Search dance music

Notes: Instant ambient bliss coupled with the powerful ambience processing is a brand-new Ensemble engine, capable of creating pads and soundscapes that follow your playing organically - so if you change pickups or play in a different place on the neck you get different results. It's unlike anything you've ever heard or played before, all wrapped in a smaller form factor that still manages to house full stereo I/O, TRS MIDI and USB-C connectors on the back panel. Prepare to be inspired!

Cloudburst's Ensemble switch reveals a whole new world of captivating sounds never previously heard from a reverb pedal. Use it subtly to add harmonically rich and otherworldly dimensions to your ambient reverb soundscapes, or use it liberally to hear a lush synthesized string section swell under your guitar playing. Ensemble reacts to your entire guitar signal in an organic and musical way, delivering a richly responsive and uniquely inspiring playing experience.

Cloudburst gives you multiple reverb experiences, with beautifully-tuned and natural small spaces at one end of the Decay knob and vast, expansive atmospheres at the other. As you turn the Decay control numerous internal parameters are automatically adjusted, allowing this ambient reverb pedal to produce outstanding studio-quality spaces of any size at the turn of a single knob.

All of the premium components, sound quality and road-worthiness you expect from a Strymon reverb pedal are here in Cloudburst's new compact format. Featuring unbeatable ease of use and some of the finest reverb sounds we've ever created, Cloudburst could easily be the only reverb pedal you need on your pedalboard.

Notes: When Empress released the original Compressor back in 2011, it quickly became a favourite among guitar and bass players alike who were searching for something more than the typical oversimplified controls found on most compressor pedals. Although our original Compressor sounded great on bass (and still does!) we set out to do even better.

On top of the full range of features and controls normally only seen in high end studio equipment, such as input and gain reduction metering, independent attack and release controls, a mix knob for parallel compression, and an external sidechain insert, we've now added a fully variable sidechain high pass filter, and a two position 'tone + colour' circuit which adds gentle tone sculpting and harmonic distortion, giving your bass some delicious character.

Specifications:
Input Impedance 1M
Output Impedance 2.2k
Frequency Response (-3dB) 10Hz - 20kHz
Distortion less than 0.1%
Noise -101dB
Power Input Voltage 9 - 18 V DC (Negative tip)
Power Input Connector 2.1mm barrel connector (Negative tip)
Power Consumption ~ 100mA
Enclosure Material Die Cast Aluminum
Input connector 1/4" Jack
Output connector 1/4" Jack
Height (Enclosure only) 1.5"
Height (including controls) 2.5"

Notes: Raise the bar when it comes to creating synth effects, sound layers, glissandos, infinite sustain and more!

Building on the synthesis platform of the award-winning Superego, the EHX Superego+ Synth Engine raises the bar when it comes to creating synth effects, sound layers, glissandos, infinite sustain and more. Plus, we've added a complete effects section featuring 11 effects types, an EXP input for effect parameter control/preset recall and an EXT jack for a 3-button controller.

The Superego+ is equipped with the following effects:
DETUNE: pitch detune, EXP pedal controls pitch
DELAY: warm, analog sounding delay, feedback is preset, EXP controls delay time up to 2 seconds
ECHO: pristine digital delay, feedback is preset, EXP pedal controls delay time up to 2 seconds
FLANGE: Electric Mistress style w/filter matrix, rate and feedback. EXP pedal controls rate
PHASE: Small Stone style phase shifting with rate and depth control. EXP controls rate
MOD: pitch-based vibrato or chorus. EXP controls rate
ROTARY: rotary speaker style sound. Depth controls tweeter/horn balance. EXP pedal controls rate
TREM 1: sine wave tremolo. EXP controls rate
TREM 2: square wave tremolo. EXP controls rate
PITCH: pitch shifting effect over a +/- one octave range. EXP controls whammy
FILTER: resonant low-pass filter. EXP pedal controls frequency

The pedal provides enough sound shaping control to please the most sonically adventurous player and is equipped with Dry, Effect, Attack, Decay, Threshold, Layer and Gliss knobs, plus Rate and Depth knobs for the Effects Section. Four foot-switchable Freeze modes: Moment, Sustain, Auto and Latch, plus a Live Effects mode where the dry signal is routed thru the built-in effects and the internal synth engine is disabled, are included.

The polyphonic Superego+ works with guitar as well as other instruments including bass, keyboards, vocals, drums, etc. and comes equipped with an EHX 9.6DC-200 AC Adaptor.

Creates synth effects, sound layers, glissandos, infinite sustain and more
Four Freeze modes
Built-in effects section with 11 effect types
EXP input for effect parameter control
EXP Presets sweep between snapshots of 7 knob parameters; create and save one set of snapshots for each FX type
Live Effects mode where the dry signal is routed thru the built-in effects and the internal synth engine is disabled
EXT jack for a 3-button controller
Power adapter included

Specifications
Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Effects Loop: Yes
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 5.75 x 4.75 x 2.5
Current Draw: 140mA
Year Released: 2017

Notes: The #1 EQ pedal returns - better than ever

Empress Effects have brought back the most sought-after Parametric EQ pedal, with groundbreaking upgrades.

Everything people loved about the original ParaEq was kept, and more fidelity and control have been added.

More Control

Whether you're trying to cut through a mix or fix a feedback issue, you need precision! The ParaEq MKII offers the most control of any pedal EQ on the market.

More Sweetness

Effortlessly sweeten your tone with beautiful sounding, super smooth Baxandall filters for broad high and low frequency shelving adjustments on the Deluxe.

More Power

The ParaEq MKII pedals operates internally at 27V, providing clean headroom without unwanted clipping.

More Purity

This pedal is able to offer the most control without degradation to the tone due to minimal circuit topology00-the opposite of graphic EQs.

Why Choose Parametric EQ over Graphic EQ?
Parametric VS Graphic EQ Graph
Graphic equalizers provide a convenient visual sense of the EQ curve. However, there is a tradeoff in transparency and precision.

The graph here shows the ParaEq MKII Deluxe (cyan) and a 7-band graphic EQ pedal (magenta) both providing a +4dB boost at around 2 kHz. As can be seen, the ParaEq is much more precise in the changes it can make, whereas the graphic EQ affects nearly the entire frequency spectrum. Furthermore, at around 10kHz the ParaEq is providing unity gain, whereas the graphic EQ is attenuating the signal by nearly 6dB. This makes the ParaEq a more transparent circuit than the graphic EQ.

This combination of transparency and precision is why recording studio control rooms are dominated by parametric equalizers, and why they're a great choice for creative and corrective EQ on your pedalboard.

Which ParaEq Do You Need?

The original ParaEq has been loved and trusted by musicians on a variety of instruments for over a decade. Both the ParaEq MKII and the ParaEq MKII Deluxe feature a low-noise, transparent signal path that is extremely versatile.

With three fully parametric bands, you can simultaneously achieve broad tonal shaping and precise fine-tuning to sculpt your perfect sound.

The ParaEQ MKII Deluxe will appeal to players who:

Need high-pass and low-pass filters for precision work at the frequency extremes
Want the glorious sound of Bandaxall filters for sparkling high end or extra weight in the low end
Want to be prepared for any EQ situation

Specifications

Input Impedance: 1MO
Output Impedance: 100O
Frequency Response (-3dB): 22Hz - 25kHz
Total Harmonic Distortion: < 0.05%
Noise: > 107dB
Headroom: +30dBu
Input Voltage: 9VDC Centre-Negative
Required Current: 300mA
Power Input Connector: 2.1mm Barrel Connector
Height (Enclosure Only): 1.5"
Height (Including Controls): 2.5"
Length: 3.5"
Width: 4.5"
Weight: 1lb

Notes: A fresh, original take on pitch shifting, the HammerOn generates hammer-on pitch shifts which alternate between two different intervals. Seven modes provide a range of effects, from simple hammer-ons to automatic techno guitar sequencing with trills.

Supplier's Notes:
Hands-free Hammer-Ons

Hammer-on notes in conjunction with your hands to create never-before-heard licks and riffs - the only limit is your imagination.

7 pedals in 1

Seven modes range from pitch jumps and harmony effects to pitch sequences and drop/capo tunings - HammerOn is like seven pedals in one.

Play the Impossible

Impossible Mode allows you to hammer-on pitch shifts that alternate between two selectable pitch amounts.

The DigiTech HammerOn is a versatile effects pedal with an amazing amount of flexibility and options to create and channel your musical ideas. Take the time to get to know the many options and see if it sparks new creative ideas.

The PITCH 1 footswitch is dedicated to always be a hammer-on selectable momentary pitch shift above or below what you are playing. PITCH 2 footswitch has 3 different modes of operation selectable using the MODE button. There is a button called DRY+ that can turn on the dry signal and a button called TRILL that can mimic rapid presses of the footswitches.

With all these options it's like having 7 pedals in one:

1. HAMMER-ON: An instantaneous momentary pitch shifter pedal
2. HAMMER-ON with TRILL: A rapid fire hammer-on action pedal
3. HARMONY-ON: An instantaneous harmony creation pedal
4. The IMPOSSIBLE Pedal: A dual alternating momentary pitch shift pedal
5. DROP/CAPO SEQUENCE: A multi-setting pitch transposition pedal
6. SEQUENCE with TRILL: An automatic guitar riff sequencer
7. SEQUENCE with DRY and TRILL: An automatic techno guitar sequencer

Specifications

Electronics
Sample Rate: 44.1 kHz in classic mode, 22 kHz in chords mode
Frequency Response: 20 Hz-16 kHz (classic mode), 20 Hz-11 kHz (chords mode)
Signal to Noise Ratio: > -106dB (A weighted); ref = max level, 22 kHz bandwidth
THD: 0.004% @ 1kHz; ref= 1 dBu w/ unity gain
A/D/A Conversion: 24-bit

Input / Output
Input Type: 1/4" Unbalanced TS
Max Input Level: +5 dBu
Input Impedance: 1MO
Output Type: 1/4" Unbalanced TS
Max Output Level: +10 dBu
Output Impedance: 1kO (Effect enabled or effect bypassed), True Bypass

Physical

Dimensions: 5.12"(13.00cm) x 3.57"(9.06cm) x 1.84"(4.67cm) (L x W x H)
Weight: 1.12 lbs. (508g)

Power

Power Consumption: 2.3 Watts (258 mA @ 9VDC) typical
Power Requirements: External Adapter (included), 9 VDC 1300 mA

Notes: The polyphonic STRING9 String Ensemble transforms a guitar into nine different string ensembles and string synthesizers while requiring zero modifications, special pickups, or MIDI implementation. It relies on the same technology powering all EHX 9 Series pedals. In a 9 Series first, the STRING9 includes the signature EHX Freeze effect on 3 of the presets to sample and hold notes and chords with infinite sustain.

A rotary switch on the STRING9 allows the player to select the sound of their choice, as follows:

SYMPHONIC: Re-creates the sound of a large symphony orchestra and features an octave down effect on the lower range of the guitar for a full sound
JUNE-O: Emulates the Junor analogue string synthesizer sound
PCM: Sound of a small string section sampled by a vintage PCM keyboard producing a warm vintage string sound
FLOPPY: Emulates the sound of an Orchestronr optical disc playback sampler, warble included
AARP: Emulates the classic ARP Solinar string synthesizer
CREWMAN: Emulates the Crumar Performerr analogue string and brass synthesizer; Floyd in a box
ORCH FREEZE: Orchestral sound with EHX Freeze effect
SYNTH FREEZE: String synthesizer sound with EHX Freeze effect
VOX FREEZE: Mellotronr choir and strings sound from the EHX MEL9 with EHX Freeze effect
The pedal is equipped with independent Effect and Dry volume controls so players can precisely tune their mix at the Effects output jack, plus a Dry output jack that always outputs the input signal at unity gain.

Controls 1 and 2 have been designed to adjust specific parameters for each of the nine programs adding usability and flexibility to each sound.

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 4.75 x 4 x 2.25
Current Draw: 100mA

Notes: Delay and granular sampling combine to create unique ambience effects, creative reverbs and glitchy chaos. Hugely versatile pedal with five contrasting programs.

Supplier's Notes:
In the high woodlands of the north, undiscovered by most inhabitants, there ruled a clan of old, mystic Treefolk. On the first new moon of spring, these Treefolk could be heard grafting limbs to grow their young - splicing bits of branches from each generation to produce the next line of Treefolk. These new beings keep the lifeblood of all who came before in their new skin. These sounds are in part very old, but in part very new. They are referred to as... Fable.

Let your storybook adventure grows with the Fable Granular Soundscape Generator. The Fable gives you five all-new programs centered around sample and chop delay algorithms to create bizarrely beautiful networks of sampled and resampled sounds. The Fable uses a powerful dual DSP architecture to combine delay programs in series with granular sampling algorithms, each with its own analogue feedback path. Find unique soundscapes ranging from smooth, flowing ambience; to bizarre, organic reverberance; to chaotic, glitchy swarms.

So, what exactly is this granular effect and why is it a magical experience when combined with delay? Granular is a digital processing technique of micro-sampling, wherein short samples called grains are read from a delay buffer. In the Fable, players can adjust these grains by manipulating their sampling length, position, and buffer size from which they're read. They can be played at double or half speed for pitch shift and time stretching effects, play them in reverse, read from multiple positions, and more, in order to achieve different effects.

It's a powerful but complex technique and Walrus Audio created five streamlined programs in the Fable that explore different aspects of its sonic range.

Programs

I. Reverse Delay into Reverse Granular

Program 1 runs a reverse delay into a reverse granular algorithm, in which sampled grains are played backwards. Reversal and re-reversal build up in the feedback paths, creating a complex and organically shifting soundscape. Turn grain size down for long, smooth reversed transients, and grain size up for stuttering reverse glitch madness.

II. Forward Delay into Octave Up Granular

Program 2 runs a forward delay into an octave-up granular program, in which sampled grains are played at double speed. Swarms of double-speed grains build up in the feedback path for bright and airy cascades of sound.

III. Analogue Delay into Octave Down Granular

Program 3 runs a warm, dark analogue-style delay into an octave-down granular program, in which sampled grains are played back at half speed. Slowed down repeats combine with analogue-style processing to create deep, thunderous footfalls and thick, murky ambience.

IV. Multi-Tap Granular into Multi-Tap Granular (Grain-Verb)

Program 4 runs two multi-tap granular algorithms in series, in which multiple samples are played back from each granular buffer simultaneously. Multiple points of sampled sound build upon each other in the feedback paths to create glitchy clouds and unique organic reverberance. Time in this program controls time-stretching of both granular algorithms, changing both the length and tonal character of the granular effect.

V. Forward Delay into Randomized Pitch Granular

Program 5 runs a forward delay into a randomized pitch granular program, in which each grain is played back at a randomly selected speed and direction, varying between pitched up double speed, pitched down half speed, normal speed, plus forward and reversed playback from grain to grain. Pitch changes with each new grain, so play with the X knob in this program to control the rate of randomized pitch modulation.

