Every delay pedal ever built asks you the same question: which of our delays would you like? Tape, analog, digital, reverse, multi-head. Pick one. The Meris LVX refuses to ask it. Instead it hands you the parts — delay lines, preamps, filters, dynamics, pitch shifters, modulators, LFOs, envelope followers, a step sequencer — and lets you wire your own. Meris calls it a Modular Delay System. That phrase reads like marketing until you spend an evening with the thing, at which point it starts reading like an understatement.
Terry Burton, the engineer who founded the company, put it in one sentence on the product page and never walked it back: “The LVX is the delay system I’ve been dreaming of for a long, long time. I wanted something that broke the paradigm of pre-baked delay types in favour of modularity and freedom.” Meris was more blunt in the same breath: “LVX was our goal and dream from the start. It took over 2 years in the making. This has been our greatest feat and we’re finally here.”
Companies say things like that constantly. What makes this one worth reading is that the press agreed almost unanimously, and four years on, in September 2026, the LVX is still $599, still in the current Meris catalogue, still shipping free firmware — and still, by a comfortable margin, the strangest thing you can put on a pedalboard and honestly call a delay.
Where the LVX Came From
Meris: two ex-DSP heavyweights and a very long game
Meris was founded in 2013 in Los Angeles, and its pedigree is the reason the LVX was taken seriously before anyone had heard it. Co-founder Terry Burton was one of the original Strymon engineers. His partner, Angelo Mazzocco, came out of Line 6’s DSP department — the same well that produced the Strymon founders in the first place. Guitar.com noted the lineage dryly in its review: the most famous former Line 6 guys to go out on their own are, yes, Strymon. Future Music’s Gear of the Year write-up added a third name to the credits, Jinna Kim, when it said its staffers were left in awe of what the three of them accomplished.
Meris also did not begin as a pedal company. It began building 500-series rack modules for professional studios — the 440 Mic Preamp, the Ottobit bitcrusher, the Hedra pitch shifter and the Mercury7 Reverb, which only became a stompbox in 2017. That pro-audio origin explains a lot about the LVX: the analog dry path, the switchable instrument/line headroom, the 115 dB signal-to-noise figure, the assumption that a synthesist might plug in before a guitarist does.
Two years, one processor, and every previous Meris pedal folded in
The LVX was announced in May 2022 and reviewed through the back half of that year. It is built around what Meris calls an advanced ARM processor, and one of its quieter selling points is that it contains the processing elements from the rest of the Meris line: Polymoon, Hedra, Enzo and Ottobit Jr. all contributed modules. Buying an LVX is, in a real sense, buying the company’s back catalogue as a parts bin.
The awards arrived fast. Future Music gave it the Gear of the Year 2022 award for Best Guitar Pedal, plus a Power Award with a 96% score — and did it the hard way, assigning three separate reviewers a month each with the pedal: a guitarist, a keyboardist and a sound designer. All three came away impressed, which is a more meaningful result than any single verdict. Premier Guitar’s Charles Saufley reviewed it on 14 December 2022 at 4.4 out of 5. Guitar.com’s Jason Mays came back a year later, on 29 December 2023, and scored it 9 out of 10 with the headline verdict: “The best big box delay out there?” — from a reviewer who had run a Strymon TimeLine as the cornerstone of his board since 2014.
Meris LVX Modular Delay System — Full Specifications
How the Modular Architecture Actually Works
Structures: the shape of the delay
The first choice is the Structure, which determines how the two delay lines are arranged. There are six. Standard is the conventional stereo delay. MultiTap spreads rhythmic taps across the stereo field. Multi Filter puts filtering inside the repeat path so echoes evolve tonally as they decay. Poly is derived from the Meris Polymoon and cascades delays into something closer to a smeared reverberant field than a set of discrete repeats. Reverse is exactly what it says. Series chains the two lines so one feeds the other, which is where the genuinely alien rhythmic results live.
