ODIN came to me through my friendship with Unknown Mortal Orchestra's Ruban Nielson. Back when the world felt like somewhat mine to take; if nothing else then at least with surprise; I had the chance to play shows supporting UMO, and we got along well, not just in music, in partying, in the general dream of things to be good and true, but also in the fundamental aspiration to find sounds of emotional expressivity, with luxury of freedom and for the pure pursuit of the very ability to feel like you felt you were always supposed to feel.

He showed me the octave fuzz he had built. It was a revelation. The next day ODIN was born.

ODIN is meant to be played live.
The regular fuzz holds what feels somewhere midway between a classic fuzz, with great volume knob cleanup, deep bass, and lots of output. I often use it not to stick out, but to drop back into the mix, for riffing, for clean tones rolled back, and to just fill the space with extra power and emotional range.
Unlike most classic fuzz tones, it pushes and pulls very quickly, allowing for a very unique combination of depth and roar and speed and articulation. It's like getting the star in Mario Kart.
Holding perhaps too closely on to this analogy, the octave mode is like having the lightning in your hands.
Louder, stronger, more astringent, with enormous differential note dive bomb ability, squeaky clean, precise octave doubling and just endless character and force.

Ten years later, ODIN has gone through dozens of tiny updates and upgrades, but the circuit remains the same. Currently you can find ODIN on pedal boards by such visionaries as Jesse F. Keeler, Scott Holiday, Aaron Lee Tasjan, Lee Anderton and countless others.

It's perhaps the only modern classic I'll ever make, and if that is the case, I'm happy with that.