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


3 Channel 80s/90s Preamp

The VESTA contains a brand new set of voices from KRS along with a familiar feature set. Based on a couple of your favourite amps of the 80s and 90s, you'll feel right at home. Picture a classic Crunch tone suitable for rock and blues, along with a familiar 90s high-gain sound. If modern extended range high-gain is your thing, the CERES delivered. If you're more at home on a 6 string, the VESTA may be your preference.

It's smooth, chunky, thick, and more low-mid focused. It takes boosts just like your favourite vintage high-gain amps. It responds incredibly well to the guitar's volume control. Note: The Clean channel is identical to the CERES'.

Top mounted jacks allow for easy integration into your existing pedal board. Unique to our pedal operation, we include 3 bypass modes - True Bypass, Buffered Bypass, and Clean Bypass. In True and Buffered bypass the pedal operates as expected, no tonal coloration. The Clean Bypass mode enables the top row of Tone and Volume knobs accessing the Clean channel. These various Bypass Modes allow for integration into any style of rig - from driving a power amp directly (Clean mode), hitting a clean amp down the chain on your pedal board (True Bypass mode), or at the start of your pedal board, driving your other pedals into a clean amp (Buffered mode).

The preferred operating method is to run the VESTA into the input of the effects loop return of any amplifier head or directly into a power amp, but it will also work just as well when run into a clean channel with some EQ tweaking. For example, a typical Fender style clean circuit sounds best with Mids cranked, Bass around noon, Treble around 9-10:00, and Bright OFF. Tweak to taste...

Time based effects (delay, chorus, flange, etc) should be placed after the VESTA, before the power amp. A simple loop switcher can even be used to create effects loop(s) between the VESTA and power amp.

The VESTA includes two integrated footswitch buttons to activate the 3 channels. The left button toggles between Bypass and Rhythm/Lead.

The right button toggles between Rhythm and Lead. With the Bypass Mode switch set to Clean, bypassing the pedal actually activates the Clean channel.

Both distortion channels have the same switches and controls, and work in the same manner. However, Rhythm is inherently tighter and more aggressive than the Lead channel. Lead is more compressed and smoother and fatter overall. The Clean channel is not designed to get the "pushed" sound with the Level increased, rather it is designed to stay clean.

The gain controls in all channels feature the same range from clean to saturated signals and operate as close as possible to the full size KSR amps. They function without any unwanted top-end artifacts typically associated with solid-state circuits. The VESTA EQ options then make for a highly versatile Pre-Amp pedal giving you as much control.

Notes: TR-S

Power Tube Reactor

The feel and response of a tube amp, in a pedal. Meet a build-it-yourself pedal that delivers the warmth and response of a tube amp. The Nu:Tekt TR-S uses a Nutube to deliver previously unachievable compression thanks to exclusive patent-pending technology - meaning you get the feel of a tube amp even when recording or playing through a transistor amp.


What is a Nutube?
Developed by Korg; a Nutube - similar to a conventional vacuum tube/valve - has an anode grid filament structure, and operates exactly as a triode vacuum tube. It provides the same rich overtones and response that are distinctive of conventional vacuum tubes.

Overview

Meet a build-it-yourself pedal that delivers the warmth and response of a tube amp. The Nu:Tekt TR-S uses a Nutube to deliver previously unachievable compression thanks to exclusive patent-pending technology - meaning you get the feel of a tube amp even when recording or playing through a transistor amp.
Alongside amazing tone, one of the hallmarks of the Nu:Tekt series is that they're assembled by you! The TR-S kit doesn't require soldering, and the necessary tools are included - in fact, it's the easiest and fastest unit to assemble in the entire Nu:Tekt series!
Recreate the tube experience

The TR-S features an exclusive patent-pending circuit design, for compression that mimics the sag of a vacuum tube power amp - only possible with Nutube. Achieve this sought-after sound in any setting, even when playing through a transistor amp or recording into a DAW. The TR-S features four knobs on the panel, as well as three trimmer knobs hidden inside the top cover, allowing for even greater control over your sound. Go beyond the guitar and experience what the TR-S can do when you connect other instruments as well!

Easy assembly

Assemble the Nutube-driven TR-S with ease, just like a model kit - no soldering required. All necessary tools are included, along with a circuit diagram in the owner's manual. Perfect for those who love building their own effect units with top-notch performance and sound.