Types: the character of the repeat
Independently of structure, you choose a Type: Digital (clean, full-bandwidth, faithful), BBD (bucket-brigade emulation, darkening and compressing with each pass, the MXR Carbon Copy and Deluxe Memory Man territory) and Magnetic (tape, with saturation, degradation, wow and flutter — the ground held by the Strymon El Capistan and Boss RE-202).
This is the first place the LVX stops behaving like other pedals. On a conventional multi-delay, tape mode is the algorithm. Here, tape is a texture you can apply to a reverse multi-tap structure with a ladder filter in the feedback path, which is not a combination any pre-baked delay type will ever offer you.
Processing elements: the parts bin
Each delay can then be routed through Preamp, Dynamics, Filter, Pitch and Modulation blocks. Inside those live things no delay pedal has any business containing: Granulize, which shatters repeats into grains; Cassette, which models the specific misery of a worn tape shell; Poly Pitch and Poly Chroma for harmonised repeats; a bit crusher inherited from the Ottobit; a ladder filter; and diffusion, which is the ingredient that lets the LVX pretend to be a reverb when you ask nicely.
Modifiers: the part that makes it modular rather than merely deep
The genuinely modular layer is the Modifier section — a set of control sources you route to any parameter you like. There are LFOs with selectable waveshapes and note divisions, an Envelope Follower, a Step Sequencer, and (added by firmware) a Hold Modifier. Assign an LFO with a note division to delay time and you have tap-tempo-synced tremolo. Assign the envelope follower to filter cutoff and you have an auto-wah that lives inside your echoes. Assign it to feedback and the pedal gets louder the harder you play.
Owners on the guitarpedals subreddit worked out very early that you can build entire effect categories this way: tremolo from the Volume preamp plus an LFO, vibrato from Micro Pitch plus an assignable LFO, flanging from a very short Pre-Delay with high Diffusion, and reverb from the Poly structure with Dimension cranked and feedback tuned by ear. The pedal is not advertised as a modulation pedal or a reverb. It just happens to be able to become one.
The Interface: The Real Achievement
Here is the thing every reviewer converged on, and it is not the sound. It is that a pedal this deep is navigable.
Premier Guitar’s Charles Saufley was direct about the risk: “A lazy side glance at the unit will probably stoke fears among digi-phobic users. The pedal has an ultra-clean—some might say antiseptic—look that’s as evocative of a lab instrument as it is a guitar pedal. When you plug it in, though, the LVX charmingly comes to life.” Guitar.com went further and said it looks like a device that “come from the future to redefine what we know about delay” and would not be out of place in an Apple Store.
Structurally, there is a full-colour preset page showing the patch number and name, plus live readouts for the four main knobs and two user-assigned secondary parameters. Deeper editing happens on edit pages and a globals menu, drawn as a system of bubbles — Saufley called it “a fun, practical way to navigate a dense data set in a small place.” Three controller knobs (C1, C2, C3) handle selection, value editing and preset scrolling, with C3 doubling as the save button when held.
And a detail that matters more than it sounds: LVX owners repeatedly praise the absence of the ALT-button system that defines earlier Meris pedals. On a Mercury7 or a Polymoon, half the functionality is behind unlabelled key combinations that owners themselves call “secret”; Meris sells printed overlays as an accessory to fix it. The LVX has a screen, so it has no secrets. That is a straightforward generational improvement, and it is why the LVX is far more live-usable than its ancestors despite being enormously more complex.
How It Sounds
Two distinct sonic personalities live in this box, and reviewers split cleanly on which one they liked more.