Notes: The legendary Strymon deliver quality goods once again with this analogue-inspired stereo delay. Single head sound gives a classic 60s vibe with modulation and subtle imperfections.

Supplier's Notes:
Experience the dreamy sound of a classic '60s tape echo complete with the harmonic richness of the accompanying tube preamp. Enjoy organic and ethereal modulation produced by countless subtle mechanical imperfections, and easily dial in anything from warm slapback to expansive echo feedback beds with a strikingly gorgeous stereo image. With beautifully-tuned low frequency response, lush tape saturation and sublime echo decay, EC-1 provides all the best of what a tube driven tape echo can deliver.

EC-1 offers impressive power and flexibility in a small and elegant form factor: Selectable tube-modeled preamp voices. Artifact-free tap tempo. Discrete stereo operation for independent processing of the left and right stereo inputs. Straightforward controls and expression pedal capability. High-impedance, ultra-low noise discrete Class A JFET stereo input preamp for exceptional touch sensitivity, dynamics and feel. MIDI control of tempo, patch save/recall and more. Premium components, rugged construction and a USB jack for performing firmware updates or controlling the pedal from a computer.

Featuring meticulous tube modeling techniques, EC-1 offers a choice of two authentically reproduced preamp circuits that lend a subtle vintage character to your input signal. One is based on the classic EP-2 tube preamp and features an enhanced high-end shelf perfect for brightening up darker humbuckers. The other preamp option (the default setting) produces a warm, balanced response based on the modded preamp circuit in the EP-2 unit that we studied during the development of EC-1. This option adds a pleasing sense of heft, especially to single-coils. Both preamp choices offer an optional boost of up to +6dB, or the preamp can be bypassed for an unprocessed dry signal if desired.

Strymon's unique dTape technology was first developed for El Capistan, and they have expanded on it to reproduce all the inspiring nuances weencountered while studying a recently-acquired tube Echoplex that was in uncommonly superb condition. Our dTape system allows precise replication of every aspect of every tape echo we've studied, and in EC1 this includes the effect of the moving head, the tape condition, the bias setting, the mechanical effects of motors, capstan slippage and all the irregularities that add up to create the unmistakable, inspiring sound of vintage tape echo repeats.

Whether you want the cleanest repeats, subtle fattening or even downright dirty echos, you can instantly dial in the desired amount of tape saturation with the flip of a switch. Providing pleasing tonal shifts from thinner to fatter, EC-1's three-way Record Level toggle switch selects the gain of the signal fed into the virtual record head. Choose the low position for unity gain with optimized bias for the cleanest repeats, medium for a 6dB input signal boost with increased bias for slightly saturated repeats, or high for a 12dB input signal boost with further increased bias for heavily saturated repeats. This control also gives you a fast and easy way to match EC-1's response to your input signal level to obtain the desired sound from any pickup type or pedalboard configuration.

For EC-1, fluctuations from motors and mechanical components were thoroughly studied to accurately capture their imperfections. At the lower end of the Mechanics control's range only slower motor-related wow and flutter are present, but at around one o'clock these fluctuations are reduced in favor of faster disturbances from crinkle, splices, and capstan slippage which accurately replicate the sound of our golden EP-2 unit.This setting can create uniquely reverberant and three-dimensionalechos that spread across the stereo spectrum. The slower fluctuations are mixed back in more prominently as you approach the maximum Mechanics setting, and the unique combination of multiple imperfections create truly gorgeous, organic stereo modulation effects unlike anything you've ever heard.

The frequency characteristics of tape echo repeats are determined in part by the bandwidth of the actual tape stock, so older tapes will have a lower bandwidth with a warmer top end. EC-1 allows you to faithfully reproduce these characteristics by turning up the Tape Age knob for warmer repeats, or turning it toward minimum for the full-bandwidth sound of fresh tape.

EC-1 is designed to allow high levels of repeats that are truly lush but that don't spiral into uncontrollable feedback. That wide sweet spot on the edge of runaway feedback can create intriguing sound beds under your lead or rhythm playing. Of course if you want to crank the Repeats control to maximum and play with the unique pitch effects that only a sliding record head tape echo can produce, those effects are all precisely replicated in sound and response.

Notes: Discover your amp's potential

Riverside's cascading gain stages create harmonically rich tones that are immensely musical and natural-from silky clean overdrive to colossal distortion, and all points between. The analogue JFET front-end ensures that Riverside responds to your guitar with uncompromised dynamics and feel. The precision crafted DSP generates dynamic complexity and pleasing harmonics at every stage, letting your amp shine at any gain level. Riverside takes your amp to places you never knew it could go.

Overview

Infinite sweet spot

Riverside's continuously variable circuit tuning dynamically tweaks multiple parameters under the hood so that the sweet spot follows you at any gain setting. As you turn the Drive knob, Riverside makes continuous adjustments, tuning the circuit for optimum tone. This results in an incredibly versatile drive pedal that is equally capable of providing sparking cleans, mild overdrives, high-gain leads, and heavy saturated distortions.

Flexibility to adapt to any amp

Your amp choice has a large influence on the sound of any drive pedal connected to it. Riverside's musical 3-band EQ, with independent Bass, Middle and Treble knobs, is designed to complement your amp's tone with the flexibility needed to dial in your sound effectively and efficiently. The three-position Presence switch tailors the highest frequencies, allowing Riverside to integrate perfectly with any amp or setup, no matter how dark or bright.

Digital or analogue? Strymon choose both

The first stage of Riverside's custom multistage drive topology is an all-analogue, ultra low noise, discrete, class-A JFET circuit. This gain stage is digitally controlled to maximize headroom while adding as much as 20dB of pure analogue gain, with tight integration to the subsequent DSP gain stages. With Strymon's hybrid approach you get the best of both analogue and digital worlds: The JFET stage provides exceptional touch sensitivity and dynamic interaction with your guitar, while the incredibly powerful SHARC DSP facilitates the great level of detailed complexity and responsiveness you'll want to hear.

Tone Adjustment and Shaping

Drive adjusts the amount of gain applied to the signal. Employs continuously variable circuit tuning which adjusts many parameters as you turn the knob.

Level controls the output volume level when the effect is engaged.

Gain toggles between low or high gain channels.

Low sets a gain structure allowing for a wide range of low to medium gain sounds. At high Drive settings the sound is heavily overdriven, and slightly 'loose' like a dimed vintage amp.

High increases the gain throughout the signal path and tightens things up. Stays relatively clean at low Drive settings, shifting to heavy saturated distortion at maximum.

Push toggles between flat or enhanced midrange frequencies.

Norm can be used for cleaner, more transparent tones.

Mid adds a mid-band EQ push just after the analogue front-end gain. This pushes the subsequent drive stages harder, tightening up the response. Perfect for fat drive tones, or pushing a distorted or on- the-edge amp into further breakup.

Bass is an active shelving/parametric low frequency control. The control is post-drive, shaping your drive tones before they reach your amp.
Middle is a parametric mid boost/cut control with optimized frequency centre. The control is post-drive, shaping your drive tones before they reach your amp.

Treble is a wide-ranging high frequency active shelf control. The control is post-drive, shaping your drive tones before they reach your amp.

Rear Panel

Presence is a three position switch that tailors the highest frequencies of the output signal.

Minus (-) provides clarity with a controlled top end that works well with many amps that have a brighter voice.

Enhanced (centre) extends the top end to allow for more sizzle on high gain tones. Useful if you want enhanced detail in the uppermost frequencies.

Plus (+) delivers extended high end detail to the darkest amps, and is also useful when plugging directly into a power amp.

In is a high impedance mono input. Plug your instrument in here.

Out is a mono signal output. Connect to your amp, other pedals, mixing board, etc.

Boost allows use of an external switch to toggle up to +6dB of post boost on/off. Or connect to the EXP input of another Strymon pedal and simultaneously engage the Favorite settings on both pedals with Riverside's Favorite switch.

Expression Pedal Input provides continuous expression pedal control over any or all of the knobs, in any direction, with your foot. Or can be used in Volume Mode to control the volume level of the effect.
Power - Plug your power supply in here. Maximum 9 volts DC centre-negative, with a minimum of 250mA of current. Standard 5.5mm x 2.1mm barrel connection.

Secondary Functions

Press and hold ON footswitch to enter Secondary Function mode. Release the footswitch, then turn the desired knob to adjust the parameter.

Optional variable-threshold Noise Reduction tames hum, buzz, and system noise when you're not playing. A downward expander with advanced signal detection techniques creates a seamless transition to noise reduced silence with all types of input signal dynamics.

Boost Level sets up to +6dB of available boost when using an external Boost footswitch.

Ins, Outs, Switches

High impedance mono input
Mono output
Favorite footswitch to save a favorite setting
Favorite Input to connect an external MiniSwitch to recall a Favorite preset
Expression pedal input allows the connection an expression pedal for simultaneous morphing control over multiple parameters (Expression mode), or logarithmic taper for smooth volume control (Volume mode)
MIDI accessible via Expression jack for remote parameter control and access to 300 preset locations
Boost pedal input allows connection of an external footswitch for up to +6dB of analog boost, or to toggle the Favorite preset on other Strymon pedals (Favorite Out mode)

Analogue Quality

Ultra low noise, high performance 24-bit 96kHz A/D and D/A converters provide uncompromising audio quality
Premium analog front end and output section
Super high performance SHARC DSP in a compact form factor
32-bit floating point processing

More

True Bypass (electromechanical relay switching) or selectable transparent Analog Buffered Bypass
Strong and lightweight anodized gold aluminum chassis
9V DC power supply included
Power requirements: maximum 9 volts DC center-negative, with a minimum of 250mA of current
4.5" deep (11.43 cm) x 4" wide (10.16 cm) x 2.4" tall (6.1 cm)
Designed and built in the USA

Notes: The ultimate overdrive? Raw version of the Unobtanium pedal adds hand-selected NOS germanium transistors to the circuit. Filthy 60s vibes on tap here. Hard to beat.

Supplier's Notes:
A rare sonic element with alternate refinement - meet the new Unobtanium RAW edition!

The main composition has stayed the same as the standard version of the pedal: A recreation of the K-style overdrive true to the last detail finds its place at the right section of the pedal while the left section features two D-style amplifier voicings, the most unobtainable tube amplifiers in the world.

For the RAW edition, Crazy Tube Circuits have added a couple of magic ingredients to the clipping section of the K side: a set of hand selected New Old Stock Mullard/Valvo labelled OC45 germanium transistors from the 60s.

This is the first K-type circuit to feature germanium transistors!

Many germanium transistor types and found that the OC45 transistors added a supernatural feel with organic compression for increased gain and sustain. Fear not - the standard sounds are still there in the stock setting where you listen to germanium diodes clipping like in the original unit.

The amp-in-a-box side of the RAW version is glassier and punchier than the standard version. Think of singing blues rock and classic rock sounds that cut through the mix, flawlessly performing with all kinds of different guitars/ pickups combinations. Think of having the rock/jazz toggle switch set in the rock setting.

As with the standard version, Unobtanium Raw features a passive effects loop to give you the option to connect your beloved pedals between your booster/overdrive and amp in a box or use the two sections as separate and independent effects when using an external bypass switcher/looper.

Note that all pedals inserted in the passive effects loop are still in the signal chain when any or both sections of are in bypass mode.

Unobtanium Raw features a power-up bypass/engage pre-set function for the footswitches. That way you can select which state your pedal will go to when you plug the power supply. This function comes in especially handy to people that use remote pedal switchers/loopers as they only set the state of the pedal once and then operate from the controller.

Main sonic differences between standard and RAW versions:

K-side:

Standard version: MOD setting = silicon diodes added in combination with the stock germanium diodes in the clipping section for higher output/less compression.

Raw version: OC45 setting = New Old Stock Mullard/Valvo OC45
germanium transistors used instead of stock germanium diodes for
clipping resulting in higher gain and sustain/compression.

D-side:

Standard version: Smoother jazz/blues oriented tones.

Raw version: Glassier blues rock oriented tones.

The RAW version will not replace the standard one, that will continue to thrive. It will be built in limited quantities, and will stay out there for as long as there is stock of the beautiful NOS Mullard/Valvo OC45.

Warning: This unit was designed for 9V DC input only. Do not use a higher voltage power supply

Notes: Robotise, harmonise... rule the vocoder world!

The EHX V256 Vocoder welds your voice to your axe inspiring the twist of creativity that can make all of the difference. Bend your gender, drone your tone and invite aliens into your work of art. You want flexibility? The V256 lets you adjust the vocoder from 8 to 256 bands taking you back to the 80's and propelling you into the future at the same time. Bring your vocals up to snuff with advanced processing "Reflex Tune"... today's most popular pitch correction effect.

Specifications:

Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 5.75 x 4.75 x 2.5
Current Draw: 200mA
Year Released: 2009

Notes: Transform your electric guitar into a sitar!

Very few instruments offer as much harmonic and dynamic flexibility as a sitar. Electro-Harmonix has streamlined the essence of the sitar into a compact enclosure that offers a polyphonic lead voice and tuneable sympathetic string drones that dynamically react to your playing. With the EHX Ravish Sitar Emulator, you can create your own custom scales for the sympathetic strings while you set the decay time for the lead voice.

Two expression pedal inputs allow you to bend the pitch of the lead voice and control the volume of the sympathetic strings simultaneously. These unique controls offer the player the ability to program the Ravish to become a totally unique and organic instrument unto itself.

The Ravish is a truly new design with the flexibility to be a crossover tonal wonder.

Download free Ravish settings

Transform your electric guitar into a sitar
Lead sitar voice tracks your notes polyphonically with a wide range of tonal possibilities
Selectable decay speed for the Lead voice
Sympathetic string drone simulation with a wide tonal range
Selectable keys and scales including major, minor and exotic provided for the Sympathetic strings
Power adapter included

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 5.75 x 4.75 x 2.5
Current Draw: 160mA
Year Released: 2011

Notes: It's a multi-tap delay, it's a looper, it's an echo with reverse... it's got all the Hazarai!

The EHX Stereo Memory Man is a real time performance tour de force. World class echoes with modulation and reverse are just a few of the choices. As a Looper, it has up to a full 30 seconds of loop time. The Stereo Memory Man with Hazarai is destined to be one of the most creative instruments you will ever own. Ethereal tone-scapes to full musical performances are only limited by your imagination. And it's all in stereo.

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Stereo
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 5.75 x 4.75 x 2.5
Current Draw: 170mA
Year Released: 2007

Notes: When the original Compressor was released back in 2011, it quickly became a favourite among guitar and bass players alike who were searching for something more than the typical oversimplified controls found on most compressor pedals. Now, based on users' valuable feedback, everything great about the original Compressor has been taken and made even better.

On top of the full range of features and controls normally only seen in high end studio equipment, such as input and gain reduction metering, independent attack and release controls, a mix knob for parallel compression, and an external sidechain insert, Empress have now added a 'tilt' tone eq control, and a selectable sidechain high pass filter built into the Compressor's detection circuit.