Specifications

Vacuum tube Nutube.6P1.
Inputs Mono 14" Jack
Outputs Mono 14" Jack
Power 9v battery, or DC9V AC adapter (both sold separately)
Approx. 5 hours battery life
Consumption 85mA
Dimensions 122 x 96 x 55mm
Weight 340g (without battery)

Notes: With our WURM Distortion pedal, KMA Machines brought you a highly regarded, yet unabashed sonic love letter to the legendary filthy 'doom and gloom' distortion sound of the original Boss HM2 MIJ pedal, taking it much further and pushing the envelope of how destructive it could be.

Adorned in an iconic black and orange colour-scheme reminiscent of its inspiration, WURM 2 takes the essential ingredients of KMA's now classic pedal, adding the ability to switch between EQ settings right on the front of the pedal. In addition, we squeezed it into a smaller and more pedal board friendly enclosure with top mounted jacks, improved the electronics and enhanced it with relay-based silent switching, all helping to make WURM 2 a more flexible metal-distortion pedal than ever before.

Main Features:

High-Gain Metal Distortion pedal
Modern take of the classic and now sought-after original Boss HM2 MIJ
Wide range of metal-distortion tones from chainsaw, to plain evil and gritty
Highly configurable 4-band active EQ
3 distinct types of EQ frequency controls to tailor your tone now accessible on the front
Compact enclosure with top-mounted jacks will fit into any setup
True Bypass, with silent relay-based soft switching

Specifications:

Product Type:
High-Gain Distortion with Active 4-Band EQ

Bypass Type:
True Bypass

Power Supply Requirements:
9 V DC - Centre (-) negative 2.1mm

Current Draw (max):
>60 mA

Product Dimensions / Weight:
H: 60 mm / 2.36 inch
W: 74 mm / 2.91 inch
D: 128 mm / 5.04 inch
Weight: 350 g / 12.35 ounces

Calling a pedal legendary or a cult classic is often stretching the truth, but when it comes to the Boss HM-2 MIJ it's absolutely on the money. From its beyond brutal and grinding distortion tones, bands like Dismember and Entombed birthed Swedish chainsaw metal. While WURM 2 absolutely nails that death-metal sound, its thick walls of gain and sustain is not all about that genre the pedal is also adept for so many other styles, from Shoegaze to Prog Rock. To give you an idea, famous players like David Gilmour, Prince, Johnny Marr, Belinda Butcher, Lee Ranaldo, Daron Malakian and more have all made their mark with this style of distortion.

The TERROR control dials in all the malice and the evil distortion sounds you are searching for. Crank it up and feel the tremors of the WURM 2 under your feet, tremors that would even frighten the wits out of a young Chuck Norris!

EQ Section
Dead simple to operate, this tonally deep submergence vehicle offers three sub-octave settings to choose from.
These allow you to turn your guitar into a filthy bass guitar with ground shaking lows, alternatively adding extra depth to basses and mono synths alike. The toggle switch lets you select between either the first octave (-I), the second (-II) or mix both together (-I/-II) which gives you a thunderously massive wall of sound, it even changes colour depending on the mode.

EQ Style
For the WURM pedal, we developed our own EQ stack and added an internal EQ STYLE switch to help you carve out additional tonal variations. In WURM 2, this is now on the front of the pedal to make it easier to access and for even more tonal options on-the-fly. Selecting HM-II mode will get you that classic 'chainsaw' High-Mids character.
However, in KMA mode the EQ is a little more tonally balanced, less peaky and a bit wider in response. If balanced and less peaky sounds too boring for you, select BOTH to fatten and double up the tone stacking, letting you ramp up the LOWS and the H-MIDS and rip that Swedish forest completely to shreds!
With all of this extra tone shaping, the pedal can sometimes begin to feedback at extreme settings. So, if this proves too much and to help tame that high-frequency content, we added a new internal control to smoothen things out. By flipping the dip-switch to activate the input filter, this will help to tame the high frequencies when absolutely everything is maxed out.