The first is excellent conventional delay. Saufley singled out the Rumble preset as a “super-dimensional slapback” fit for Plastic Ono Band or Jimmy Page territory, the Hot Plate setting as “super organic”, and 4 Read Heads as a genuinely convincing multi-head tape echo — Volante ground, in other words, hit from an entirely different direction. Guitar.com, plugging an AVII Jazzmaster straight into a Matchless Nighthawk 15, said the answer to whether 24-bit conversion and 32-bit float processing are audible in a delay pedal is “from the first strum, very, very good indeed” and that the LVX “genuinely could give the very best studio delay units a run for their money.”
The second personality is the one that sells the pedal: granular synthesis; sampled, crushed and scrambled repeats; envelope-triggered pitch repeats; mangled sitar sounds; cassette-warble oddities. Meris’s own demo clips are named like a list of symptoms — Comb Filter Loop, Descending MultiFilter, Granulized, Smeared Echoes, Cassette Disintegration, LoFi Pitch Reverse, Envelope PolyPitch — alongside four tracks by Makeup and Vanity Set, a synthwave artist, which tells you exactly who Meris expected to buy this.
Saufley’s recommendation for how to approach it is the best sentence written about the pedal, and it is not about tone at all: “Pouring a nice glass of wine, clearing the evening schedule, and scanning the breadth of sounds in just these 81 presets is a sure-fire way to spark a song or riff.”
The criticism is real and comes from the same place. Saufley’s stated con: “Some more overtly digital tones could benefit from a little more depth.” Owners are harsher about two specific things — the distortion is widely called strident and hard, with most players preferring a dedicated dirt pedal in front, and the looper divides opinion sharply, with some users calling it outright unusable while others build entire pieces on it.
Famous Players — What the Evidence Actually Shows
This section needs a warning before it needs a list. The LVX shipped in 2022. Any source telling you that The Edge, David Gilmour, John Frusciante, Andy Summers or Steve Vai are LVX users is recycling a generic list of famous delay guitarists. Those five players defined what delay means in rock music — Edge’s dotted-eighth architecture, Gilmour’s cavernous Binson repeats, Summers’ chorused Police textures, Frusciante’s rhythmic slap, Vai’s stereo grandeur — and every one of them is worth studying if you want to understand why a delay pedal matters at all. None of them is a documented LVX user. They appear here as lineage, not as endorsement.
What the LVX actually has is a small, unusual and rather revealing roster of confirmed users, and its shape is the story.
Tier 1: documented in professional publications
Tim Pierce is the strongest single data point. Pierce is one of the most-recorded session guitarists alive — more than a thousand records, with credits reaching back to Bon Jovi, John Waite and Rick Springfield in the 1980s — and his Premier Guitar Rig Rundown shows the LVX on his live board at the 23:13 mark. A session player of that vintage does not put an experimental pedal on a working board for fun. It is there because it earns its space.
Carl Broemel of My Morning Jacket runs an LVX on the pedalboard documented in the band’s Premier Guitar Rig Rundown, filmed by John Bohlinger. Broemel is exactly the kind of player the pedal was designed around: a tonally curious guitarist in a band whose records depend on space, texture and washed-out atmosphere rather than on any one signature sound. He is not currently in our guitarist archive, so he gets a mention rather than a link — but his board is worth studying.
Tier 2: first-person, on the record
Jon Carin deserves his own paragraph, and not only because he is the closest thing this pedal has to a Pink Floyd connection. Carin is the keyboardist and multi-instrumentalist who has played with Pink Floyd, David Gilmour and Roger Waters for decades — the man behind a great deal of what audiences hear on those tours. He posted about the LVX himself, on Facebook, in prose that is far too idiosyncratic to be a press release:
“In my pursuit of the perfect hoodie (I’ll explain later), I stumbled upon the brilliantly talented team that constitutes Meris, makers of exquisite sound manipulation devices (the words ‘pedals’ and ‘stomp boxes’ need to be retired). The LVX is a complex thing of beauty, but brilliantly & simply laid out. Just trying it in mono with guitar now, which sounds stunning, but I think it may be even better suited to keyboard textures. Can’t wait to try. Highly recommended. That also goes for the hoodie.”