Specifications:
Input Impedance 1M
Output Impedance 2.2k
Frequency Response (-3dB) 20Hz - 20kHz
Distortion less than 0.1%
Noise -101dB
Power Input Voltage 9 - 18 V DC (Negative tip)
Power Input Connector 2.1mm barrel connector (Negative tip)
Power Consumption ~ 100mA
Enclosure Material Die Cast Aluminum
Input connector 1/4" Jack
Output connector 1/4" Jack
Height (Enclosure only) 1.5"
Height (including controls) 2.5"
Length 4.8"
Width 2.6"
Weight 1lbs

Notes: Multi-tap delays go next-level with Eventide's incredible heritage distilled into this compact pedal format. Line level options allow you to process synths, drums, guitars and just about any other signal.

Supplier's Notes:
A Multiverse of Tone UltraTap is a unique multi-tap effect pedal capable of rhythmic delays, glitchy reverbs, huge pad-like volume swells, and extraordinary modulation.

It's the perfect tool for staccato leads, swelling chords, and other evolving effects - everything from reversed reverbs to the sound of ripping it up in the Grand Canyon!

Think of UltraTap as the mother of all Echoplexes and you won't be too far off.

That's basically how it operates but with the flexibility to add as many 'tape heads' as you want and expressively control their positions and levels.

UltraTap's controls make possible new and unexpected effects. The controls that you would expect in a multi-tap delay pedaliNumber of Taps, Delay and Feedback- are just the basics.

Controls for Spread, Slurm, and Chop open up a new world of possibilities.

Effect Features:

"Slurm" An exclusive and innovative control that smears/slurs taps together to create truly unique reverbs and choruses.

"Chop" and "Spd/Rise/Rel" combine to allow unusual and expressive modulation of the taps based on LFO shapes or the audio's envelope.

"Feedback" unlocks further tone shaping capability.

"Taps" selects up to 64 taps to create simple repeats or morph delays into chorus and reverb.

"Spread" controls the 'distance' between' taps. With the knob centered, the taps are equally spaced, turn clockwise and the later taps are bunched together, counterclockwise and the early taps are bunched together. Use this control to dial in the perfect rhythmic space between taps.

Onboard LFOs and envelopes to chop the sound source into stuttered rhythms.

"Tap Footswitch" allows you to set the tempo of the taps.

Connectors:

Input: 1/4" TRS / Mono = Tip, Stereo = Tip & Ring
Out 1: 1/4" TS Mono / Mono Output
Out 2: 1/4" TS Mono / Stereo Output
EXP: 1/4" TRS / Expression pedal, Aux Switch or MIDI I/O
Mono/Stereo Switch: Sets Input to Mono (Tip) or Stereo (Tip + Ring)
Guitar/Line Level Switch: Optimizes internal gain structure
Mini USB: Software updates, MIDI I/O
DC Input Jack: 5.5mm / 2.1mm plug / Center Negative (-)

Analog I/O:

Input Impedance: 700k ohms Mono, 990k ohms Stereo
Max Input, Guitar: +8dBu
Max Input, Line: +14dBu
Output Impedance: 220 ohms
Recommended Load Impedance: 10k ohms

Specifications:

Power: 9V DC @ 200mA / Center Negative (-)
Dimensions (product): 4" W x 4.25" D x 1.68" H / 102 mm x 108 mm x 43 mm
Weight (product): 1.06 lb / 0.48 kg
Dimensions (package): 7.7" W x 4.75" D x 2.8" H / 178 mm x 121 mm x 71 mm
Weight (package): 1.68 lb / .77 kg

Notes: MG-30 is the flagship modelling effect processor in the NuX range. Dual high speed processing offers accurate modelling of 30 different amplifier options, including bias tweaking for an extra dimension of response adjustment, all using the proprietary NuX TSAC-HD algorithm. Impulse response programming presents a choice of 8 guitar cabinets, 8 bass cabinets, 8 microphones in 3 different axis positions and even 3 acoustic guitar emulation profiles. Once the main guitar tone is programmed, there are 8 effects blocks which can be assigned to different positions in the signal chain, including WAH, CMP, GATE, EFX, EQ, MOD, DLY & RVB. An expression pedal covers wah and swell effects amongst other possibilities. Each has modes and/or parameters which can be adjusted and saved within the patch as needed. Real-time editing uses rotary encoders and switches, making for a natural and organic process and all prameters and graphics are displayed on a vibrant 4" colour display. Add to this a fully functioning USB audio interface, phrase looper, PC/Mac editor/librarian/updater, aux input, effects loop, drum machine and NMP-2 footswitch control and the MG-30 covers practically all bases. This unit provides all the processing power and audio quality that could be asked from any professional guitar processor at a fraction of the price of its component features.

Specifications:

Power supply: 9Vdc, 400mA pin-negative (adaptor included)
Inputs: 6.3mm jack (guitar), 3.5mm jack (aux input)
Outputs: 2 x 6.3mm jack (L/mono + R) to amp or mixer
Sends: returns: 6.3mm jack send (1k ohm) & return (220k ohm)
Headphone output: 3.5mm stereo jack
USB port: USB type-C for audio interface, PC/Mac editing & updating
Remote control connection: EXP1 TRS 6.3mm jack
Sampling format: 48kHz, 32-bit
Frequency response: 20Hz - 20kHz (i1dB)
Input impedance: 1M ohm
Output impedance: 1k ohm
Dynamic range: 110dB
Dimensions: 313 x 166 x 54mm
Weight: 1.5kg

The box for this item contains :

MG-30 multi-effects modeler pedal
1 x 9Vdc power adaptor (UK)
1 x NMP-2 dual footswitch (173.352UK)
1 x patch cable
1 x USB cable

Notes: Amazingly versatile phaser business in this brilliantly designed pedal. Watch the demo video to hear the amazing range of sounds this one can do. Best phaser ever? Might just be.

Supplier's Notes:

Jump into spaceship Horizont and begin your trek into star- filled galaxies, all while discovering the incredible vastness of the sounds created by this inter-dimensional multi-spatial stereo analog JFET Phaser. The unexpected is waiting for you behind the far away horizon and it will be a journey you'll never forget!

The Horizont's mission is to push way beyond the classic phasing sounds of yesteryear, and take you to uncharted phaser worlds the second you plug in. By combining lush analog JFET phasing with digitally controlled dynamics, Horizont creates a vivid and expressive modulation experience, all while providing experimental and creative features that'll kick phasing well into the 21st century.

Besides the more common phaser controls, the Horizont offers a plethora of new and exciting options for all the interstellar tone chasers out there. To greatly broaden the range of phasing tones available, KMA implemented a digital LFO with no less than eight different waveforms: Ramp Up/Down, Sine/Triangle/Square wave, a sweeping waveform, Sample & Hold and a random slope waveform going from 20s down to 40ms.

The implemented envelope generator is one of Horizont's absolute key features. It transforms your input signal into a control source to modulate the speed of the digitally controlled LFO or lets you manually phase for a resonant touch wah- like sound, depending on the state of the SWP- and SPURTCONTROL-Switch.

Set the SPURTCONTROL switch to LFO to let the SPURT knob adjust the internal phasing speed. However, by flicking the switch to ENV (Envelope) mode, it allows you to dynamically modulate the speed along the full LFO speed range, based on how loud the input source is (e.g. when you attack the strings hard). You can also combine the SPURT knob and the envelope by flicking the toggle to LFO+ENV where SPURT then sets the minimum speed. For even more control, you can even plug in an external expression pedal/CV-source (0-5V) to alter the minimum speed on-the-fly or you can use the TAP TEMPO switch (tap just twice) to set the speed to fit in with the tempo of your music.

The EXP-Mode switch also lets you choose between a manual phasing mode, controlled by an expression-pedal or an external CV source. Setting the EXP-Mode switch to the middle position will disable any external expression control.
The SWP (Sweep) switch lets you decide to use either the LFO or the envelope of your instrument signal to control the phasing.

The envelope can be set to upwards or downwards operation via the ENV switch, seeing the LFO either slowing down or speeding up, or flipping the orientation when phasing manually from lows to highs and vice versa. In conjunction with the FUEL (Sensitivity) and the DECAY controls, the envelope can be tailored perfectly to your needs.

The EMPH (Emphasis) mode from the original Astrospurt Phaser was kept, but have reworked and refined it extensively for the Horizont. The four toggle-switches determine the stage in which the phase-shifted signal is fed back into itself, while the REG (Regeneration) control sets the feedback amount. We also smoothed out the overall sound of the EMPH mode for a more pronounced, and crisp vocal-like tone. Each of the different switch variations and turn of the REG control will yield different results, seeing you discover new wild, fuzzy and noisy galaxies as you travel deeper down this sonic wormhole.

In order for you to levitate through spacetime, a stereo output has been added to the Horizont. You can switch between a standard stereo output or a panning output, via the STEREOPAN switch. Synchronized with the LFO speed, the upper cycle of the LFO sends the signal to the OUT1 and the bottom cycle to the OUT2. This is without a shadow of a doubt the most liquid and astonishing phasing experience you'll ever embark upon. But wait, there's more! Stop and take a deep breath, set the MIX control to fully clean and the Horizont is transformed into a Tremolo on-the-spot, with all the other aforementioned features.

Last but by no means least, the Horizont was equipped with an FX-Loop right in front of the phase-shifting line. This enables you to add your own secret sonic weapons to this spaceship, seeing you create your very own unique phasing sounds.The pedals' headroom was also increased drastically by boosting the internal circuit voltage to 18V, from the regular 9V input, to give the cleanest phasing possible no matter what instrument or line source you use.

Notes: Great value multi-effects pedal based on all of Zoom's extensive experience. Chain up to nine effects including amp emulation and cabinet simulation. A proper all-rounder offering a huge range of tones.

Supplier's Notes:
Jaw dropping effects combined with powerful amp modeling, the G6 is in a class of its own.

The culmination of 30 years of Zoom's engineering know-how, passion for audio and love of guitar. The G6 is brimming with some of the best sounds you'll ever hear.

Your sounds may be complex but building them shouldn't be. With easy-to-use, application driven technology, the G6's 4.3-inch color touchscreen lets you drag, drop and swipe your way to new sounds.

All the best amps in amp history are in here (and a few new ones, too), along with 70 pre-loaded, precisely recorded impulse responses (IR) and room to add more than 100 of your own.

The G6 also delivers the ultimate collection of Zoom's legendary guitar effects and tones, including brand new Distortion and Modulation effects.

The G6 has room for 240 patches, including 100 presets so you can build patches for each song in your repertoire and easily cycle through your setlist. Create patches of up to nine effects.

The four Play Modes on the G6 will change the touchscreen and footswitch layout to give you quick access to the controls you need.

In addition to the internal 45-second looper, you can insert an SD card and record a loop up to 2 hours long. Choose the groove you want from 68 internal rhythm patterns, styles and measures.

Portable, versatile, and packed with tonal possibilities, the G6 can be tucked into a guitar bag or backpack, and off you go.

The G6 has a mono input, stereo outputs with output volume control, a mono fx loop, aux in, control in and headphone out. Using the USB port, the G6 also functions as a 2in/2out audio interface for Mac and PC.

Wirelessly connect the G6 directly to the Handy Guitar Lab app via Bluetooth. Using the optional BTA-1 adaptor, you can browse and upload/download an endless assortment of amps, effects and artists patches as provided on Guitar Lab software. Guitar Lab is also available for both PC and Mac.

What's in the Box:

G6 Multi-Effects Processor
Zoom AD-16 AC adapter
Quick guide
Steinberg Cubase LE Software

Optional Accessories:

FP02M Expression Pedal
BTA-1 Bluetooth Adapter

Specs:

MAXIMUM NUMBER OF SIMULTANEOUS EFFECTS: 7
USER PATCHES: 240
SAMPLING FREQUENCY: 44.1 kHz
A/D CONVERSION:24-bit 128x oversampling
D/A CONVERSION: 24-bit 128x oversampling
SIGNAL PROCESSING: 32-bit
FREQUENCY CHARACTERISTICS: 20 Hz - 20kHz (+0.5 db/-0.5 dB) (10k load)
DISPLAY: 4.3" TFT color LCD (480x272)

Notes: The MOD REX is a kinetic tour-de-force that lets you weave compelling, shifting, musical tapestries. Whether you are a guitarist, synthesist or electronic musician you will find it inspires your creativity and stretches your musical boundaries.

Four independent modulation sections:

The heart of the pedal is its four, independent modulation sections synced in time, they are:

MOD features great sounding EHX Vibrato, Flanger, Chorus or Phaser. The Depth knob lets you set the amount of the effect while Feedback controls the resonance of the Flanger and Phaser.

TREM delivers tremolo, an effect that modulates the volume of your signal. The Depth control sets tremolo intensity.

PAN modulates between left and right in stereo operation. In mono operation the PAN section acts as another tremolo section, but with the wave shapes all inverted!

FILTER offers a choice of a modulated LPF, HPF or BPF. In LPF (low pass filter) frequencies above a modulated cut-off point are cut. In HPF (high pass filter) frequencies below a modulated cut-off point are cut, and in BPF (band pass filter) frequencies above and below a modulated centre point are cut.

Each section also features a choice of four LFO shape options: rising sawtooth, triangle, falling sawtooth or square wave. They affect the way the modulation transitions and provide advanced creative control over the specific section as well as the way they interact with each other.

Tempo control that's flexible and powerful:

The MOD REX delivers virtually limitless polyrhythmic possibilities.

Its TEMPO component gives you nine note-length choices for each of the four modulation sections. They are independently selectable in increments starting at a whole note and ranging thru subdivisions that go up to a 16th note. In addition, any of the sections can be bypassed.

The MOD REX's tempo (displayed as beats per minute or BPM) is adjustable with the Tempo knob, Tap Tempo footswitch or by using an expression pedal into its EXP input. It can also be synced to an external device with MIDI Clock or an external pulse clock.

MIDI and the MOD REX:

The pedal's robust MIDI implementation enables you to sync devices quickly and easily as well as automate functions and changes so they occur precisely when and where you want them whether you are working at home, in a studio or live.

The MOD REX accepts MIDI to enable it to tempo sync the modulation rate with an external device, to recall presets via MIDI Program Change messages and to control any parameter on the MOD REX via Control Change messages.

Extras:

The MOD REX lets you save and recall up to 100 presets. It comes from the factory with 20 great programs.

The pedal features full stereo input and output.

An external foot controller input makes banking up and down thru presets quick and easy.

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Stereo
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 5.75 x 4.75 x 2.5
Current Draw: 100mA
Year Released: 2018

Notes: ***B-STOCK: Box damaged, product in perfect working order***


Effects masters Eventide serve up a lush bucket brigade chorus inspired by the analogue classics of the 70s and 80s. Three chorus voices plus MicroPitch detuning for stereo width and complexity.

