female clown inside a pumpkin head with mostly blue tones ranging from aqua to deep purple. It’s certainly a vibe, which is neither over the top nor under, and it gives the pedal a distinctive aura. Our reviewers felt that the text elements could have been “a bit more sophisticated and fun,” but our editor felt that the comments were picky. Trevor May backs the pedal with a lifetime warranty, so if something goes wrong with typical use and you don’t throw it in a lake to evoke the spirit of Demon Girl, he’ll fix it free of charge.
Four transistors and the truth
Using four transistors “and the truth,” according to the Demon Girl page on her website from circa 1998, May is able to generate “heavy fuzz” that has more “presence and grit” than a BigMuff, while still sounding ” rooted and organic. The mono pedal is definitely geared towards guitarists and May fine-tuned the pedal to bring out the massive sound, but if that’s not enough, there’s the Heavy switch that discovered your Axl Rose in Kurt Cobain’s gravel. The three pearls are Volume, Crush and Fuzz. The Crush acts as a compressor with mid/high tone control, accentuating the chaos while the Fuzz knob dials in the wool and fuzz.