Note carefully what that is and is not. It is a genuine, enthusiastic, first-person endorsement from a musician at the very top of the profession. It is not evidence that David Gilmour uses an LVX — Carin is Gilmour’s longtime collaborator, not Gilmour. If you have seen a “Gilmour uses the LVX” claim somewhere online, this post is almost certainly where the game of telephone started. Carin’s instinct that it might suit keyboards better than guitar is also, given his day job, worth more than most reviews.
Tier 3: filmed, and mostly not guitarists
Richard Devine, the Atlanta sound designer and modular synthesist whose work sits in commercial sound libraries used across the industry, was demonstrating one in a video dated 18 May 2022 — essentially at launch. Andrew Huang, the producer and YouTube educator, has one on camera. Anthony Marinelli, the film composer and synthesist, has an LVX visible twice in his 2025 studio tour — and, as it happens, a Mercury7 as well, patched into an Oberheim OB-X. The producer Lionclad rounds out the list.
Now look at that roster as a whole. Of seven documented users, two are session and touring guitarists, and five are keyboardists, composers, producers and sound designers. The community data says the same thing louder: the gear most commonly logged alongside an LVX is modular synthesizers, ahead of delay pedals, phasers and multi-effects. Intellijel Planar, Make Noise Maths, Intellijel Metropolix, Korg SQ-10, Doepfer mixers.
That is not a failure of the pedal’s guitar credentials. It is the honest picture: the LVX is a guitar pedal that the synth world adopted immediately and enthusiastically, exactly as Saufley predicted when he opened his review by observing how much cross-pollination happens when non-guitarists get hold of stompboxes. If you are a guitarist buying one, you are buying into a user base that will mostly be talking about Eurorack.
Tone Recipes and Settings
1. The honest tape slapback
Structure Standard, Type Magnetic. Time around 110–130 ms, Feedback low enough for one and a half audible repeats, Mix around 25%. Add a light Preamp for saturation and a touch of Mod for wow and flutter. This is the Rumble-adjacent sound and it is worth building by hand because it teaches you the Magnetic type’s behaviour before you ask it to do anything strange.
2. Dotted-eighth architecture, done properly
Structure Standard, Type Digital, note division set to dotted eighth on one side of the dual delay and quarter on the other. Feedback moderate, Mix 35–40%. Roll the Filter block back so repeats sit under the dry note rather than competing with it. The independent note divisions per side are the LVX’s advantage over almost every rival here.
3. Ambient wash that is secretly a reverb
Structure Poly, Dimension cranked, Diffusion high, Feedback tuned by ear until the repeats stop being countable. Mix 50%+. This is the Polymoon inheritance and it is the setting that lets some owners argue the LVX replaces both a delay and an ambient reverb. Stack it behind a Walrus Slö or a Mercury7 and you are in genuinely cinematic territory.
4. Infinite hold without a freeze pedal
Type Digital, Feedback at 100%, with the Envelope modifier assigned to manage the transition between notes so incoming playing does not pile up into mud. Owners worked this out early and it is one of the more elegant tricks in the pedal.
5. Tremolo built out of a delay
Assign an LFO to the Volume parameter of the Preamp block. Choose your waveshape — square for choppy, triangle for smooth — and set the LFO’s note division so it locks to tap tempo. Adjustable depth and range, tempo-synced, from a delay pedal. Compare against a Strymon Flint and decide whether you still need both.
6. Auto-wah inside the echoes
Assign the Envelope Follower to Filter cutoff. Note the honest limitation owners flag: this responds to the envelope, but not with the immediacy of a dedicated dynamic filter, so treat it as a texture rather than a funk machine.
7. Vibrato and chorus from Micro Pitch
Micro Pitch with an assignable LFO gives you vibrato with custom waveshapes and speeds; widen the detune and mix in the dry signal for chorus. Because the pitch element is stereo-capable, the width available here exceeds most dedicated modulation pedals.