Supplier's Notes:
Short Description: Stereo Bucket Brigade-style Tri-Chorus with Psychedelic Swirl; Eventide's lushest chorus ever! Product copy: Deep Modulation & Dreamy Textures

Inspired by the classic Tri-choruses and stompbox choruses of the 1970s and early 1980s, the TriceraChorus pedal pairs rich Bucket Brigade-style chorusing with Eventide's legendary MicroPitch detuning for a lushness that rivals the jungles of the late Cretaceous Period. TriceraChorus features three chorus voices and three unique chorus effects which can be used to create a wide stereo spread with pulsing waves of modulation. The innovative "Swirl" footswitch adds psychedelic flanging, phasing and Univibe-style tones. It has never been easier to dial in syrupy smooth deep modulation on guitar, bass, synths, strings, vocals and more.

Deep Modulation & Dreamy Textures

TriceraChorus has three chorus voices: Left, Center, and Right, which can be detuned to add even more depth. A three-phase LFO modulates the delay times for these voices, producing a dazzling movement across the stereo field. The combination of the three modulated delays creates a huge wash of chorus reminiscent of that big, dreamy '80s sound.

A Trifecta of Tone

Like the mighty three-horned Dino, TriceraChorus is a powerhouse of chorus offering three effect types complemented by detuning and Swirl. For a quintessential vintage chorus sound, set TriceraChorus to "Chorus" mode. If you need something with more complexity and movement, "Chorale" produces lush, heavenly choruses inspired by classic rackmount Tri-chorus units. For a more warbly, pulsing effect, try "Vibrato." Add detune for subtle pitch shifting sweetness. Engage the "Swirl" footswitch to get lost in a whirlpool of kaleidoscopic sound.

Notes: Dusky drama

Gloamer is an all-analogue, polyphonic amplitude synthesizer that alters the attack and decay time of any sound source without sacrificing the fidelity of the original tone. Its attack function provides a pick-triggered volume swell: a cinematic "slow gear" effect that is smooth and controllable with variable timing from extremely fast to very slow. The volume swell cycle can be reset at any moment by muting, allowing players to craft bowed string-like lines and chords with ease. Gloamer also features a powerful optical compressor that can add subtle punch or extreme sustain, helping to maintain a smooth volume swell effect even with very long attack times. A Volume knob controls loudness at the peak of the attack cycle, while a master Blend control allows players to layer an uncompressed clean sound in with the volume swell effect. Additionally, when activated, the Decay function causes notes to fade out once the attack cycle is complete. When the decay cycle is completed, an auto-reset function causes the attack to begin again immediately, as long as there is audio input. This allows you to create a wide range of undulating, asymmetrical tremolos at slower settings as well as pulsating stutter effects when using faster attack and decay times.

Knob-by-knob

Volume: Sets the master output volume of the effect when engaged.
Compression: Determines the balance of clean and compressed signal.
Blend: Determines the balance of clean signal and effect.
Attack: Determines the duration of time it takes for a note to swell in from silent to full volume.
Decay: Determines the duration of time it takes for a note to fade out from full volume to silence.
Sensitivity: Determines how much input signal is needed to reset the attack and decay cycle.
Ready (LED): Signals when the pedal is armed and ready to begin the attack and/or decay cycle.

A hi-fi attack and decay master
Gloamer was designed to allow players to change the nature of their attack and decay while maintaining pristine, hi-fidelity audio. Easily swell blooming single note lines or full, lush chords and become the string section you've always wanted to hire but can't afford.

Model name: Gloamer
SKU: ATS
Function: Volume Swell with Compressor
Category 1: Modulation
Category 2: Compression

Bypass: True Bypass

Electronics

Voltage: 9VDC
Current draw: 100mA
Input impedance: 470K
Output impedance: 150 ohms

Body:

Length (in): 3.5
Width (in): 4.75
Height (in): 2.5
Weight (lbs): 1

Notes: Seeking to recreate the sounds of the Klon Centaur overdrive pedal and Dumble guitar amps, the Crazy Tube Unobtanium combines the holy grails of germanium diodes and all-analogue amp-in-a-box tone. Incredible value.

Supplier's Notes:
Introducing the Unobtanium, a rare sonic element born out of legendary tones.

A mythical overdrive meets the tone and feel of two iconic amplifiers. Crazy Tube Circuits have accurately recreated the circuit of the high headroom overdrive with the magic blend of clean and overdriven tones and added extra features for versatility. The amp-in-a-box section uses an all-analogue circuit to capture the essence of two legendary D-style tube amplifiers. From tube-like compressed fat clean to sweet singing overdrive with blooming harmonic overtones. Combine both sides for near infinite smooth sustain and enter sonic bliss while a passive series effects loop gives you the option to connect your beloved pedals between the overdrive and amp section, building your ideal rig

Right side: K-style pedal overdrive circuit including the fabled germanium diodes
Controls: gain, treble (tone), volume, bypass mode and clipping / compression
Wide gain range control: from transparent boost to high headroom overdrive
Treble control is an active circuit to boost or cut treble
Volume knob sets overall output. Huge amount of dB boost available
Toggle switch to select between the original buffer bypass to add clarity and run long cables or
true bypass
Toggle switch to select between stock clipping / compression or enhanced gain and
headroom/output

Left side: D-style Amp in a box overdrive
Controls: gain, emphasis, tone, volume, amplifier voicing toggle
Gain control: from clean boost to sweet singing overdrive
Emphasis control is a pre-drive EQ to control presence and bottom end response
Tone knob controls the amount of post overdrive high end frequencies
Volume knob sets overall output. Match bypassed volume or use as a clean boost or preamp
Toggle switch selects between 2 distinct D-style overdrive circuits
SSS: clean and transparent overdrive with natural organic compression
ODS: higher gain overdrive with enhanced mid frequencies and harmonic overtones
External footswitch input to select amplifier voicing (bypasses on board toggle switch)
Internal trimmers adjust EQ and volume boost of D-style overdrive voicings

Features:

Dual overdrive with independent operation
Two legendary sonic elements combined in one device
Passive series effects loop to connect other pedals between the two sections or use them separately
Runs internally at 18V DC for higher headroom and tube-like performance
Exceptional pick attack response - almost infinite smooth sustain when both sides are combined
Top mounted jacks
Click-less True Bypass design via high quality relay
Power Supply: Use only 9V DC center negative power supply (not included)
Current consumption 83mA
Pebble grey die-cast enclosure with black ink in old school type print
Made in Greece

Notes: Another banger from Dreadbox's excellent effects series. Stereo echo effects based around multiple hybrid delay stages, giving bags of character for reverb, modulation effects and classic delays.

Supplier's Notes:
Dreadbox Raindrops is a Hybrid Delay/Pitch Shifter/Reverb pedal that takes the concept of short echoes to a different level.

It is equipped with multiple delay stages and different chips and you can choose between 3 different play modes, where in each one you can have a whole new experience and alternative soundscapes. You can achieve from simple short echoes, to long, dirty and lo-fi delays and from simple pitch shifting bursts to extensively lasting reverbs.

Specifications

Circuit: Analogue Dry signal / Hybrid Delay / Digital Reverb
Bypass: Buffered OpAmp
Audio: True Stereo IN/OUT
Inputs / Outputs: TS Unbalanced 6.4mm jack
Power Supply: 9VDC BOSS style center pin negative 2.1mm (NOT INCLUDED)
Dimensions (cm): 14 x 10 x 5.6
Current Draw: 220mA

Notes: Mar Karit is a tube pedal preamplifier.

It contains 2 tubes, one NOS EF86 for the preamp section and one 6J1P (6ak5) for the buffer output. It is an all tube Preamp.

It runs on a 9V power supply (center positive) - and operate internally at 35volts. Furthermore, it produces a warm, rich, and full-bodied sound, and can capture both the softest and loudest sounds with great accuracy and clarity.

Pushed a little too far, it can produce pleasing harmonic distortions and warm saturations. The two volume knobs control the level of each stage.

All tube preamp
EF86 and 6J1P
High end components (Nichicon, Panasonic caps, Alpha pots and Switch, Rean Jacks...)
Made in France
True Bypass
9V DC / input power supply positive tip

Notes: Bad Comrade Pedal

(Glitch, Pitch, Slice, and Dice)

Is it a distortion pedal? Is it a ring modulator? Delay? Just call it the Bad Comrade, the world's first hand-wired glitch, pitch, slice, and dice pedal. For the adventurous guitarist (or anyone wielding a 1/4" jack) that craves unthinkable tones, the Bad Comrade lets you distort, modulate, glitch, and slice on the fly.

The Bad Comrade is hand-wired in Seattle, Washington. True bypass, chrome plated LED, lead-free solder. It operates on a standard Boss style 9vdc power supply, not included. Includes a limited lifetime warranty, if registered within 30 days of purchase.

Important: power up the Bad Comrade with Glitch and Time wide open.

Enclosure size: 4.67" x 3.654" x 1.547"

Notes: Distortion and reverb meet in this unique pedal, sporting a joystick to tweak the sound and the option to flip the order of the two effects in the signal chain. Simple, quirky and effective.

Supplier's Notes:
Walrus Audio give you the two most quintessential effects that yield unruly amounts of power and influence to an instrumentalist: reverb and distortion. They have been harnessed and woven together for an eternity of ethereal power with The Melee: Wall of Noise. The Melee unapologetically uses a joystick to meld reverb and distortion into one massive blaze of sound. With the flip of the order switch, run the distortion into the reverb or reverb into distortion; signal chain is your call now. For the explorer, the Melee can run one of three different reverb programs Ambient, Octave, and Reverse.

In a less is more approach, Walrus Audio have intentionally decided on controls that are fun to use and will inspire a wealth of creative output. Use the joystick to control the amount of distortion by moving it up and down. Moving the joystick left and right will adjust your reverb mix. The tone and decay toggles have low, medium, and high settings. Modulation can be added to the wet signal by holding down the bypass switch and moving the decay toggle. The left position is no modulation, the middle is a slight modulation, and the right is a high modulation.

Algorithms

The Melee is equipped with three different reverb programs, which can be changed by simultaneously pressing the bypass and sustain stomp switches. Experiment with the order toggle switch to hear how differently these all react in front and after the distortion!

Ambient Reverb (Pink LED) - Huge reverb capable of massive trails and engulfing your chords into an angry wash of sound. Great for soaring melodic lines or shoegaze-driven chord progressions.
Octave Down Reverb (Yellow LED) - Similar to the Dark mode in the Slo, you'll find an eerie lower octave hovering in the reverb trail for a nice and dark atmospheric touch.
Reverse Reverb with Feedback (Blue LED) - Add reversed reverb trails back into your signal, create gentle melodies or push into reverse feedback overload. Big, slow, and sad chords love to hang out here.

Momentary

Press and hold the sustain switch to ramp up the reverb trails. Release and the trails will ramp back down to where the decay switch is currently set. The sustain switch can also latch in all three programs. Press and release the Sustain switch to capture and sustain the current reverb decay for long pad-like sounds in your wet mix. Press again to release the latch, and the reverb trail will taper off based on the position of the decay knob.

Specs

The Melee comes coated in a glossy neon pink enclosure with white, yellow, and green inks with art by
David Huttner.
The die-cast enclosure's exact size is 3.62" x 4.79" x 3.14" (including joystick height).
Three bypass modes, DSP, DSP + True, True Bypass
Power requirements are 9VDC, centre negative (200mA minimum).
The use of an isolated power supply is recommended for powering all Walrus Audio Pedals.
Daisy chain power supplies are not recommended.
Power supply not included.

Notes: The classic Pantheon pedal gets even better with this Deluxe version. Two independent overdrive circuits give you classic Blues Breaker-style tone plus modern boutique sounds.

Supplier's Notes:
The now legendary Wampler Pantheon provided a unique interpretation of the classic "Blues Breaker" style stomp box, by capturing all the tonal nuance of the original, but with added flexibility and style. In doing so, it found its way onto thousands of pedalboards across the world. Enter the new Pantheon Deluxe - a dual overdrive pedal that takes this evolution several steps further by offering a flexible design with two completely independent Pantheon circuits, one voiced as a classic blues breaker and one with a more modern boutique sound. This palace of tone delivers a staggering 200 combinations of gain settings, featuring dual Inputs and Outputs, and for the first time ever, Wampler have added MIDI channel switching to one of their gain pedals.

The Pantheon Deluxe lets you dial in two channels of organic creamy gain, gritty overdrive, or heavy distortion while retaining Wampler's famous ease of use and flexibility. Channel 1 delivers a classic Blues Breaker tone, Channel 2 is a recreation of the original Pantheon, a similar circuit to the Blues Breaker but with a modern boutique feel. Independent side mounted Voicing and Gain Level switches allow you to further shape your tone to perfection.

DOUBLE UP

The Pantheon Deluxe lets you dial in two channels of organic creamy gain, gritty overdrive, or heavy distortion while retaining Wampler's famous ease of use and flexibility. Channel 1 delivers a classic Blues Breaker tone, Channel 2 is a recreation of the original Pantheon, a similar circuit to the Blues Breaker but with a modern boutique feel.

ALWAYS THE RIGHT FIT

Each Channel of the Pantheon Deluxe Dual Overdrive feature independent Gain, Level, Treble, and Bass controls to enhance the shaping of your tone. The Baxandall-style active Bass control is neutral at noon but boasts an extremely powerful sweep as you move through the range. A single global Presence control simultaneously alters each channel to add just the right amount of top-end chime to suit different guitars and amplifiers - perfect for when playing live or when in the studio.

MAXIMUM CONNECTIVITY

With the addition of MIDI In and Out, you can now also switch the analog channels of each circuit on and off with a MIDI switcher - saving you valuable hardware loops on your loop switcher. With dual analog inputs and outputs, you can split both channels in a loop switcher, insert pedals between each side, or run in stereo.

BUILT FOR FOREVER

Brian Wampler's attention to detail and commitment to bringing you the best-sounding & most usable Effects Boxes on the market is nothing new. Those qualities are on full display within the Pantheon Overdrive. We're all tone-freaks, and we're always trying new things, but we hope this pedal finds its forever home on your pedalboard, so we built it to last that long.

TECHNICAL DETAILS

Built in the U.S.A
Dual Independent drive channels using Brian Wampler's classic Pantheon circuits; Channel 1 Classic Blues Breaker voicing, Channel 2 Modern Boutique voicing.
Independent Volume, Gain, Treble and Bass controls for both channels, global Presence control, front mounted Channel Order Switch, side mounted independent Gain Level and Voicing switches, MIDI In and Out (3.5mm TRS) and 2 sets of input and output jacks.
Top-mounted jacks make pedalboard placement effortless
Power draw: 55mA
9-18V power jack: DC supply only, do not exceed 18V DC, battery Included.
Includes Wampler's limited 5-year warranty
5" x 4.5" x 1.5" (88.9mm x 114.3mm x 38.1mm) - height excludes knobs and switches

Notes: Reverb and reverse delay go to the next level with this "ambient creation machine". Two DSP circuits with analogue feedback allow you to create epic soundscapes, time-stretching effects and more.