Powered by an optional standard 9V DC (max.) PSU (negative center, 2.1mm, >60mA current draw)

Notes: Next-level version of KMA's excellent Tyler frequency splitter pedal. Variable 12dB/oct high- and low-pass filters, isolated effect loop sends, wet/dry mix control and relay-based soft switching.

Supplier's Notes:
Expanding on the already rich feature-set of KMA Machines' popular Tyler pedal, the upgraded Tyler Deluxe is the ultimate Swiss Army Knife for creative musicians to use on their pedalboards, live or in the studio. Ideal for Bass, Guitar or any other amplified instrument, it offers a host of new features and functions and is perfect for developing new sounds with an existing collection of pedals or splitting signals into multiple amplifiers/differing signal chains. All of this helping to lead musicians' creativity down new inspiring parallel paths.

Do you remember the sounds coming from the woods, as a rough and towering man was wielding his frequency-splitting axe? Driven by nature's most primordial force, that man then dropped his simple axe, picked up his power saw and evolved into something more. Something bigger, stronger and more versatile. Standing tall is Tyler Deluxe - the ultimate frequency-selective signal-splitting tool, ideal for developing new sounds and leading your creativity down new inspiring parallel paths.

KMA Machines' Tyler (active and variable two channel crossover/signal splitter) has successfully found its place on many bass and guitar players' boards around the world, helping them refine and define their tone. However never to stand still, the team at KMA Machines decided to step up the game and create a more advanced, versatile and flexible solution, based on the great feedback from users.

The heart of the pedal is still the same essential filter sections, which splits your signal into different loops with HIGH PASS and LOW PASS paths (both filters have a 12 dB/oct. roll-off with a variable cut-off frequency from 20 Hz to 3 kHz). The rest of the vital tonal organs have had a thorough upgrade, which has resulted in an improved noise floor too. So, let's dive into everything that makes this pedal Deluxe.

Since the original Tyler was also used as an advanced AB/Y box by many, it was found that ground loops could occur - no more with Tyler Deluxe ! Both SENDs are now transformer coupled (with TRIAD Magnetics) to give you a nice and warm saturation, while avoiding ground-loops (internal slide-switched ground-lift). To be prepared for almost every situation and every pedal, both loops also got their own phase inversion switch (+/-) to get rid of potential unwanted phase cancellation.

The next new must-have feature is there to ensure the transparency of your setup; the good old CLEAN blend has been added

So far so good, but the deluxe delights don't stop here! A master phase-switch ensures a fixed and reliable interaction with your set filter frequency in every situation, no matter if you either have a loop engaged or not. But wait, for all of you who wants to follow Tyler's evolution, another claimed feature has been added. The LP-CUT and HP-CUT switches will now mute your loops when bypassed, which will give you tons of new options to be creative, by only using the engaged loops without having clean artefacts pass through when disengaging one of the loops.

Modern times brings modern needs, so Tyler Deluxe is now equipped with relay-based soft-switches, an internal step-up to increase the headroom for hotter input signals and low-noise op-amps to improve the overall sound-quality and usability.

Some fun examples of use: Bass players want to retain their low end while using their favourite fuzz or dirt pedal. Insert your dirt box in the high-pass FX-Loop and adjust the cut-off frequency of the High and Low Pass to your needs. Dial in your preferred ratio of those Low and High Pass signals, engage the HP LOOP footswitch and you will never turn off Tyler Deluxe again! You can also insert different modulation pedals, for example insert a lush phaser for the lows and a nice shimmering delay for the highs and Tyler Deluxe will make it sound like two different guitars are playing at once. Mix up your modulation pedals with any of your dirt pedals, for a very pronounced and punchy sound all coming from one amp.

If there ever was a Swiss army knife for your tone, then Tyler Deluxe must surely be it. So, fire up your frequency saw and start defining your own unique sonic path.

Notes: Queequeg 2

Sub Generator

Reawaken The Depths Below

KMA Machines released the original Queequeg in 2016. The pedal was our take on how simple and effective an analogue monophonic suboctave device could be.

Time doesn't stand still and so with Queequeg 2, KMA's aim was not only to update the device with a more striking appearance, but also add an additional sub-octave and the ability to switch and mix between them. With a small footprint, the updated pedal also has top mounted jacks and relay based soft switching for the modern age. Queequeg 2's super, easy-to-use and ultra-fast tracking sub-octaver works equally well on guitar, bass and synth, so these classic earth-shakingly awesome tones can find their way to any setup out there.