8. Flanged texture from pre-delay
Set Pre-Delay to a very short value and push Diffusion high. The comb filtering that results is not a flanger emulation — it is the actual physics of a flanger, arrived at from the delay side.
9. Cassette disintegration
Type Magnetic plus the Cassette element, degradation high, wow and flutter pushed further than good taste allows. Feedback around 60%. The repeats decay not by getting quieter but by falling apart. Best deployed as a preset you kick in for eight bars, not as an always-on.
10. Granular cloud
Granulize on, Poly structure, long delay times, high diffusion, Mix near 70%. Assign the Step Sequencer to grain-related parameters for rhythmic scattering. This is the setting that makes an LVX sound like nothing else on the market, and it is also the setting that will make a bandmate ask what is wrong with your rig.
11. Reverse leads
Structure Reverse, Mix 45%, feedback moderate, and play deliberately — reverse rewards sparse, considered phrases and punishes busy ones. Add Poly Pitch a fifth up for the Jonny Greenwood-adjacent unease.
12. Rhythmic multi-tap
Structure MultiTap with taps spread hard across the stereo field, Type Digital, filtering applied so each tap darkens progressively. A stereo rig turns this into a physical effect rather than a tonal one; in mono it collapses to a busy echo, so this is one to skip if you run a single amp.
The LVX does not really have “settings” in the sense a Boss DD-3 has settings — a patch is an architecture, not a knob position. These are starting architectures. Build them, save them, then start breaking them.
How the LVX Compares
vs. Strymon TimeLine
This is the matchup that matters most, and Guitar.com’s reviewer framed it perfectly by being a nine-year TimeLine owner going in sceptical and coming out saying “that TimeLine isn’t looking as secure on my board as it once was.” The TimeLine is $449, older, twelve superbly executed machines, 200 presets, and an interface most players learn in an afternoon. The LVX is $599, draws slightly less current (300 mA against the TimeLine’s 300 mA class, with guitar.com clocking the LVX at 280 mA in use), and offers not twelve machines but an unbounded set you construct. If you know exactly which twelve delays you want, buy the TimeLine. If you want the delay nobody has built yet, buy the LVX.
vs. Eventide H90
The Eventide H90 at $899 is the other serious contender for “most powerful box on the board”, and it beats the LVX on breadth — it is a full multi-effects platform running two algorithms from an enormous library, with the best pitch shifting in the business. The LVX beats it on depth within delay specifically, and arguably on interface. Guitar.com listed the H90 as an alternative rather than a rival, which is the right instinct: these solve different problems.
vs. Empress Echosystem
The Empress Echosystem is the closest philosophical cousin — dual engines, deep routing, serious engineering, a comparable price bracket. Empress’s approach is to give you many superb delay algorithms and let you combine two; Meris’s is to give you one delay and let you rebuild what it means. The Echosystem is the better pedal for someone who wants a lot of excellent, recognisable delays. The LVX is better for someone who finds recognisable delays boring.
vs. Eventide TimeFactor
The TimeFactor is the elder statesman here, and it still holds up on core delay algorithms and stage reliability. It is also from a different era of interface design, and that difference is stark when the two sit side by side. Buy the TimeFactor used for the algorithms; buy the LVX for the architecture.
vs. Boss DD-500
The Boss DD-500 at $399 is the value play among flagship delays: twelve modes, 297 memories, deep editing, and Boss’s reliability. Its editing is menu-driven in a way the LVX’s screen makes look dated, and it has nothing resembling the modifier section. But it will do 90% of what most working guitarists need for two-thirds the price, and pretending otherwise would be dishonest.
vs. Line 6 HX Stomp
Some Reddit owners argued the LVX is more sensibly compared to an HX Stomp than to any single delay pedal, and they have a point on price and ambition. The HX Stomp is amps, cabs, drives and effects in one box; the LVX is one effect explored to its limit. If you need a rig, buy the Stomp. If you have a rig and need one extraordinary thing in it, buy the LVX.