Supplier's Notes:
Once upon a time, in a fairy tale world, there stood a hidden forest. On the eve of every full moon, magical and delicate sounds of light were heard bouncing and reverberating through the trees. These sounds carry artifacts of notes moving backward and stretching through time. They are referred to as... Lore.

Create the soundtrack to your storybook adventure with the Lore Reverse Soundscape Generator. Made up of five different programs, each utilizes different combinations of delay and reverb that feed into each other for time-warping ambient creations. Featuring two DSP chips running in series, each with their own analogue feedback path, the Lore takes you on an adventurous journey rich with themes of reversing, time-stretching, pitch-shifting, and vast ambiance.

Having two analogue feedback paths allows each program to incorporate a unique mix of affected and unaffected feedback. The two feedback paths interact and build off of each other organically, offering the user a wide array of sounds and behaviours to experiment with.

Programs:

I. Reverse Delay into Reverse Reverb: Program 1 combines reverse delay with reverse reverb with a focus on organically interacting feedback paths. Space and ambiance build as the signal is reversed, re-reversed, reverberated, and reversed again within the feedback network. Experiment with the X knob to control how reversed your delay trails are with left being least reversed and right being fully reversed. Lots of fun with big, eerie minor chords!

II. Reverse Delay into Octave Up Reverb: Program 2 is a "light reverb" that combines octave-up harmonic feedback with an expansive, airy, reverb tank to create a breathy, spacious ambiance. Use the Regen knob to introduce a playful shimmer into the reverb decay. Increase the X knob to control the decay of the reverb. It sounds especially great with delicate fingerpicking parts.

III. Reverse Delay into Octave Down Reverb. Program 3 is a "dark reverb" that combines octave down harmonic feedback with heavy filtering and harmonic distortion, to create a sound that is thick, rich, and murky. Use the Regen knob to bring a lower octave into the reverb decay. Increase the X knob to control the decay of the reverb. Add in some high gain or fuzz to alter the time-space continuum.

IV. Reverse Reverb into Forward Reverb. Program 4 is a dual reverb program, featuring reverse reverb into forward reverb, Dual harmonic feedback paths allow the user to dial in octave up and octave down, and time stretching allows for control of the size and character of the space. Perfect for instantly transforming guitar into rich ambient pads. Use the Feedback knob to add a lower octave to the reverse reverb. Conversely, use the Regen knob to add an octave up to the reverse reverb decay. Control the decay of the forward reverb with the X knob. To channel all things ambient, experiment with dynamic picking and strumming techniques with the mix fully wet for ethereal drones and pads.

V. Pitch Delay into Pitch Delay. Program 5 features two "duelling" pitch delays, which shift the input signal up and down in complementary or opposing directions, allowing the user to create intricate harmonic patterns in the feedback network. Behaves like a sequencer at higher delay times and like a harmonizer at lower delay times. Use Feedback and Regen knobs to control various amounts of pitched delay repeats. Use the X knob to change the order of the 4th, 5th, and octave intervals that the pitch delay steps through. Experiment with short staccato notes to create some very interesting rhythmic parts!

Dive / Rise - Holding down the tap tempo switch will momentarily shift the clock rate of the pedal down or up and will hold it at that rate for as long as the switch is pressed. The direction of the dive can be changed by simply pressing bypass and tap simultaneously. A green LED over tap will indicate rise is set and a blue LED will indicate that dive is set.

The Mod knob will control the amount of modulation applied to the wet signal. Holding down bypass and adjusting the Mod knob will adjust the modulation rate. The bypass LED will blink to show your set mod rate.

Specs:

The Lore comes coated in a muted green enclosure with Cream, Orange, brown and dark green ink with art by David Huttner.
The die-cast enclosure's exact size is 3.62" x 4.79" x 2.25" including knobs.
Buffered bypass.
Power requirements are 9VDC, center negative (300mA minimum).
The use of an isolated power supply is recommended for powering all Walrus Audio Pedals.
Daisy chain power supplies are not recommended.
Power supply not included.

Notes: Simply sophisticated

With the 200 series, BOSS introduces a new generation of pedals that pack advanced sound and versatility into a streamlined size that saves space on your board. Grab-and-go controls and multi-function switches make operation easy and intuitive, while onboard memories allow you to store multiple setups for instant recall. All 200 series pedals feature premium audio quality with 32-bit internal processing and offer support for external control via footswitches, an expression pedal, or MIDI.

The DD-200 Digital Delay brings together sounds and features inherited from the flagship DD-500 into an even smaller footprint. Twelve different modes offer an inspiring variety of delay colours from modern digital to classic analogue, letting you dial up everything from basic echoes to rich ambient pads and everything in-between. There's also a looper that's always ready to use, plus a selectable carryover function for seamless transitions between memories.

Version 1.1 Update: User Memory Expansion

The free Version 1.1 software update brings increased flexibility to the BOSS 200 series, greatly expanding the onboard memory capacity for storing and recalling sounds. There are now 128 user setups available. Setups can also be recalled directly via MIDI program change.

For optimal performance, stay up to date with the current DD-200 system software

Twelve Modes, Unlimited Sounds

With 12 different modes to choose from, the DD-200 provides nearly any flavour of delay in an amazingly compact size. At your command are super-clean digital delays, gritty analogue echoes, and spot-on retro sounds from the Roland RE-201 Space Echo and Binson Echorec 2. There's also a variety of options for creating reverse effects, lo-fi tones, and pulsing rhythmic sounds with layered delays. And with the Tera Echo, Shimmer, and Pad Echo modes, immersive ambient colours are just a knob twist away.

Dial in Sounds Fast

The DD-200 features a no-nonsense interface, making it easy to craft inspiring sounds in the heat of the moment. Essential delay parameters are provided on dedicated controls for direct, hands-on access. And in each mode, the function of the PARAM knob changes to parameters tailored for the selected type, delivering extended control with no need to menu dive.

Save and Recall Your Favourite Setups

The DD-200 features 127 user memories plus a real-time panel setting, giving you 128 total setups to choose from. Any range of consecutive memories and the panel setting can be assigned for scrolling access from a footswitch. It's also possible to limit the scrolling range or assign memories directly for even faster recall. If you crave deeper control, setups can be directly recalled via program change messages from an external MIDI device. And by enabling the carryover function, delay repeats will keep sounding as you change memories for smooth, free-flowing transitions.

Deep Real-Time Control

By default, the DD-200's multi-function footswitches provide access to basic functions like bypass, memory scrolling, tap tempo, and looper control. But you can easily reassign them to hold, warp, and many other functions. External control is also possible via footswitches or an expression pedal, and MIDI I/O is even provided on space-saving mini TRS jacks. Via MIDI, you're able to chain multiple 200 series pedals and select memories on all of them at once, and also control a wide range of functions from MIDI devices like the ES-8 and ES-5 effects switchers.

Ready-to-Go Looper

Any time you're ready, pressing the DD-200's two footswitches together puts you into looper mode. Up to 60 seconds of mono recording time is available, and operation is simple and direct with the onboard switches. And since the looper engine functions independently, you're able to develop expressive loops with any of the DD-200's rich delay sounds.

DD-200 Delay Modes

Standard-Clear digital delay. PARAM adjusts the delay attack.
Analog-Emulates classic analogue "BBD" delays like the BOSS DM series. PARAM controls character and distortion amount.
Tape-Emulates the warm tape-based sound of the legendary Roland RE-201 Space Echo. PARAM selects different combinations of three playback heads, and also adjusts the amount of distortion in the delay sound.
Drum-Models the drum-based Binson Echorec 2. PARAM selects different combinations of four playback heads, and also adjusts the amount of distortion in the delay sound.
Shimmer-Pitch-shifted delay for lush, heavenly textures. PARAM adjusts the delay brightness.
Tera Echo-Spacious, animated ambience effect derived from the BOSS TE-2 pedal. PARAM adjusts the sound character.
Pad Echo-Newly developed delay sound for creating drifting ambient textures. PARAM adjusts the delay attack.
Pattern-Rhythmic sounds with 16 delay lines layered together. PARAM selects different pattern variations.
Lo-Fi-Delay sound with fat, distorted character. PARAM adjusts the distortion effect.
Dual-Two different delay lines connected in series. PARAM adjusts the time of the second delay.
Reverse-Backwards delay for cool psychedelic effects and other unique tones. PARAM adjusts the delay attack.
Ducking-Delay with a built-in ducking effect. PARAM adjusts the input sensitivity.

*The product names mentioned on this page are registered trademarks or trademarks of their respective owners. These names are used because it is the most practical way of describing the sounds that are simulated.

Specifications

Sampling Frequency: 96 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point

Modes: 12 modes
STANDARD, ANALOG, TAPE, DRUM, SHIMMER, TERA ECHO, PAD ECHO, PATTERN, LO-FI, DUAL, DUCKING, REVERSE

Memory127 + Manual
Nominal Input Level: INPUT A/MONO, B: -10 dBu
Maximum Input Level: INPUT A/MONO, B: +7 dBu
Input Impedance: INPUT A/MONO, B: 2 M ohm
Nominal Output Level: OUTPUT A/MONO, B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, B: +7 dBu
Output Impedance: OUTPUT A/MONO, B: 1 k ohms
Recommended Load Impedance: OUTPUT A/MONO, B: 10 k ohms or greater
Bypass: Buffered bypass

Controls:
ON/OFF switch, MEMORY/TAP switch
MODE knob, TIME knob, FEEDBACK knob, E. LEVEL Knob, PARAM knob, TONE knob, MOD DEPTH knob
TAP DIVISION button, MEMORY button

Display: 7 segments, 3 characters (LED)
Indicator: TAP DIVISION indicator, MEMORY (MAN, 1--4) indicators

Connectors:
INPUT (A/MONO, B) jacks, OUTPUT (A/MONO, B) jacks: 1/4-inch phone type
CTL 1, 2/EXP jack: 1/4-inch TRS phone type
MIDI (IN, OUT) jacks: Stereo miniature phone type
DC IN jack
USB port: USB micro B-type (program update only)

Power Supply: Alkaline battery (AA, LR6) x 3, AC adaptor (sold separately)
Current Draw: 225 mA

Expected Battery Life Under Continuous Use
Alkaline: Approx. 4 Hours
* These figures will vary depending on the actual conditions of use.

Accessories: Leaflet "USING THE UNIT SAFELY", Leaflet "To obtain the Owner's Manual", Alkaline battery (AA, LR6) x 3, Rubber foot x 4

Options (sold separately):
AC adaptor: PSA-S series
Footswitch: FS-5U
Dual footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
MIDI/TRS connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight

Width: 101 mm / 4 inches
Depth: 138 mm / 5-7/16 inches
Height: 63 mm / 2-1/2 inches
Height (including rubber foot): 65 mm / 2-9/16 inches
Weight: 610 g / 1 lb 6 oz
Weight (including battery): 680 g / 1 lb 8 oz

0 dBu = 0.775 Vrms

Notes: The Fairchild 660 studio compressor is consistently regarded as the best compressor ever made. For years, the original Fairchild 660 and 670 (Stereo) compressors have been extensively used in studios. This inspired J. Rockett to offer that sonic signature to the guitar community at a fraction of the $30k+ price tag.

The typical guitar compressor is the "Dynacomp", which has created iconic tones throughout the history of music, especially in Country music. That said, it's widely acknowledged that there are already countless Dynacomp variants available.

"The 'typical Dynacomp circuit' tends to crush the sound more like a limiter. This characteristic has cemented its sound into certain genres of music, which some may find desirable.

The Team at J. Rockett aimed to provide a compressor that works like a studio compressor, enhancing harmonic richness and evening out transients without crushing the entire spectrum.

The Airchild Six Sixty simply makes you want to play more. It increases sustain without crushing your output, imparts richness to your overall tone, and adds feel to your playing. The target tones were the slide tones of Lowell George and the singing lead/rhythm tones of Mark Knopfler.

The Fairchild 660 Compressor was designed by Rein Narma, who had worked with Les Paul to build a recording mixer for use with Les Paul's Ampex 8-track. Les Paul asked Narma if he would build a compressor/limiter. Sherman Fairchild, who was friends with Les Paul, learned of the compressor and licensed Narma's compressor design, hiring Narma to be chief engineer at Fairchild Recording Equipment Corporation. The first 10 Fairchild 660's were built by Narma himself. The first unit was sold to Rudy Van Gelder who used it to cut lacquer masters for Blue Note Records and Vox Records. The second unit went to Olmsted Sound Studios in New York City and the third 660 built went to Mary Ford and Les Paul.

Notable users: Abbey Road Studios purchased 12 Fairchild 660s after staff engineer Peter Bown heard it during a visit to Capitol Records in America. They used it on recording sessions for the Beatles, primarily for vocals. Beginning in 1966, Geoff Emerick began using the 660 on Ringo Starr's drum tracks as well as piano and guitar tracks. As of 2014, Abbey Road still had 8 of the original 660s purchased in the 1960s.

"We put the drum sound through Fairchild 660 valve limiters and compressors. It became the sound of Revolver and Sgt Pepper really. Drums had never been heard like that before." (Geoff Emerick)

Compressors are probably the most misunderstood effect that also have incredible impact on the delivery of music. There is not a professional recording in history that does not have some sort of compression. Gain is a form of compression, even EQ is a form of compression.

A compressor is used to reduce a signal's dynamic range-that is, to reduce the difference in level between the loudest and quietest parts of an audio signal.

Compression is commonly used to attenuate loud transient peaks (e.g., when a singer suddenly belts out a high note or a guitar player digs in to a note with muscle) compression helps maintain a consistent level. Compression essentially causes distortion in a signal, in that it changes the original sound of the signal through its processing. The compressor typically achieves this by emphasizing certain harmonics based on how the compressor is hitting the incoming signal. The job of this peda;l is to make that distortion feel transparent and to use dynamics to create the best-sounding performance possible. Use your ears!

In compression, the dynamic range becomes narrower - the highest peaks and the quietest parts have fewer dB of level difference between them. In contrast, a compressor can also help support or bring to life soft notes as well. For guitar, compression helps with sustain and feel. Using compression in front of an amp with gain or a gain pedal essentially just adds more compression and is typically not very audible. A good compressor will help sustain notes without introducing noise or artifacts in an amp or pedal with gain but typically works best in a clean amp to hear the effect. You will typically hear compression on country guitar, at least as an audible full throttle effect. Most players do not utilize this sound because a squished signal limits dynamics, however, if used correctly it can increase dynamics across the board. One of the best descriptions about compression is that it is the opposite of reverb. If you think about that it is true. Compression brings the full dynamic force forward in a balanced manner where Reverb creates space and distance.