"Releasing the harpoon from his grasp, Queequeg gazed into the depths of the bleak waters that stretched down endlessly beneath him. Mindful to the aim of his adversary, the giant whale plunged further and further into the darkness of the abyss. This subaqueous dominion would forever be his rightful place. Queequeg 2- look deep down and believe."

Thickening up your tone slightly, blasting out faux bass-synth resonances or even filling in for a missing bass sound are just some of Queequeg 2's specialties. The pedal's super quick tracking benefits from KMA's custom all-analogue circuit design, giving you very organic and smooth suboctave tones.

Dead simple to operate, this tonally deep submergence vehicle offers three sub-octave settings to choose from. These allow you to turn your guitar into a filthy bass guitar with ground shaking lows, alternatively adding extra depth to basses and mono synths alike. The toggle switch lets you select between either the first octave (-I), the second (-II) or mix both together (-I/-II) which gives you a thunderously massive wall of sound, it even changes colour depending on the mode.

With its one knob MIX control, you are able to dial in just the right blend of the generated octaves and your clean signal. From completely clean on the left, to 100% suboctave action on the right and all with different sonic blends in between, you're sure to find your mighty vessel of tone.

Beware - don't let your lows be dragged under! Queequeg 2 draws the line right here and ends your hunt for an easy-to-set and great-sounding all-analogue and thundering sub-sonic beast!

Notes: When you add drive, dirt or other sound manipulation devices to your signal, the trade-off is always noise. So, many players turn to noise gates to help tame these unwanted nasties. Unlike many noise gates on the market, the PYLON ATB Noise Gate seeks to not only drive back the hordes of fizz and hum, but also arms and reinforces your tonal attack, shutting down the noise and yet helping you enjoy your rig's true potential.

This advanced, multi-functional and super-versatile pedal not only features an ultra-fast Gate with a smooth trigger, an integrated Boost section, an External Trigger Input for external bypass switching or Gate-triggering, a relay-based Channel Switcher for your amp but also sports a built-in Audio Transformer to help enhance and balance your rig. Hear and feel the quiet in the eye of the storm!

"Deep within the solitude of the temple, the Sau's of the Per-Ankh assembled in silence. Their conclusion was self-evident. Only those pure of tone could be received in the temple and find sonic peace. From the centre of their silent circle, the Orb swelled and raised above the Pylons. Erupting in a rain of light and spewing forth daggers of lightning, their new God subdued and separated the chaotic ocean of noise from the perfect breeze of stillness. Peace reigned once more, the hordes of cacophony overcome."

When talking about signal gain, we all know drive circuits at full tilt can be noisy malice monsters. To help get a grip on your noise floor, PYLON's NOISE GATE is based on a high-performance Blackmerr VCA and provides lightning-fast and precise performance. To find the right spot, simply choose between one of the two detection-range settings and dial in the THRESHOLD to taste. With either softly decaying notes using HIGH mode or a fast-closing response in LOW mode, you're sure to be able to dial in super tight tones when you need it, but without interfering with your sonic signature. Fast palm-mutes? No problem. Decaying notes? Dead simple to accomplish and just so you know when it is operating, the white status LED will also turn blue as soon as the gate starts to act.

Providing up to 30 dB of gain, the integrated BOOST circuit can really help to fine tune your tone, but it can also serve as an attenuator too. Its CUT control will tighten up your low end and is selectable between 65-730 Hz to ensure a mid-focussed and cutting lead sound when pushing your amp's preamp into saturation. Choosing between three different modes for the boost's on/off state, gives you plenty of options on how you want to use it. Either leave it ON to always help shape your tone, OFF if you don't need it, or use SYNC mode so it is activated with the GATE. Both CUT & BOOST knobs are backlit, in order to show you the on/off status of the BOOST section at a glance.

Using transformers in pro-audio gear is nothing new, but while they help to easily match the impedance of low-level and unbalanced signals such as from guitar or bass instruments, PYLON's audio-grade-transformer also gives additional warmth with associated nice low-frequency harmonics. Your guitars, synths or in fact anything you put through the pedal will never have sounded so solid. The pedal gives more 'heft' and enhances the core tone, in a much finer way and without any of the phase issues that can happen when using EQ alone!

