Cutaway Guitar Magazine has published Fer Gasbuckers’ full review of the Mosphoros in its June 2026 edition! Naturally, we wanted to know what he thought of the pedal. What we did not expect was how much pleasure we would take from simply reading the piece.
The review is positive, certainly, but that is not what makes it special. Fer does not echo our own language or reshape the material we gave him. He finds his own pace, his own references and his own way of making sound feel almost physical. By the end, Mosphoros has passed through old amplifiers, Nashville clarity, Neil Young weight. P-90 grit, Black Crowes territory and what he calls a “curious three-dimensional crunch.”
Reading it feels less like working through a product assessment and more like spending an afternoon beside someone who knows guitars intimately and still takes real joy in discovering what they can do.
A Magazine Made for Guitar People
Cutaway has covered guitars, amplifiers, pedals, players, workshops and the wider culture of the instrument in Spanish since 2007. It makes every issue available free of charge. And its archive shows a level of curiosity that rarely survives the rush toward short posts and instant verdicts.
The magazine has interviewed major artists, of course, but its real strength lies in the space it gives each subject. It can place a guitar in its history, spend real time with an amplifier and let a pedal reveal itself across more than one instrument before drawing a conclusion.
That same approach shapes the Mosphoros feature. Fer opens with the story of RhPf, moves through the packaging and artwork, explains the unusual MOSFET architecture, then stays where the pedal ultimately has to prove itself: beneath the fingers and through an amplifier.
The Review Finds Its Own Mosphoros
Before joining Cutaway’s editorial team, Fer Gasbuckers spent more than two decades surrounded by guitars and the people who play them. That experience shapes the review without ever turning it into a lecture. He moves between different pickups and gain levels, and the language shifts with the sound. At lower settings, Mosphoros adds a natural brightness and sweetness to the amplifier. Then comes one of our favourite moments in the article:
“Si lo desactivo, el Marshall suena opaco y seco, poco inspirador… ya no hay vuelta atrás.”
Switching the pedal off makes the Marshall sound dull, dry and uninspiring. There is no going back.
Guitarists understand that kind of observation immediately. An always-on pedal can be hardest to describe while it is working; its value often becomes clearest the moment it disappears. As the gain rises, Mosphoros moves into thicker, looser and more broken sounds without collapsing into a generic “more distortion” description. The response stays elastic, and the pedal starts to feel like an amplifier being pushed. One guitar brings out Neil Young, another points towards Marc Ford and The Magpie Salute, while the Strat reveals a beautiful twang and that wonderful phrase:
“Un curioso crujido tridimensional.”
A curious three-dimensional crunch.
Reading Fer feels like hearing him play. His knowledge never interrupts the flow; it guides what he notices. He catches the way the sound pushes back, how the right hand reshapes it, and how one instrument reveals what another keeps hidden.
When Technical Writing Still Sounds Musical
Mosphoros does not make itself easy to explain. Its Bass and Treble controls sit inside the gain structure instead of filtering the sound afterward, while Drive shifts the circuit’s bias and several MOSFET stages react to one another as the controls move. Fer gets all of that right without turning the review into a circuit walkthrough. He keeps the electronics tied to what the player actually hears and feels, translating the design into depth, elasticity, twang, the resistance of an old amplifier and the gradual move from overdrive towards fuzz.
He gives the visual side the same attention. Manuel Guldimann’s artwork sits, in Fer’s words, somewhere between a 1960s science-fiction comic and a Greek tragedy, with its glowing figure naturally inhabiting the worlds of heavy and experimental music. The description does more than tell us what the enclosure looks like; it gives it a place.
That instinct runs through the whole review. Fer connects sound to records, playing styles, instruments and memory, so the reader never receives a verdict in isolation. Instead, they get enough of the experience to recognise whether Mosphoros might speak to them too.
The Titan Reaches Spain
Fer calls Mosphoros “The Legend of the Titan of Mont Blanc.” By the final paragraph, the title feels entirely earned. The pedal has found its landscape, its temperament and a voice of its own.
His final warning is impossible not to love:
“Cuidado con este titán alpino llamado Mosphoros, ¡si se encienden sus ojos te mosfetizará por completo!”
Beware this Alpine titan called Mosphoros. Once its eyes light up, it may MOSFETise you completely.
We are proud that Mosphoros received such a thorough and enthusiastic review, but just as grateful for the care behind the writing. It reminded us that gear critics stays alive whenever someone takes the time to play, listen, compare and return with words that belong unmistakably to them.
Cutaway has made room for that kind of work since 2007. Read the Mosphoros review, then stay a while. There is plenty more to discover, and Fer Gasbuckers is a writer worth following.
A good review does more than tell you whether a pedal is good. It makes you want to hear what the writer heard.