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A Perfect Gentleman.

The magical combination of tremolo and reverb is the earliest example of a perfect guitar effects marriage. First pioneered within historic amplifiers of the 1960s, this harmonious coexistence has made its way onto countless records and performances — from early surf, swampy bayou blues, spaghetti westerns and film noir soundtracks, to modern day indie rock. As music moves forward, guitarists continue rediscovering the inspiration provided by this perfect pair.

Flint is a studio-class effects pedal that delivers this classic combination. We carefully studied our favorite classic tremolo and reverb circuits, examined the sonic complexities and faithfully accounted for every detail in our hand-crafted algorithms. Flint is essentially two pedals in one, with tremolo on one half and reverb on the other.

From A Classic Era.

Flint gives you the pulsating, soothingly hypnotic effects pioneered in vintage amplifier tremolo circuits, along with three classic and completely unique reverb algorithms.

On the tremolo side of the pedal you can choose between the sonically complex ’61 Harmonic Tremolo, the swampy and sultry ’63 Power Tube Tremolo, and the sharp and balanced ’65 Photocell Tremolo. On the reverb side you can select the classic ’60s Spring Tank Reverb, the inventive ’70s Electronic Plate Reverb, or the nostalgic ’80s Hall Rack Reverb.

With nine parameters to tweak, you get extensive control over the tremolo and reverb characteristics. Go from splashy, pulsing twang, to throbbing, swampy blues, all the way to ambient, trembling, and serene reverberated pads.

Couple that with true bypass, and a premium quality analog front end and output section, and you have the history of tremolo and reverb in a pedalboard friendly format.

Vintage Sound, New Features.

Our second generation Flint gives you the same gorgeous tremolo and reverb sounds from our original and adds significant new features, incorporating technological advancements, hardware improvements and design enhancements to give you additional flexibility, power, and ease of use on stage and in the studio.


Full MIDI implementation means you can control just about every switch, knob, and setting remotely by sending MIDI commands from your controller or DAW via Flint’s EXP/MIDI jack or USB-C connection.

Tremolo speed can be synchronized via MIDI Clock Sync, and the sync setting can be saved for each preset.

300 MIDI preset locations are available for loading and saving your favorite settings.

Hardware Improvements

A premium analog JFET input circuit ensures superb responsiveness to your playing, and you can select mono or stereo input with the flick of a rear panel switch.

All this, plus a new ARM DSP chip provides more processing power for every sonic nuance, with less energy consumption on your pedalboard.

Extended Control

Love slow tremolo?

The Speed knob range has been expanded to slow the tremolo down to nearly 1Hz at its minimum setting.

On the reverb side, pre-delay time is now adjustable.


Flint Videos

2 Videos

Audio Examples

Sound Design


Controls & Routing

Hover over the interactive dots to learn more about Flint’s knobs, switches, and inputs/outputs.

Tap on the interactive buttons (+) to learn more about Flint’s knobs, switches, and inputs/outputs.

Strymon Flint Top Down Shot

Varies the reverb time. The ‘70s and ‘80s reverbs approach ‘infinite’ decay at maximum.

Used to access Effect Order Live Edit function.

Adjusts the tremolo LFO frequency from slow to fast.

Used to access Tap Division Live Edit function.

Varies the reverb tone from darker at low settings, to brighter at higher settings.

Used to access Pre-Delay Live Edit function.

Controls the intensity or depth of the tremolo effect.

Used to access Tremolo Boost/Cut Live Edit function.

Controls the reverb wet mix from 100% dry at minimum to 100% wet with no dry signal at maximum. Set to 3 o’clock for 50/50 dry/wet mix.

Used to access Reverb Boost/Cut Live Edit function.

Switches between three reverb types.

‘60s: full-size two-spring tank typical of those found on vintage guitar amps

‘70s: electronic plate that uses multi-tap parallel delay lines with filtered feedback paths

‘80s: studio digital microprocessor rack hall reverb with modulating delay lines

Switches between three tremolo types.

‘61 harm: harmonic band filtering that alternates low and high frequencies for a hypnotic effect

‘63 tube: a smooth volume pulsing created by modulating the bias point of the output tubes

‘65 photo: a sharper-edged volume effect achieved by using a photocell and light dependent resistor

Engages the tremolo effect. LED indicates tremolo speed.

Engages the reverb effect.

Strymon Flint Rear Shot

High impedance, ultra low-noise, discrete Class A JFET preamp input. TRS adapter cable required for stereo input signal.

Low impedance stereo audio signal output. Use Out L for mono output.

Low impedance stereo audio signal output. Use Out L and Out R for stereo output.

Multifunction communication jack for external control of Flint’s features and functions.

Use a standard TRS expression pedal for continuous control over the knobs of the pedal.

See complete User Manual for details about configuring for MIDI communication or accessories such as Strymon Conduit, MultiSwitch Plus, and MiniSwitch.

Use the included power supply or an adapter with the following rating:

9VDC, center negative, 300mA minimum.

Computer connection for controlling via MIDI and firmware updates.

Select input signal type.

MONO: Use with a mono input signal. Output is stereo.

STEREO: Use with a stereo input signal. Output is stereo.