However, when the output transformer is boosted even further in level, it can overload many amplifier or pre-amp inputs and make things appear muddy, especially with high levels of additional gain. So, to help tame superfluous low end (especially for rhythm chugging and soloing), KMA Machines added a fixed built-in roll off that affects everything below 65 Hz when the internal BOOST section is activated.

Powered by an optional standard 9V DC (max.) PSU (negative center, 2.1mm, >160mA current draw)

Notes: From the outset, KMA Machine's goal was to create the most flexible analogue upper octave pedal ever yet produced. Based on a highly refined and improved version of the Shriek circuit from KMA's venerated MOAI MAEA pedal, the MANDRAKE brings an even more robust and present upper octave to the sonic table. By combining that upper-octave might with a versatile, yet highly intuitive user interface, the pedal provides a ton of killer tonal options in a very modern and pedalboard-friendly package.

"The humanesque abomination, begat of the evils that once fertilised his empire of dirt, now senses the bleak emptiness of the air that surrounds him. In recognition of his harvest and the perpetual change to his existence, his mesmerising scream is both devastating and euphoric, so all those that encircle him are subdued from the aural toxicity that emanates from the disfigured effigy."

Octave up pedals (as used by so many legendary performers including Hendrix, Tony Iommi, Josh Homme, Billy Corgan, Jack White and so many more), can really give added bite to your sound. But often, many of these fun tools can be untamed and lead to nasty clashing overtones.

With MANDRAKE however, KMA didn't want to just make a one trick pony octave up device. The powerful and ultra-fast tracking Shriek circuit was expanded on with its edgy and fuzzy character that's reminiscent of many of the best vintage octave-up devices. To do this, a 2nd order Low-Pass Filter was introduced, a TIMBRE and individual Mix controls to KMA's well-regarded circuit to make it way more versatile in a single pedal. Let's look at those cool new things in more detail.

The FILTER control helps to tame your upper harmonics, as well as to improve tracking, letting you achieve unhinged, cutting and shrieking mayhem when the control is fully turned all the way to the left. While turning the knob in the other direction gives a more mellow and blooming synth-like texture. The FILTER section is also very useful for tailoring the upper octave effect to different instruments and pickups, where getting the right tone is not a "one size fits all" equation.

In addition, to enable the octave voicing in MANDRAKE to be sculpted exactly to your own personal taste, the TIMBRE control defines the amount of fuzzy gain present in the upper octave. This allows you to perfectly blend in the pedal's tonality with the rest of your signal chain. Turning the control fully counterclockwise, gives a slightly crunchy and percussive tone that's ideal for melodic arpeggio enhancements. While cranking the TIMBRE knob fully clockwise will transform MANDRAKE into a crushingly saturated doom-hammer, instantly ready to wreak havoc with each power chord you throw at it!

Topping off the features, the DRY and OCT+ controls allow the dry signal and effected upper octave to be mixed independently, for precise tonal balancing. This is especially handy when using MANDRAKE together with other dirt pedals or when you just want to retain the natural body and attack of your instrument.

Subtle descant or decimating octaval Armageddon? With MANDRAKE the choice is totally yours!

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: The ultimate metal tone? An evolution of the brand's excellent Wurm distortion with the addition of an ultra-fast VCA-based noise gate, ideal for HM-2-inspired chainsaw tones. Heavy.

Supplier's Notes:
Fusing together the powerful evolution of KMA's highly regarded Wurm Distortion with an intuitive, yet versatile and ultra-fast Noise Gate, Guardian of the Wurm is the perfect metal monster. From chugging hard-rock, droning doom metal and grinding Swedish death metal, the beast abides. But through its highly tweakable control set, the pedal can be tamed to provide impeccable clarity to your riffs, making this the definitive dirt pedal for metal, prog-rock, shoegaze, indie and beyond.

Power by opt. 9 V PSU (9 V DC, centre -, 2.1 mm, >150 mA max. current draw)

Notes: Fuzzly Bear 2 - Unleash the Beast, again

"Through the untamed wilderness of the forest strives a grizzly monster, its glistening eyes peeking through the undergrowth. Endowed with razor sharp claws and bone-crushing teeth, this beast will rip through any intruder that dares to trespass into its domain. A thundering, sizzling roar distortedly echoes through the woodland. It's here! It's time to face the Fuzzly Bear!"