Notes: A warm grittiness to the warble, a rippling, wooshing, bubbling irregularity to the modulation and a dynamic response to your picking are all hallmarks of the true vibe experience. Thicker and chewier than any chorus, earthier than any phaser and uniquely magical in front of a driven amp, the perfect vibe pedal moves you to dig in and play without inhibition. This feeling has been difficult to find outside of large and expensive fully-analog boutique units, but the search for that elusive experience is now over.

UltraViolet's simple and responsive controls provide a wider range of sounds than traditional vibe pedals. In addition to the familiar Chorus (50% wet) and Vibrato (100% wet) settings, there is a new Blend setting (30% wet) for an inspiring variety of more subtle effects. A Bias switch gives you three distinct flavors of sweep shape and tone emphasis, allowing for tons of sonic variation. At slow speeds, the intensity range has been expanded beyond that of traditional vibe circuits to push even further into warmly undulating sonic territory.

For UltraViolet's new vibe algorithm, all the elements of the classic optical vibe circuit (and their interdependencies) have been meticulously recreated for a dynamic playing response. From the effects of bias, speed and LFO waveshape on the pulsing of the lamp, to the response of the light-dependent resistors that set the center frequencies of the staggered phasing filters, the entire system has been duplicated and carefully tuned to produce the very best sounds a vibe pedal can offer.

TRS stereo input and output in a dual mono configuration means you can place UltraViolet at any point in your pedal chain with no impact on your stereo image.

Full MIDI implementation with 300 available preset locations ensures that UltraViolet is ready for your MIDI rig. In addition to TRS MIDI, there is a USB-C jack for controlling the pedal via MIDI from a computer or for performing firmware updates. For hands-free control without MIDI you can connect an expression pedal for control over any combination of knobs in any direction (Expression pedal controls Speed by default.) Or attach an optional external switch for tap tempo or favorite recall.

Finally, a high-impedance, ultra-low noise discrete Class A JFET stereo input preamp provides exceptional touch sensitivity, dynamics and feeliall in a rugged and elegantly compact form factor.

Notes: Diamond Pedals proudly announces the launch of the Dark Cloud, an innovative delay pedal that represents the pinnacle of hybrid analogue-digital design. Drawing on the company's rich heritage in crafting exceptional analogue effects, the Dark Cloud merges classic tone with cutting edge technology to deliver a delay pedal like no other.

At the heart of the Dark Cloud is Diamond's revolutionary Digital Bucket Brigade Delay (dBBD) technology, which seamlessly blends the organic warmth of analogue companding with the precise control of an embedded digital system. This unique architecture allows the Dark Cloud to deliver three distinct and creative delay modes (Tape, Harmonic and Reverse), each meticulously crafted to provide a wide range of sonic possibilities.

Where analogue warmth meets digital precision, the Dark Cloud redefines delay effects to create a pedal like no other.

The Dark Cloud holds special significance as the final project conceived by the original Diamond team before their closure. What began as a modest attempt to repurpose older designs evolved into a masterful blend of the company's most beloved delay algorithms, combined with an entirely new Reverse Delay setting.

As a result, the Dark Cloud is essentially a "greatest hits" of Diamond's delay technology, refined into one powerful pedal that pushes the boundaries of what delay effects can achieve.

Notes: The Bass War was born with a clear mission: to take Death By Audio's legendary Fuzz War and craft it into the ultimate weapon for bass. Death By Audio didn't just tweak the formula, they reimagined it from the ground up, infusing classic circuit designs with our own twist. The result? A harmonically rich octave fuzz that doesn't just deliver - it dominates, with exceptional gain, a wide tonal range and a MIX control that puts the power of mind-blowing bass fuzz at your fingertips.

This pedal isn't here to play nice, it's here to push boundaries. The super-extended control ranges let you sculpt your sound from a gritty, grinding drive all the way to a thick, bone-crushing distortion. The FUZZ knob is your key to unlocking everything from a subtle growl to an all-out sonic assault.

The TONE knob is your secret weapon, acting like a notch filter that lets you sweep through a massive arsenal of fuzz tones, each one rich, heavy, and impossible to ignore. And with the MIX control, you can blend just the right amount of fuzz with your clean bass, keeping your sound powerful and balanced, no matter how intense things get.

The Bass War isn't just another Fuzz pedal, no it's your ticket to a bass tone that demands attention and leaves its mark. If you're ready to take your sound to the next level and carve out your own sonic territory, the Bass War is your go-to pedal. Plug in and let your bass do the roaring.

Notes: Launched in 1976, the CE-1 Chorus Ensemble was not only the world's first chorus effect pedal, but also the very first BOSS pedal. Three years later, this inventive new sound was squeezed into the blue CE-2 Chorus, and chorus pedals have remained in the compact lineup ever since. Four decades on, the spacious modulated tone of the signature BOSS effect is still loved by musicians everywhere. In 2016, to celebrate the 40th anniversary of BOSS innovation, the original analogue chorus sounds are now reborn with the Waza Craft CE-2W. The CE-2W's Standard mode faithfully recreates the classic CE-2 chorus sound, and adds an expansive new sound field with stereo output, which was unavailable in the mono CE-2. CE-1 mode fully reproduces the stereo chorus and vibrato sounds of the legendary CE-1, with the addition of variable chorus depth not available in the original pedal. To commemorate the birth of BOSS effects, the CE-2W is made exclusively in Japan, just as the original CE-1 and CE-2 were.

Waza Craft: The Art of Superior Tone

Since the beginning, the engineers at BOSS have been committed to achieving the finest guitar tones using any technology necessary, from old-school analogue circuits to high-tech DSP. This enthusiastic spirit continues on with the Waza Craft series, which brings you exceptional tone and touch response through carefully selected analogue components, refined circuitry, and meticulous attention to detail. In Japan, "Waza" is the term for art and technique, and these special edition pedals proudly carry the Waza symbol to represent the pinnacle of BOSS design and craftsmanship.

Specifications

Modes: 3 modes, Standard, CE-1 Chorus, CE-1 Vibrato
Nominal Input Level: -20 dBu
Input Impedance: 1 M ohm
Nominal Output Level: -20 dBu
Output Impedance: 1 k ohm
Recommended Load Impedance: 10 k ohms or greater
Bypass: Buffered bypass
Controls: Pedal switch, Standard/CE-1 Mode switch, RATE knob, DEPTH knob
Indicator: CHECK indicator (Serves also as battery check indicator)
Connectors: INPUT jack: 1/4-inch phone type, OUTPUT A (MONO) jack: 1/4-inch phone type, OUTPUT B jack: 1/4-inch phone type, DC IN jack
Power Supply: Alkaline battery (9V, 6LR61) or Carbon-zinc battery (9V, 6F22), AC adapter (sold separately)
Current Draw: 25 mA
Expected battery life under continuous use (These figures will vary depending on the actual conditions of use.): Alkaline: Approx. 32 hours, Carbon: Approx. 18 hours
Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Alkaline battery (9V, 6LR61), Alkaline battery (9V, 6LR61)
Options (sold separately) AC adapter: PSA series

Size & weight

Width: 73 mm/ 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm/ 2-3/8 inches
Weight (including battery): 450 g / 1 lb

* 0 dBu = 0.775 Vrms

Notes: The genuine BOSS and Roland Dimension effect is back, and it's now more versatile than ever! Designed in the premium Waza Craft analogue tradition, the DC-2W offers not just a perfect sonic recreation of the original DC-2 Dimension C pedal, but also the legendary SDD-320 Dimension D studio rack effect it was based on. The DC-2W features the same intuitive four-button preset interface as the original '80s-era effects, now evolved with electronic switching that unlocks a multitude of sonic variations not available on the vintage units.

Highly sought-after by musicians and audio engineers, the Dimension's unique spatial processing magically enhances the width and depth of any sound, from electric and acoustic guitars to keyboards, vocals, and other sources. Built from the original circuit designs and updated with modern refinements, the DC-2W is the only pedal available that delivers the classic Dimension experience with complete sonic authenticity.

Enhance Your Sound with Natural Width and Depth

The vintage Dimension effect is famous for its innovative 3D spatial processing that just makes everything sound a little better. It's often mistakenly called a chorus effect, but it's actually not. Though time-based like a chorus, the Dimension's circuit is quite unique and sophisticated, subtly enhancing the width and depth of the source audio without any prominent modulated movement. The resulting sound is more open and natural, gently enriching any instrument or mix without making it sound overly processed.

Four Switches, Expanded Sonic Possibilities

Just like the original Dimension effects, the DC-2W offers a simple and direct interface with four preset switches that provide sonic variations with increasing width and depth. While the originals had mechanical switches, the DC-2W is equipped with modern electronic switches and status LEDs for more solid performance. The new switches also allow you to press two at once to access a variety of additional sounds. Across the DC-2W's two effect modes (S and SDD-320), 20 different Dimension variations are possible with just four switches.

Authentic Tones with Modern Refinements

In the Waza Craft tradition, the DC-2W delivers vintage analogue tones with modern design refinements for enhanced performance and versatility. Along with the new electronic mode switches, the pedal features a newly designed internal bypass circuit that greatly improves on that found in the original DC-2. In addition, versatile I/O enables the pedal to blend in with any mono or stereo rig, from regular guitar setups to audio interfaces and studio mixing consoles. And like all Waza Craft pedal models, the DC-2W includes a premium buffer circuit for ultra-transparent tone when the pedal is switched off.

The Roland SDD-320 Dimension D: A Studio Legend

Very quickly after its debut in 1979, the Roland SDD-320 Dimension D became a go-to secret weapon for audio engineers and music producers around the world. It can be heard on countless classic records in all genres, and is still regularly used today. From guitars, electric pianos, and synths to strings, backing vocals, and more, the Dimension D injects instant spatial mojo and sonic glue without creating an obvious "effect" sound.

The DC-2W's SDD-320 mode fully captures the original Dimension D vibe in every way. Many engineers like to press multiple buttons on the Dimension D rack for new and different sounds. But in truth, only two actual sound variations are technically possible with this undocumented feature. With its modern switching, the DC-2W's SDD-320 mode enables six sound variations when two buttons are pressed, including four "in-between" sounds and two all-new voices.

The BOSS DC-2 Dimension C: 3D Sound in a Compact Pedal

Introduced in 1985, the DC-2 Dimension C pedal brought the Dimension D's distinctive spatial effect to the BOSS compact pedal format. While the Dimension D was designed as a studio effect that supported either mono or stereo input sources, the DC-2 was specifically created for mono sources like guitar, and features a modified circuit that produces a Dimension effect with a slightly different tonal flavour.

Specifications

Modes: S (Standard), SDD-320
Nominal Input Level-20 dBu
Input Impedance: 2.2 M ohms
Nominal Output Level: -20 dBu
Output Impedance: 1 k ohm
Recommended Load Impedance:10 k ohms or greater
Bypass: Buffered bypass
Controls: Pedal switch, S/SDD-320 switch, MODE SELECTOR [1]--[4] buttons
Indicators: CHECK indicator (Serves also as battery check indicator), MODE SELECTOR [1]--[4] indicators
Connectors: INPUT A (MONO) jack: 1/4-inch phone type, INPUT B jack: 1/4-inch phone type, OUTPUT A (MONO) jack: 1/4-inch phone type, OUTPUT B jack: 1/4-inch phone type, DC IN jack
Power Supply: Alkaline battery (9 V, 6LR61), AC adapter (PSA series: sold separately)
Current Draw: 65 mA
Expected battery life under continuous use: Alkaline: Approx. 6 hours *These figures will vary depending on the actual conditions of use.
Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Alkaline battery (9 V, 6LR61)
Options (sold separately)AC adaptor: PSA series

Size & weight

Width: 73 mm / 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm / 2-3/8 inches
Weight (including battery): 450 g / 1 lb

* 0 dBu = 0.775 Vrms

Notes: The Larva is a 6-stage analog phaser with a built-in preamp and morphing capabilities. It offers two phaser settings, letting you easily switch between different sounds or morph between them for unique transitions. Whether used as a classic phaser, a vibe pedal, or just a preamp, the Larva delivers versatility and creative possibilities, always with the Beetronics unique signature.

The interface is intuitive and simple, yet the pedal can produce a huge amount of sounds and movements unique to this phaser. A bar of LEDs tracks the ramp movement, showing if you're in phase one or two, while the bypass LED doubles as a meter to monitor preamp distortion.

As our first phaser, the Larva brings together a large swathe of creative options with a streamlined, user-friendly design-modulation sweetness with a touch of gain.

Notes: Sometimes pedals can change. Parts drift, pots break, transistors go bad. They go to new homes; they get neglected and resold. Sometimes people get in there and try to revive them to their original state and sometimes they just throw whatever is laying around inside and hope it does the trick. In this case, EQD are pretty sure all the above happened to the fuzz pedal that made its way to James Murphy and ended up finding a forever home with LCD Soundsystem.

Chelsea really does have something special. It's heavy without being too heavy, clean but not too clean. A simple set of controls yet it has an expansive array of tones that makes it very versatile on a wide variety of instruments, has clarity when you need it and can blur all discernable lines when you don't. It still retains the familiar foundation of the classic fuzz it was intended to be, but something special happened to it over the years and it has very much grown into its own thing

Notes: ***B-STOCK: Box opened, product in perfect working order***


Introducing Catacombs - a pedal that eliminates the compromise altogether. It packs 11 of the most popular delay and reverb sounds into one intuitive, powerful package. Whether you're after a trusty digital delay and a plate reverb or a musical shimmer and a spaced out echo - Wampler have you covered!

The team at Wampler have worked for a long time on ensuring Catacombs will become an indispensable part of your rig. You can run one of six delay and one of five reverb programs together simultaneously. Each program offers tap-tempo control and can be saved into one of the pedal's eight onboard preset locations for instant recall. Delays and reverbs can be run in Mono, Stereo, in parallel or in series. It's like having a studio's worth of delay and reverb effects right at your feet.

But it doesn't end there - the pedal also comes with a complete software version as a plugin for your DAW in AAX, AU, and VST3 format for both Mac and PC. The Catacombs plugin is FREE to all customers that register their Warranty online (plugin suite is $49.99 if purchased separately).

Legendary Delays

With six delay programs, you can feel the warmth and depth of analogue delays (ANLG), the harmonic nuances of a Bucket Brigade Device delay (BBD), or the nostalgic modulated vibe of classic artisanal tape and mechanical delays (TAPE). Feeling adventurous? The other-worldly Echo-Space Delay (SPC) awaits. The favourite Wampler Faux Tape Echo (FTE) and an accurate recreation of the classic 2290 digital delay (DIGI) also feature.

Iconic Reverbs

The Catacombs houses five finely tuned reverb programs. With just a twist of a knob, you'll discover expansive halls (HALL), a warm vintage plate (PLT), and that classic spring reverb (SPR) with plenty of "drip." The shimmer reverb (SHMR) allows a whole new layer of sonic texture, especially when paired with an expression pedal, and the intimate ambiance of the ROOM setting creates that perfect studio reverb.

