Is This the Most Versatile Compressor Ever?

Bonus: This squeeze box includes an amazing EQ and boost. The PG Jackson Audio Bloom review.

Recorded using a Schroeder Chopper TL into a Fender Hot Rod Deluxe IV miked with a Royer R-121 feeding an Apogee Duet going into Studio One with no EQ-ing, compression, or effects.
Clip 1: Bridge pickup, green comp mode, volume at 1 o’clock, blend at 10 o’clock, and comp at 1 o’clock.
Clip 2: “Joey” mode EQ, bass at 10 o'clock, mids at 3 o'clock, treble at 1 o'clock, volume at 1 o'clock, blend at 10 o'clock, comp at 1 o'clock, bloom at noon.
Clip 3: Bloom at max, volume at 1 o'clock, EQ on, bass at noon, mids at 10 o'clock, treble at 1 o'clock.



An unbelievable amount of options in a well-designed interface. Very rugged build quality.

Not enough gain for some.

Jackson Audio Bloom


Ease of Use:



Managing dynamics is a real art. The Jackson Bloom is entirely focused on giving you as many ways as possible—through three different effects—to control, shape, and expand your natural playing dynamics. Through two footswitches, you can control five different types of compression, a 3-band active EQ, and a 20 dB clean boost. Most impressive is how each of the three effects work well together through Jackson’s elegant design.

The one-knob bloom control was a quick-and-easy way to give fills and solos plenty of air and depth.

The compressor is the real star of the show. There are five different modes that range from simple limiting with an ultra-fast attack to full-on Little Feat/Lowell George mode. The green (country squish) and aqua (dual compressors) were my favorites and the most musical to my ears. Hitting both footswitches turns on the EQ, which quickly became my “always on” effect while I had the Bloom in my rig. Each knob was very sensitive and had a finely tailored sweep. The one-knob bloom control was a quick-and-easy way to give fills and solos plenty of air and depth. Few multi-effects pedals offer quite this much power without resorting to endless menus. Well done, Jackson Audio.

Test gear: Schroeder Chopper TL, Fender Hot Rod Deluxe

A maze of modulation and reverberations leads down many colorful tone vortices.

Deep clanging reverb tones. Unexpected reverb/modulation combinations.

Steep learning curve for a superficially simple pedal.


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A lot of cruel fates can befall a gig. But unless you’re a complete pedal addict or live in high-gain-only realms, doing a gig with just a reverb- and tremolo-equipped amp is not one of them. Usually a nice splash of reverb makes the lamest tone pretty okay. Add a little tremolo on top and you have to work to not be at least a little funky, surfy, or spacy. You see, reverb and modulation go together like beans and rice. That truth, it seems, extends even to maximalist expressions of that formula—like the SolidGold FX Ether.

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