vs. Meris Polymoon
Uncomfortable but important: Meris still sells the Polymoon, and the LVX contains its processing elements. Owners on forums openly describe the LVX as a potential Polymoon replacement that also covers modulation and reverb duties. The Polymoon remains cheaper, smaller and more immediate. But if you are choosing between them with no budget constraint, the LVX supersedes it.
vs. the affordable end
For perspective on what $599 buys: the Boss DD-200, TC Flashback 2, EHX Canyon, JHS 3 Series Delay and Walrus ARP-87 all deliver genuinely good delay for a fraction of the money, and the Line 6 DL4 remains the most-gigged delay in history for a reason. If your honest need is “good repeats behind a solo”, any of these is the correct purchase and the LVX is an indulgence. That is not an insult to the LVX. It is a description of what it is for.
Buying Guide
Price and where the money goes
The LVX is $599 direct from Meris and at authorised dealers as of September 2026, unchanged since launch — four years without a price rise or promotional discounting, which is now a recognisable pattern for this tier of American boutique manufacturer. Used examples typically run $395 to $470, with the market average sitting near $580 because so few are sold cheaply. Roughly 70% value retention at four years is strong for a digital pedal, and it tells you owners are not flipping them in frustration.
Budget for the power supply
This is the single most-repeated complaint in every review and owner thread, and it is fair: no power supply is included at a $599 price point. The LVX needs 9V DC centre-negative at a minimum of 300 mA, and that is a serious draw. Check your existing supply honestly before you buy — an isolated 500 mA output is the comfortable answer, and daisy-chaining a pedal of this class is asking for noise. Meris sells its own 9V supply as an accessory.
Stereo or don’t bother
A meaningful fraction of what makes the LVX worth its price is true stereo processing. In mono behind one amp it is still an excellent and deep delay, but MultiTap, the stereo pitch elements and the dual-delay note divisions all lose most of their point. If you have no plan for stereo — two amps, a stereo interface, an FRFR rig — consider whether a mono flagship serves you better.
Firmware is part of the product
Meris has updated the LVX substantially and for free: v1.1.0 added a Damping control for delay types, a Half Speed Delay parameter across all structures and the Hold Modifier; later releases ran through v1.2.1, v1.3.0 and v1.5, with v1.5.6 current. Version 1.5 added MIDI over USB-C, which is a genuine capability increase four years after launch. Updates require the free form on Meris’s site and, usefully, can be performed on Linux as well as Windows and macOS — rare and appreciated.
Use the software and the community
prEDITOR, now at v4, is Meris’s desktop editor and librarian, and on a pedal with 99 preset locations it stops being optional fairly quickly. Version 3.5 onwards includes an integrated community portal for sharing patches, and there is an active LVX section on Patchstorage. If you buy this pedal and never download a community patch, you have bought roughly half of it.
Who should not buy one
Saufley’s verdict is the fairest available summary: “If you generally stay in the vintage lane or maintain a pretty focused sonic vision, LVX could be overkill.” Owners agree, repeatedly, that this is not a plug-and-play pedal and that live adjustment of deep parameters is awkward. If you want to arrive at a gig, set a delay time and forget it, this is the wrong $599.
Ownership Notes
Power first, always. 300 mA minimum, isolated output, no daisy chain. With relay true bypass selected, the LVX passes no signal at all without power — the same standing caution that applies to most modern relay-switched digital pedals. If your board loses power mid-set, the LVX does not fail silent-but-passing; it fails silent.
Choose your bypass mode deliberately. Relay true bypass is clean but kills trails; analog buffered bypass preserves them and is generally the better choice for ambient use, particularly at the end of a long chain. Set it in globals and stop thinking about it.