Stompbox-like Control

Like the Terraform and Metaverse before it, the Catacombs is designed to be as quick to dial in as possible. Wampler replaced confusing menus and fiddly touch screens with clearly marked knobs you can adjust on the fly. Controls for Time, Feedback, Modulation, and Level (with Alt functions for each effect type) put all the essential tools right at your fingertips. Each setting offers tap-tempo control and can be easily saved into one of the pedal's eight front panel preset locations for instant recall. It's like having a studio's worth of delay effects right at your feet.

Digital Power with an Analogue Soul

The Catacombs uses a high-performance DSP engine to bring each effect to life with authentic character and gives you eight front panel preset locations where you can save and instantly recall your favourite settings. If you're looking to expand even further, you can access up to 128 presets with full MIDI control, it has configurable mono and stereo routing, a parallel or series switch, and an assignable expression pedal input to control any parameter (or multiple parameters).

Notes: EarthQuaker Devices is proud to introduce you to your new best bud, Gary. This little big guy was dreamt up by the one and only Lee Kiernan from the crushing and most necessary band, Idles!

Gary started as a simple request to create a compact version of the now discontinued Gray Channel, which was a mainstay on Lee's board and a big part of his main drive tone. This was all fine and good, and sounded quite sick, but it was worth and exploring his dark side a little more, Gary after dark, Saturday night Gary. So, he was sat down and began the trek of figuring old Gare-Bear out once and for all. The result is a real exercise in light and dark; smooth to shredded and everything in between.

Gary's right brain consists of a dynamic and destructive fuzz that is both domineering and interactive. It is a ripping fuzz tone with an envelope-controlled variable pulse width and enough volume to blow everything up. This nasty little fuzz turns the signal into a square wave and allows you to dynamically adjust the duty cycle with pick attack. Yes! Controls the sensitivity of the envelope. When this is all the way down you will get an unadulterated thick and heavy square wave fuzz tone that will sustain for days and go dead quiet when you stop playing. As you increase the Yes! control, the envelope becomes more interactive, and the pulse width narrows the harder you hit it. As the pulse width narrows, the tone becomes more nasal and biting until it gets so narrow that Gary goes to his dark place and disappears completely. In other words, with higher sensitivity settings, the sound will disappear entirely and come cruising back to Gary's big guy tone. With proper playing dynamics, this creates a very cool effect that can sound like an exploding amp coming in and out of life, blown through a phase shifter.

This effect can also be controlled with an expression pedal for manual operation or for finding just the right pulse width to cut through the mix for a set-and-forget operation. When using an expression pedal, Yes! operates in conjunction with the expression pedal to set the peak of the sweep. Set Yes! to the desired stopping point and express yourself as you please without worry of taking Gary over the edge!

Oosh acts as the master volume for Gary's nasty side. There is an insane amount of volume on tap so use this control wisely!

Gary's left brain displays his softer side. This is a simple and natural sounding overdrive that keeps your tone lively and drives your amp crazy. This side is based on the green channel of the Gray Channel, which is Earthquaker's take on the classic little yellow overdrive that started it all. Lee used this pedal with the clipping switch permanently set to the middle position, which removes all the diodes from the circuit, producing a full-bodied, cutting opamp distortion with plenty of volume on tap. Earthquaker have reproduced that tone here with exacting precision. Go sets the opamp drive and can range from a simple full-range clean boost all the way up to a smooth and natural distortion. In conjunction with That's It, which is the master volume for the drive side, you can use Gary's softer side as a clean boost to push your amp into overdrive or turn up Go and use all of Gary's internal magic to create the finely tuned dirt you desire.

Gary's signal path is fuzz into overdrive for total tonal integrity and cannot be changed. This is where Gary put his foot down.

Each and every Gary was softly brought to life by the delicate hands of EarthQuaker Devices in the elegantly unrefined canal-front city of Akron, Ohio USA.

Notes: The JamMan Solo HD has all the same great features as the JamMan Solo XT including stereo looping, Micro SD/SDHC compatible memory card support, Auto Record, selectable Stop Modes, and the revolutionary JamSync feature which allows for syncing of multiple JamSync compatible devices. Even better, as its name suggests, the JamMan Solo HD features improved High-Definition audio performance with its Next-Gen HD A-D/D-A Audio Converter!

The JamMan Solo HD features 200 internal memory locations that can hold up to 35 minutes of loops. Installing a Micro SD/SDHC card into the memory card slot adds another 200 memory locations which can store over 32 hours of loops! (Compatible with Micro SD/SDHC cards up to 32Gb)

The JamMan Solo HD has USB connectivity for syncing to DigiTech's free JamManager HD software. JamManager HD organizes and saves your loops to a computer (PC) and lets you quickly create JamLists to take to your gig. The JamMan Solo HD is the perfect stereo looper/phrase sampler for practicing, composing, and performing.

Use the JamMan Solo HD to:

Record rhythm loops, then solo over them on the fly, completely Hands-Free.
Slow down or speed up the tempo of any loop without changing pitch.
Sync multiple JamSync compatible JamMan devices for multi-track looping capabilities.
Seamlessly transition between recorded loops during playback.

Next-Gen HD Audio Performance

Sound better than ever with improved high definition, low-noise, low-distortion A-D/D-A audio converter.

32 Hours of Looping Time

Compact stereo looper with 35 minutes of on-board memory, PLUS up to 32 hours of looping time with a MicroSD card. (MicroSD card not included)

Professional Drum Loops

Includes 10 carefully mastered drum loops from Pat Mastelotto (King Crimson, Stick Man, Mr. Mister).

Glitch-Free Time Stretching

Adjust the tempo of your loops anyway you like, completely glitch-free.

JamSync Enabled

Sync multiple JamSync compatible JamMan devices for multi-track looping capabilities.

JamManager HD

Connect via USB to transfer loops to and from your PC using JamManager HD.

Notes: The signature tones of a guitar legend on your pedalboard

Joe Satriani's TONEX ONE is the latest product of IK's ongoing relationship with one of the guitar world's most respected players. It is truly something special. Handmade in Italy in a custom chrome finish, this limited-edition pedal comes preloaded with 20 presets created by Joe. These exclusive presets feature Tone Models from his Amp Vault Signature Collection, also included, but go beyond that by incorporating Joe's choice of TONEX FX to recreate the great moments of his recording career.

"The TONEX ONE roars and shimmers like its full-size big brother, the mighty TONEX Pedal. You can use it as a standalone amp, a recording interface, or even a headphone practice amp. And it looks amazing!"
Joe Satriani

20 Custom presets with TONEX FX

Exclusively with TONEX ONE Joe Satriani, you'll immediately experience 20 presets custom-designed by the artist himself. All presets feature Tone Models from Joe's TONEX Amp Vault collection, plus the new TONEX FX blocks to recreate his essential tones in one compact pedal.

The preloaded tones range from the early years to new sounds featuring his latest Signature 3rd Power Dragon Amplifier. The presets are inspired by and named after classic songs, including "Time Machine," "The Extremist," "Summer Song," "Ice 9," "Crush of Love," "Love Thing," and many more.

Includes Joe's Amp Vault Signature Collection
This limited-edition pedal includes Joe's complete Amp Vault Signature Collection for TONEX, featuring 28 amplifiers from his private collection. Joe handpicked each amplifier, dialed in his favorite settings and captured them using IK's Advanced AI Machine Modeling at Sammy Hagar's Red Rocker Studios.

The 67 Tone Models are incredible and a testament to Joe's relentless pursuit of great tone and generosity in sharing them with the TONEX community.

Specs

TONEX ONE

20 customizable presets
Ultra-low noise, 24-bit/192 kHz converters.
5 Hz-24 kHz frequency response
Up to 123 dB dynamic range
USB connection/ 24-bit/44.1 kHz audio interface
Power Source: 9V DC, 120 mA (not included) or via USB-C
Size: 48 mm/1.89" (W) x 94 mm/3.7" (D) x 53 mm/2.09" (H)
Weight: 160 g/ 5.6 oz

Package includes

TONEX ONE
USB C-Type to USB C-Type connection cable (0.6 m/2 ft)

Notes: Inspired by modular synthesis, the C4 Synth is a unique pedal which allows you to play synth tones via bass or guitar. Edit using the Neuro Desktop Editor and then get freaky with a wide range of synth sounds.

Supplier's notes:
The C4 Synth unites all the sound creation tools of a classic Eurorack modular synthesizer and packages them in a compact and easy-to-use effects pedal for guitar or bass. Out of the box the C4 offers six dynamic synth tones that range from vintage analogue to the thoroughly modern. It is essentially a modular synth in a small pedal with unprecedented tracking abilities, lightning-fast response, and countless sound options. With the addition of the Neuro Desktop Editor (a free download for Mac and Windows machines) and Mobile App. (for iPhone and Android) it's easy to browse from the ever-growing library of highly-inspired presets created by the Source Audio crew and the expanding community of C4 enthusiasts.

Neuro Editor Features

Connect the C4 Synth to the Neuro Desktop Editor (a free download for Mac or Windows computers) or the Neuro Mobile App (free for iPhone and Android) and explore the power of effect downloading, customization, and sharing that comes with every One Series pedal.

Growing Library of Published Presets: For quick and easy access to a world of great tones, try sampling sounds from a vast collection of published presets created by the Source Audio team and the ever-growing C4 Neuro Community.

Unprecedented Sound Sculpting Options: The Neuro Desktop offers maximum sound exploration possibilities. Use Neuro's modular synthesizer inspired editor to create custom C4 Synth presets that can be burned directly to the pedal, saved to a private cloud based library or published and shared the entire Neuro Community.

Four Independent Voices: Mix together any of the C4's four independent Voices. Assign any of the Voices to an oscillator wave shape, monophonic or polyphonic pitch shifter, intelligent harmonizer, sequencers, or dry signal to distortion, tremolo, and filter effects.

Three Types of Oscillators: Mix and match any of the C4's three oscillator wave shapes for pure synthesizer tones. Choose from sine, square, and saw shaped oscillators.

Eleven Envelope Followers: Select from a comprehensive collection of envelope followers with adjustable attack/decay as well as ADSR triggering envelopes.

25 Filter Effects: Choose from a huge collection of filters, controllable with an envelope follower or independently modulating LFOs.

14 Different LFO Wave Shapes: Use LFO (Low Frequency Oscillators) to control the modulation of filter, vibrato, or tremolo effects. Choose from eight different LFO wave shapes, including sine, square, sample and hold, saw tooth, and more.

Two Programmable 16-Step Sequencers: Run two simultaneous sequencer patterns. Choose from several preprogrammed sequencer patterns or create custom patterns.

USB Connection - Use the pedal's mini USB port to connect the C4 to the Neuro Desktop Editor, which can be used to edit presets or download the latest pedal firmware.

USB to Mobile App Connectivity - Connect the Mobile App to your C4 Synth via the USB port on the top of the pedal and enjoy two-way communication between the pedal and your Neuro Mobile App. This means you can see all of your C4 preset settings on the App. in real time. (Lightening to mini Type B USB cable for iPhone) (Type-C to mini Type B USB cable for Android).

MIDI features

The C4 Synth responds to MIDI Program Change (PC) and Continuous Controller (CC) messages via its mini USB port. The USB port handles communication between the C4 and digital audio workstations (DAW) on Mac and Windows machines as well as external MIDI controllers with USB host support (we recommend the DMC.micro from Disaster Area Designs)

Preset Saving - Save up to 128 effect presets.

MIDI Mapping - Use the Neuro Desktop Editor to easily map MIDI Continuous Controller (CC) messages to a comprehensive list of parameters.

Preset Recall - Use MIDI CC numbers 103 & 104 to recall any of the C4's 128 MIDI accessible presets.

MIDI Clock - Sync the C4's LFO rate with external MIDI clock messages.

The Neuro Hub - Connect the C4 to the Neuro Hub and use MIDI CC messages to control parameters or recall presets.

Note: As of Hub fw 1.18 and C4 fw 1.14, the C4 can now be added to scenes, is visible through the Hub, and can be controlled by PC messages, giving you the full access to 128 preset slots.

Specifications

Includes 9v DC power supply (300mA / Negative Tip)
Includes 1/8" to 1/4" cable for Neuro Mobile App connection.
Power Consumption - 165mA
USB port - Connects to Mac or Windows PC for firmware updates and the forthcoming in-depth effects editing software.
Brushed anodized aluminum housing.
Dimensions: L: 4.5 in./11.4cm x W: 2.75 in./7cm x H: 2 in./5.1cm (including knobs)

Notes: Ozymandias - Dual overdrive pedal for guitar with exceptional distortion sounds

Ozymandias is a stacked dual-overdrive/distortion pedal that offers a plethora of usage options, choices fit for the King of Kings. From a near-clean boost with unparalleled headroom to full bore bourbon-swilling crunch, this one rules them all.

Features and Controls
Ozymandias contains two independent overdrive circuits, with identical controls but marked differences in tone and voicing:

The CROOK channel (left side, blue LED) boasts a full, fat thick sound and amp-like voicing. This channel is more articulate, grainy and has a huge low end.

The FLAIL channel (right side, red LED) is voiced in the midrange, with more drive and compression. This high-mid voicing will cut through a mix on pretty much any instrument.

Both channels have GAIN, TONE and VOLUME controls. For more textural control, each channel has three-way switches for hard (GRIND) and soft (GRIT) clipping, as well range (FULL/MID).

Each channel of the Ozymandias has its own set of input and output jacks. This allows you to split the output from each channel into separate amplifiers or even process two different instruments independently.

The mysterious square in the middle switches between two modes:

Series (Light off): FLAIL channel -> CROOK channel -> Output 2
Parallel (Light on): FLAIL channel -> Output 1; CROOK channel -> Output 2
Thanks to internal 22V operation, Ozymandias offers far greater headroom than most overdrive pedals from a regular 9V pedal power supply. Even with the gain dimed, this pedal is extremely reactive to playing dynamics and pick attack.

Notes: A reverb processing powerhouse!

The EHX Oceans 12 is the Oceans 11's big brother with even more reverbs and functionality. It features two simultaneous, independent, stereo reverb engines, series and parallel control for the dual reverbs, 24 presets and advanced I/O allowing for stereo in/out or mono send/return with pre and post reverb options. The pedal also includes a new Tide Control for stereo image alteration, a Lo-fi Control, an infinite attenuation control and an input jack for external expression and 3-button footswitch control.

A Tails switch provides a choice of whether the reverb effect fades out naturally or stops immediately when the pedal is switched to bypass. In most settings the pedal is also capable of producing infinite reverb which can be played over with a different reverb effect.

