Honestly, it's one of the better overdrives I’ve played in a long time … I can highly recommend it.Brett Kingman
A classic overdrive with a smooth top end. Perfect for rhythm or melodic solos that need less sustain.Kfir Ochaion
The Bad Cash is going to become a bit of a favorite from the brand. As a standalone drive into a clean amp it will work great, and into a higher gain amp that dampening control is going to be your best friend.Leigh Fuge
It might look like another green overdrive, but this thing is anything but. It covers a wide range of tones, from Klon-style sounds to screamers, and even takes on a character of its own. When you start playing with the damping and presence controls, that’s where you really unlock the magic of the Bad Cash.Budget Pedal Chap
I thought at first this would be an expensive boutique pedal, because it sounds like one ... but it’s not. It costs only 169 €, and for a pedal that sounds this good and comes from the U.S., that’s incredibly affordable. Hats off to Thorn for making such a great pedal for so little.Bernd Kiltz
I think the Bad Cash excels with being able to pair with those amps that typically sound either too honky or dull with the typical overdrive pedal. Between the "Damping" knob (it's secret weapon), the active EQ, and assortment of switches, it is easy to get this box to complement even the most stubborn of amps: from the most sizzle-y AC-30 to that old Univox in your grandpa's garageJay Leonard J
Damping
Dialling in the Damping control steadily removes very low-end frequencies without taking away the body of your tone.
It moves you from flubby, old-school amp feel to a tighter, more modern response, and because it sits before the gain stage, it directly shapes the character of the drive.
Headroom
Modelled on the difference between high- and low-wattage amps, the Headroom control works as a broad character shift.
Turn it left for a darker, lower-gain, more compressed feel, or right for a brighter, more open tone with more gain.
Presence
While the Damping control shapes the low lows, Presence handles the high highs.
Often described as that paper-on-paper edge, it lets you add or tame top-end bite, perfect for brightening dark amps or smoothing out overly sharp ones.
A / AB
Based on the subtle differences between Class A and Class AB tube operation.
Class A runs hotter and distorts slightly earlier with a touch more compression, while Class AB feels a little more open and holds clean headroom slightly longer before breaking up.
Symmetry I/O
Long ago, when overdrive options were limited, there were the Boss Corporation SD-1 and the Ibanez Tube Screamer, their circuits almost identical apart from the clipping style.
The SD-1 used asymmetrical clipping and the Tube Screamer symmetrical, with symmetrical clipping delivering a tighter, smoother feel and more even compression, while asymmetrical clipping in the SD-1 feels looser, more dynamic, and closer to a cranked amp with richer harmonics.