Set the headroom switch correctly. Instrument level maxes at +9 dBu, line/synth at +12.5 dBu. Feeding a hot synth or a line-level send into the instrument setting will clip the input in a way no amount of tone-tweaking will fix. This is the single most common setup error on Meris pedals.
Save Favorites before you go anywhere near a stage. The three-slot Favorites bank exists precisely so you do not have to scroll 33 banks under stage lights. Put your always-on, your solo patch and your one weird one in there.
The screen and logo dim. A small thing, but on a dark stage a full-brightness colour LCD is a lighthouse. It is adjustable in globals.
Build size is real. 7.25″ wide by 4.5″ deep. That is a large footprint on a pedaltrain, and combined with a 300 mA draw it needs planning rather than squeezing in. Weight is 24 ounces.
Dirt in front, not inside. The consensus among owners is that the LVX’s own distortion is strident. Use it as a texture on repeats if you like the character, but put a real overdrive ahead of the pedal for actual gain.
Frequently Asked Questions
Is the Meris LVX worth $599?
If you will use the modular architecture, yes — nothing else on the market does this, and the build, converters and support justify boutique pricing. If you want great conventional delays, a TimeLine at $449 or a DD-500 at $399 gives you most of the practical benefit for less. The question is not whether the LVX is good; it is whether you will use what makes it expensive.
Does the LVX replace a reverb pedal?
Partially and impressively. The Poly structure with high diffusion produces genuinely convincing ambient wash, and many owners run the LVX without a separate ambient reverb. It will not replace a dedicated spring, plate or room reverb, and it does not try to.
Is it too complicated for live use?
Less than you would fear. The colour screen and the absence of Meris’s old ALT-button system make it far more live-friendly than a Mercury7 or Polymoon. But deep parameter changes on the fly are genuinely awkward, and owners note the lack of a secondary footswitch function for time-warping without an expression pedal. Build presets at home; switch presets on stage.
How many presets does it actually have?
99 user locations organised in 33 banks, plus a 3-slot Favorites bank for instant access. It ships with 81 factory presets loaded, all of which can be overwritten. Use prEDITOR to manage them or you will lose track.
Does it need a power supply I do not already own?
Quite possibly. It requires 9V DC centre-negative at 300 mA minimum and does not ship with one. Many mid-range isolated supplies have only one or two outputs capable of that, so check before ordering.
Can I use it with synths and not just guitar?
Yes, and this is arguably where it excels. Switchable line/synth headroom, stereo I/O, MIDI beat clock sync and full CC implementation make it a serious outboard processor. The largest single group of documented users are synthesists, composers and sound designers rather than guitarists, and Jon Carin — who plays with Pink Floyd, Gilmour and Waters — said on first contact that he suspected it would suit keyboard textures even better than guitar.
Is the looper any good?
It divides owners sharply. It is true stereo, 60 seconds, always available, and can record processed or dry signal, with the footswitches remapping to record/overdub, play/stop and two assignable loop FX. Some owners build entire pieces on it; others call it unusable. If a looper is a primary requirement, audition this feature specifically rather than assuming.
Is the LVX discontinued?
No. It remains in the current Meris pedal lineup as of September 2026 at $599, alongside Enzo X, Ottobit X, MercuryX, Hedra, Enzo, Mercury7, Ottobit Jr. and Polymoon, with the manual revised in July 2026 and firmware at v1.5.6.
Which famous guitarists actually use one?
The verified list is short and honest: session guitarist Tim Pierce (Premier Guitar Rig Rundown, on his live board) and Carl Broemel of My Morning Jacket (Premier Guitar Rig Rundown). Beyond guitar, Jon Carin of Pink Floyd, Richard Devine, Andrew Huang and Anthony Marinelli are all documented. Claims that The Edge, David Gilmour, John Frusciante, Andy Summers or Steve Vai use an LVX are not supported by any evidence we could find and appear to be recycled from generic lists of famous delay players.