The Oceans 12's reverbs are:

ROOM - two modes: reverb algorithms modelled after a lively room and a spacious performance hall
SPRING - two modes: vintage 1962 Fender 6G15 tube reverb emulation and the spring algorithm from the EHX Holy Grail
PLATE - two modes: two emulations of the smooth, metal plate reverb often used in high-end recording studios during the 1960s and '70s
REVERSE - two modes: a reverse reverb effect as well as true reversed echoes
ECHO - three modes: a digital delay with various echo rhythms feeding into a plate reverb
TREM - three modes: a classic, periodic volume envelope with various shapes applied to both the wet and dry mix of a hall reverb
MOD - three modes: combinations of chorus and flange reverbs that create rich reverb tails
DYNA - three dynamic, experimental reverb algorithms: swell, gate and duck
AUTO-INF - three modes: auto-infinite reverb (w/optional chorus or flange) that "listens" to your playing and crossfades to a new reverb wash upon detection of newly struck notes.
SHIMMER - two modes: two configurations of a rich octave-shifted reverb wash
POLYPHONIC - two modes: two configurable bi-directional pitch shifts that add dimensionality to the reverb tail
RESONANT - two modes: reverb excited by tuneable resonators and configurable self-oscillating filters on the reverb tail

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Stereo
Effects Loop: Yes
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 4.75 x 3.9 x 2.5
Current Draw: 150mA
Year Released: 2020

Notes: How It Works

Chaining up an EQ, compressor and overdrive pedal will never give you the same result as SkarBassOne achieves, not by a long shot! The precise filters in SkarBassOne is what gives you the extremely surgical tone and the wide range of possibilities without breaking a sweat!

No matter the settings you will always keep the clean powerful low end with this multiband overdrive and that is a must for bass. Controlling the mids of a bass sound has never been easier! You will get out of the way from other instruments masking frequencies and take up all the space that is ment for you and ONLY you!

It might look simple on the outside, but I assure you the inside is a matrix of years with development. The flexible multiband drive is smooth all the way thru it's range and I promise you it will never ever mess with your low end!

Details

Compression:

One knob FET compressor with fast attack and release. It handles dynamics with ease and creates a solid wall of tone.

Compression LED:

Visual indication of how hard the compressor is working.

Mid:

Mid filter to achieve the surgical studio tone! Create a defined, in the pocket frequency response for the bass to sound massive and to make it sit with other instruments. Your band mates will never beg you to turn down your bass again!

Mix:

Quickly set the tonal balance between low frequencies and high frequencies. Find the sweet spot in any situation.

Footswitch:

On/Off switch for Drive and Tone.
Red channel =Drive and Tone active.
Blue channel = Drive and Tone off.
Compression, Mid and Mix is active on both channels.

Drive:

Set the amount of multiband drive, from gentle push to full on bark!

Tone:

Hi-cut filter to control the high frequencies of the output.

Notes: Unearth the Walrus Audio Silt Harmonic Fuzz, a collaborative creation with tube expert Jim Hagerman.

Wielding an internal pre-amp tube, the Silt is a two-in-one fuzz that creates massively rich fuzz tones perfect for chords and rhythmic parts or with the press of a switch, adds uniquely harmonic overtones to the signal before hitting the tube. Crafted specifically for those seeking a harmonically rich fuzz experience, the Silt boasts an analogue circuit with the distinctive warmth of a 12AU7 tube as its drive section, letting you explore a unique and wild sonic landscape.

Main Features:

1. 12AU7 Tube Drive

The Silt's 12AU7 tube section drives the warm, bone-rattling fuzz. We unearthed this sonic fossil to encase your sound in an amber warmth, while still providing the grit, growl, and harmonically complex textures that only a tube-driven fuzz can provide.

2. Harmonic Mode

Harmonic Mode acts as a frequency doubler before the drive section of the pedal. This produces crispy, octave-like sounds, lending a unique edge to your lead tones. Try this with your guitar tone knob rolled off.

3. Contour Control for Precision Tone Sculpting

Refine your fuzz tones with the precision of the Contour control to achieve a wide spectrum of timbres.

Toggle between highpass, flat, and lowpass curves in the pre-tube EQ stage, like uncovering layers of sonic strata. Especially helpful when switching between different styles of pickups. Whether you're chasing searing leads or wooley rhythm, the Silt adapts to your style with roaring precision.

4. Designed for Operation at 9v-12v for Plenty of Gain

Supercharge your fuzz experience by operating the Silt anywhere between 9v and 12v. Running the pedal at 12v will give you an extra gain boost, letting you push the primal boundaries of fuzz to deliver the searing tones you've been searching for.

5. True Bypass Circuit

Maintain the integrity of your original tone with the relay bypass circuit. When disengaged, the Silt ensures your signal remains pure, allowing your guitar's natural voice to shine through undisturbed.

Controls:

Volume: Control the output volume level of the pedal.
Tone: Sculpt your output tone with a lowpass/highpass tilt tone control.
Gain: Control the input gain into the fuzz circuit, from subtle, distortion-like crunch to full-throttle fuzz.
Contour: Toggle between highpass, flat, and lowpass curves in the pre-tube EQ stage.
Bypass Switch: Enable or disable the effect with the relay bypass switch, preserving your original signal when the Silt is not in use.
Harmonic Switch: Activate or deactivate the frequency doubler circuit before the clipping stages, infusing your sounds with octave-like textures for a unique sonic edge.

Notes: For those about to rock... Crazy Tube Circuits have created the Heatseeker!

The sound of a classic wireless system meets three iconic amps that helped shape the history of rock. From its inception/invention, in the mid-70s, this wireless system has been the secret recipe to major rock guitar rigs. The magic ingredient lies to its analogue preamp/ tone enhancer circuit that expands the dynamic response and harmonics of any signal that goes through it. By producing a modern recreation of this hidden gem, there is enough percussive attack to spice up your tone.

Utilizing an all-analogue JFET circuit, running on 27 volts via an internal voltage boost, Crazy Tube have captured the tone and feel of three British tube amplifiers synonymous with the sound of rock and roll with excellent clean-to-mean dynamic response. The "WoS" (Wall of Sound) circuit opens up the soundstage by increasing output and adding thundering lows and dense high mids. The effect is similar to "adding" a wall of amp heads and full stacks to your rig!

A passive effects loop gives you the option to connect your beloved pedals between the two sections, building your ideal rig.

Follows the successful concept of Crazy Tube's "Unobtanium", "Hi Power", and "Crossfire": All-analogue dual pedal designed to recreate a legendary pedal and amp combination.

Inspired by the tones of the gear setup used by Angus Young.

Right side: re-creation of the preamp/tone enhancer circuit of the Schaffer Vega Diversity System.

Left side: 3 distinct Marshall amps-in-a-box: JTM45, 1959 Super Lead, JMP 2203.

Passive series effects loop to connect pedals between the two sections or use them separately as independent effects.

Notes: The Germanium Filter is Death By Audio's love letter to sticking a pencil in your speaker.

Start with a console-style drive circuit, add in a dash of obsolete germanium transistors and finish it off with a super intense DBA-style filter - BLAMO! You've got a sound heavy enough to crush on and sharp enough to slice a tomato.

The Filter control is extremely unconventional - it'll take you from bottomless, sub-woofered out lows to super searing and brittle highs, with a universe of tone in between. The Germanium Filter will help you find the sweet spot for your instrument in any situation - at a show, in the studio, or even stranded on the side of the highway after your tour van catches fire - hey, it happens!

The Gain knob starts with a dirty boost that then spans through saturated drive, spitting distortion, and a blistering fuzz tone. Get ready for your sound to be cranked up to infinity-and-a-half and captured on tape by the most incredible recording engineer you've ever heard - only there's no engineer and no studio. Just you, your guitar, your amp and the Germanium Filter.

Controls

Filter: Controls the frequency response of the pedal, featuring huge low end, scooped mids, and sharp, piercing highs.

Gain: Sweeps from mild overdrive to blasted-out fuzz. Very interactive with your guitar's volume control.

Volume (internal): Controls the overall output level of the pedal.

Specifications

Dimensions: 5" x 2.5" x 2.25" (including hardware).

Weight: 10.6 oz

Power: 9V (runs on standard 2.1mm negative center 9V adapter or included 9V battery).

Current Draw: 5 mA.

Notes: The RC-500 is an essential partner for guitarists, singer/songwriters, multi-instrumentalists, and anyone who wants to take their looping to the next level. Craft real-time compositions with two loop tracks, mic and stereo instrument inputs, rhythms, and inspiring Loop FX, all backed by premium 32-bit audio quality. Store loops in onboard memories, and explore expanded operation with external controls and MIDI. Filled with next-generation Loop Station features, the RC-500 gives serious creators the tools they need to develop new ideas and deliver impactful performances that will leave audiences wanting more.

Super Sound Quality

Featuring best-in-class 32-bit AD/DA and 32-bit floating-point processing, the RC-500 captures your personal sound with full fidelity and keeps loops crystal clear, even with multiple overdubs. And with 13 hours of stereo recording time, there's plenty of space for extended creative journeys.

Connect, Loop, and Mix

With its versatile I/O and free-flowing interface, the RC-500 is ready to support all your musical visions. Connect mono/stereo instruments and pedal effects, plus a mic to the dedicated XLR input-complete with phantom power if needed. Use the two tracks independently for song-style composition, or together for rich multi-track textures. The LCD backlight changes colour to clearly show the current operation mode, while hands-on track faders and a mic level knob provide direct access to volume control as you loop.

Flexible Creative Control

Three onboard footswitches make it simple to control recording and playback, track switching, and more. For expanded operation, you can connect up to two external footswitches for direct control of many assignable functions, or an expression pedal for continuous adjustments. And for advanced rigs, the space-saving TRS MIDI I/O enables remote operation from MIDI switchers and foot controllers, plus MIDI sync with drum machines and DAWs.

Personalize Your Setup

The RC-500's I/O and footswitches are configured for basic operations by default, but they can be reassigned in a variety of ways to meet your custom needs. Route left/right input sources to separate tracks, or send guitar and vocals to independent outputs. Use the footswitches to turn effects on/off, start/stop rhythms, and more. Custom assignments are saved along with phrase memories, letting you instantly reconfigure the RC-500 for any application.

Energise Performances with Rhythms and Loop FX

Loaded with inspiring rhythms and evocative loop processing, the RC-500 is primed to bring groove and colour to all your looping adventures. Each of the 57 preset rhythms include A/B variations, while 16 different drum kits provide sounds to match any style. Designed for live performance, Loop FX like repeat, scatter, and more infuse your loops with instant sonic energy. There's a cool reverse function too, perfect for creating unique sonic flavours on demand.

Capture, Practice, and Perform

The RC-500's 99 phrase memories let you store loops as fast as you create them, complete with rhythm and kit selections, audio settings, and control assignments. Loop audio can be backed up to a computer via USB. And with WAV import via BOSS Tone Studio, the RC-500 becomes a central playback hub for lesson material, jam tracks, or backing music for your next gig.

Specifications

Sampling Frequency: 44.1 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point
Recording/Playback: Number of Track: 2, Data Format: WAV (44.1 kHz, 32-bit float, stereo), Maximum Recording Time: Approx. 1.5 hours (1 track), Approx.13 hours (total of All memories)
Rhythm Type: 57 Patterns x 2 Variations
Rhythm Kit: 16 types
Effect: LOOP FX (only for loop tracks)
Type: BEAT REPEAT, BEAT SHIFT, BEAT SCATTER, VINYL FLICK, Reverb (only for rhythm part)
Memory: 99
Nominal Input Level: MIC IN:-40 dBu (variable), INST IN A/MONO B: -10 dBu
Maximum Input Level: MIC IN:+8 dBu, INST IN A/MONO, B: +8 dBu
Input Impedance: MIC IN: 4 k ohms, INST IN A/MONO, B: 1 M ohm
Nominal Output Level: OUTPUT A/MONO, B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, B: +8 dBu
Output Impedance: OUTPUT A/MONO, B: 1 k ohm
Recommended Load Impedance: OUTPUT A/MONO, B: 10 k ohms or greater
Bypass: Buffered bypass
Controls: REC/PLAY switch, STOP switch, TRACK SELECT switch, MEMORY/VALUE knob, MIC LEVEL knob, TRACK 1 slider, TRACK 2 slider, TRACK 1 EDIT button, TRACK 2 EDIT button, RHYTHM TEMPO button, RHYTHM ON/OFF button, MEMORY button, MENU button, EXIT button, ENTER button, INPUT button
Display: Graphic LCD (96 x 32 dots, RGB backlit LCD)
Connectors: INST IN A/MONO, B jacks: 1/4-inch phone type, MIC IN jack: XLR type (balanced, phantom power: DC 48 V, 10 mA Max, OUTPUT A/MONO, B jacks: 1/4-inch phone type, CTL 1,2/EXP jack: 1/4-inch TRS phone type, USB port: USB micro B type, MIDI (IN, OUT) jacks: stereo miniature type, DC IN jack
Power Supply: Alkaline battery (AA, LR6) x 4, AC adapter (PSA-S series: sold separately)
Current Draw: 330 mA (with phantom power), 240 mA (without phantom power)
Expected battery life under continuous use: Alkaline: Approx. 3.5 hours (without phantom power), Approx. 2 hours (with phantom power)
*These figures will vary depending on the actual conditions of use.
Accessories: Owner's manual, Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Alkaline battery (AA, LR6) x 4, Rubber foot x 4
Options (sold separately) AC adaptor: PSA-S series
Footswitch: FS-5U
Dual Footswitch: FS-6, FS-7
Expression Pedal: FV-500H, FV-500L, EV-30, Roland EV-5
TRS/MIDI connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight

Width: 170 mm / 6-3/4 inches
Depth: 138 mm / 5-7/16 inches
Height (including rubber foot): 62 mm / 2-1/2 inches
Weight (including battery): 950 g / 2.1 lb

Notes: The Voyager MKII is a mid-focused overdrive/preamp that contains all the mythical magic from the original Voyager and adds a wealth of features not seen before in a Klon-style pedal.

From its lowest to highest settings, the Voyager provides a uniquely superb amount of clarity to any playing style. At lower gain settings, it brightens the signal and adds clarity to each note. With the gain turned up, the Voyager transforms into a thick overdrive, providing depth to chorded playing while retaining the clarity needed to break through solos.

The Voyager MKII breaks out of the traditional Centaur three-knob topography by adding a foot-switchable parametric mid-frequency EQ with a boost/cut range of +/-12dB. The Freq (Frequency) knob then controls the centre frequency of where the Mid knob is set, giving a range of 250Hz-2kHz. Great for accommodating any guitar and pickup combination and tailoring your tone to your own style of playing.

Further customize the Voyager's sound with the five-way rotary switch:
1. Classic 1N34A Germanium Diodes (most compressed). This is the original Voyager sound.
2. Classic 1N34A Germanium Diodes with bass boost (trust us).
3. Symmetric Silicon Diodes (more open and dynamic).
4. Asymmetric Silicon Diodes (least compressed, open & driven).
5. Asymmetric Silicon Diodes with bass boost (least compressed, open & driven with a bass boost.)

Think of each position as a different "flavour" of the pedal. Fine-tune each of these modes with the Mid/Freq EQ for a near-infinite supply of gain options.