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One look at the Black Magic should signify that it was intended for harder forms of rock, with a three-band EQ section, Presence control, mid-boost switch, and devil woman graphics. Figuring that the Flying V would be the right tool for the job, I ran it into the Black Magic and then into a Marshall 2555 halfstack. Tonally, the Black Magic falls more into the high-gain Marshall area than anything else, as the gain has a very nice upper-mid quality to it. While it doesn’t quite have that sharp JCM800-esque bite to it, the sound is highly muscular in comparison. Think Celtic Frost instead of Slayer. Kicking on the mid-boost toggle switch didn’t seem to have much of an effect, really. There wasn’t enough of a difference that I could see myself using it. I certainly didn’t expect the Black Magic to have anything in common with either the Starlight or Ziggy, but it also shares some of the same darker qualities of those pedals, and the high degree of touch sensitivity. Most high-gain rock pedals have a problem with either ice pick highs, harsh mids or farty lows when the volume is cranked. I didn’t notice this at all with the Black Magic—cranking the Marshall just made it sound thicker, meaner, and more responsive. It literally sounds better through a raging tube amp, which is the exact opposite of the experience I’ve had with pedals like this. The Black Magic reacts like an overdrive, but sounds like a European metal beast.
you're looking for great British-styled high-gain rock tones and excellent touch response.
you have no need for high gain or larger EQ section.