[OVERVIEW]

Leading up to the acquisition of the Strymon Flint, I was in midst of researching various options to diversify my reverb selection. The EQD Ghost Echo (click for my review) had served successfully as my one-and-only reverb option for the past year but I felt more variety was needed. I quickly purchased the EQD Levitation (click for review), a great pedal, but one with which I struggled to bond with. Next up? The Keeley Aurora, which proved to be a fantastic reverb pedal; very organic tone and dynamics with a great range of effect, subtle verb to deep space. While the solution worked in concept, it presented a few new challenges: that of consuming valuable pedalboard real estate, additional power requirements, and the need for additional patch cables (read: more points of potential issue.) It is my preference to find a balance of efficiency and effectiveness, a nice ratio of function vs. size, without sacrificing quality — all obtainable in today’s market; usually found at a more premium price point. Continuing in this train of thought, and as a very happy owner of the El Capistan (click for review), I focused in on the Strymon Blue Sky. With three fundamental reverb types and countless variations and range thereof, this looked to be just the pedal I was looking for. It was at this point, in reading numerous threads and reviews, watching countless video demonstrations, comparisons and recommendations for the Strymon Flint kept coming up in the discussion – a pedal that was not even on my radar. As I started to learn more about the Flint, the more it spoke to my ‘needs’ as well as my ‘wants’. There were some very common themes: simplicity, quality, and a perfect combination of classic effects. There was some hesitancy but I made the decision to get the Flint instead of the Blue Sky. A key decision that I worked through when making the choice between these two pedals: the plethora of options on the Blue Sky, and tweaking thereof – vs – the three pre-voiced reverbs of the Flint (forever to be classics), with some moderate controls and range therein; this with the addition of the Tremolo effect.

[ENTER THE STRYMON FLINT: THE PERFECT GENTLEMEN]

Strymon describes the FLINT as ‘A Perfect Gentlemen’ and, after spending the past month with it both at home and in live performance, I would have to agree that it certainly is the ‘Perfect’ description. Like a ‘Gentleman’, there is a simplistic elegance to the Flint, both with the effects it produces along with the ability to dial in just the right mix of reverb, tremolo, or a blend of both. Subtle adjustments, as I came to learn, go a very long way, and within the nuances, there is a rich complexity and variety of each effect; very compelling and natural replications of classic reverbs and tremolos.

[THE FIRST FEW DAYS]

In writing these reviews, I believe it is imperative to convey all parts of the experience. To this point, I’d share that I struggled with the Flint for the first few days – specifically with the Reverb – specifically with the Spring Reverb. I had become so accustomed to the sound and nature of the Ghost Echo, and the control scheme thereof, that I couldn’t seem to dial in the right blend of Spring Reverb. The ‘reaction’ from the simulated springs was too ‘present’ for my taste — or so I thought. Further adding to the frustration, I was using settings as shared online or as seen in videos; settings with a bit exaggerated mix levels for purposes of demonstration. As I came to understand how the provided controls worked and, more importantly the interaction thereof between the three adjustable attributes (Mix, Depth, Tone) and in how they worked together to refine the response and voice of the effect, it soon became quite simple to dial in a very authentic spring reverb – one that sounded and responded more realistically (in my opinion) than that of the Ghost Echo. In better working with the controls provided, my experience and enjoyment of all three reverb selections was enhanced.

[AGED TO PERFECTION]

On the outside, ‘The Gentlemen’ is refined; impeccably dressed and always well presented. Internally, there is a complexity of character and richness of personality. The FLINT provides three classic type of reverbs and, within those choices, there is a great range of both intensity and tone of voice. Nuanced adjustments of the controls can go a long way in establishing the perfect amount of the effect. From simulating the cozy comfort of a small space on lower settings, one can easily ratchet up the controls to take the audience just beyond the outer edge of earth’s atmosphere. While one can flirt/tease some basic ambient inspired soundscapes, I would not suggest this to be a strength of the pedal.

I find the ideal [MIX] level for a natural sounding reverb to be around 10pm on the dial. As referenced earlier, many suggested settings and demo videos have the MIX higher (e.g 2pm ), but I found the tones and responses are more organic at lower levels with nuanced adjustments of tone and depth thereof. As I move between songs on the setlist, it is so very easy and efficient to quickly switch to a reverb that’s ‘just right’. While not required for full enjoyment, with the addition of an expression pedal I already had (assigned to the depth control), I can make refinements on the fly; a small convenience that comes in to play when utilizing more intense settings on the 70’s Plate of 80’s Hall.

Strymon has done a great job of setting the right amount of pre-delay for each reverb although, I did suggest to them that it would have been nice had they assigned a pre-delay control as a secondary function on the tone knob [currently unused] specifically for times when the [DECAY] inches ever-closer to the max setting. This is certainly a personal preference than a knock against the pedal.

While I’ve already discussed the Spring Reverb to some degree , I would add that I’ve come to learn (as almost if there really was a spring tank hidden in the pedal) how to adjust my playing dynamics to either encourage or reduce the simulated reaction from the springs. I can emulate a small space, allowing the guitar to breath a bit, or get that rich Surf Drip depending on the settings. As for the 70’s Plate, I think the implementation is definitely rooted in a mellow vibe that can either reproduce the feeling of being in a small room (bright or dampened) and/or taking one into the heavens with bright reflections. The 80’s Hall shines when the Decay is set from 2pm and 4pm (just before it is maxed out). The setting adds some modulation which makes the resulting effect very rich.

In many ways, the Reverbs on the Flint just work and can easily serve as an ‘always-on’ effect. For live performances, this simplicity and dependability are perfect and, for use at home or in practice, there is plenty of room to do some fun exploration.

[ADDING SOME MOVEMENT | REVERB & TREMOLO = PERFECT FRIENDS]

The 61′ Harm Tremolo Setting, Speed set 9pm, Intensity around 10pm … Subtle Luscious Movement … Suave. A touch of Reverb, A dash of Tremolo … just stop here, no need to venture further. To note: as a secondary control on the Delay Knob, you can route the Tremolo to either be before/after the reverb effect [factory default = after reverb.]. I found it to be more to my taste for the tremolo to be before (the reverb afterwards softens the intensity some). That said, with the Tremolo placed afterwards, one can venture into some very hypnotic/pulsating vibes.

[For now … CONCLUDING THOUGHTS]

As with all my reviews, I will come back and certainly add more insights and observations, make some edits, etc .. etc. What one reads today will be greatly enhanced over the next few weeks. Certainly, I want to discuss and share more about the tremolo effects offered on the Flint. To conclude this review, Strymon hit the mark in how it characterized the Flint, if I might embellish on it a bit, “It is ‘The Most Interesting Man in the World'”. This is a classic pedal, well implemented, and will serve perfectly as a foundation of tone/effect on my board.