In 2013, KMA Machines' first ever production pedal was inspired by an old, obscure and highly underrated fuzz box from the 1970s - the Jordan Bosstone. The original Bosstone wasn't even a pedal, it was a device you plugged directly into your guitar, which brought a host of problems. Hence, KMA Machines greatly refined the circuit for the original Fuzzly Bear, to get the essence of that old-school sound, but giving it some modern twists by sorting out the low end and adding a Bias control, to help players explore lots of new tonal capabilities of this long-forgotten box of dirty tricks.

With Fuzzly Bear 2, KMA Machines put this now classic re-imagined fuzz into a modern, more pedal board friendly enclosure with top mounted jacks, enhanced it with relay-based silent switching and improved electronics.

Back in the day, the main reason why the Jordan Boss Tone did not conquer the world of effects was actually due to its massive lack of bass. However, its core fuzz sounds could be truly heavenly with tones ranging from a purring overdrive, to downright vile and aggressive fuzz assaults. But when you awoke it, dug in and found 'that' tone, boy was it good and not at all harsh and gritty, like so many other fuzz designs at the time could be.

When designing and modifying the circuit, all the fuzzy goodness was kepy, but KMA Machines brought back the essential low end and gave some more tonal control, all to make this new take take fit more modern styles without compromising the core sound and simplicity.

The GAIN knob delivers a whole range of different fuzz shapes. Back it off to get a dirty chunky overdriven tone, turn it up to give the FUZZLY BEAR 2 a thick and thicker coat of fur. Set the gain fully clockwise and magic will happen! The pedal's smooth, warm and cosy decay turns into a starved and gated fuzz sound that almost gives a ghost octave, pseudo trumpety kinda vibe - perfect for classic tunes of yesteryear.

Fuzzly Bear 2 SKIN/MEAT control adjusts the bias of the circuit. Think of it as the claws of the beast. You can dial in a sharp drive tone that only brazes the skin, a thick and meaty wall of fuzzy fur that can rip right through the intruder's flesh and anything in between.

Don't confuse this pedal with a cute brown bear cub - this is the Fuzzly Bear 2 and it will maul your face off!

Notes: After years of development work, ENDGAME is KMA Machine's most ambitious creation to date. A highly flexible and comprehensive solution for the end of your signal chain, ENDGAME is a superb problem solver and a convenient creative companion.

Talk about feature packed! With an integrated Stereo FX loop, KMA's proprietary True Double-Tracker doubler and own DUAL IR cab with power amp simulation, an Aux Input (also via Bluetooth), real pro-level XLR outputs and extensive routing options, ENDGAME really is a powerhouse for your board, whether touring as a fly rig or practicing at home with headphones.

And now, you can finally use all your stereo devices with just one easy to use and compact product - let the alchemy begin!

It's no secret that over the past few years stereo pedals have become a huge part of many musician's rigs. While many regular tones can (and should) be mono, KMA are very much fond of stereo effects. But why is it so hard to use them either at home or on the stage? Without the luxury of 2 amps (plus the ability to turn them up if you have them) or for owners of cab/amp simulators that are usually mono input by design, monitoring stereo effects properly can end up being so difficult that many just end up running their stereo effects in mono and therefore lose many of their spatial creativity nuances.

Doubling guitars in recording is also a common practice in a variety of musical styles. In many cases, a single guitarist will record the same track twice with each separate recording being spread to the left and right channels. The effect of this is unmistakable to the ear and the slight differences and nuances between the two separate performances complement each other to create a noticeable thickness, density and weight to the musical experience. This is hard to get sounding right live too. Note this is not the same thing as simple doublers (that just delay one signal with a modulation) or ADT type solutions that are on the market today.

So, KMA developed ENDGAME. KMA wanted to make an easy-to-use product that gives the essentials of good tone, nothing more and nothing less. While from the front panel it might look like ENDGAME has lots of controls, compared to many hidden menus and screens in many other products, all means that it is also deceptively simple to use, despite the huge complexity of what's going on inside!

Stereo FX Loop

A Stereo FX Loop isn't a new thing, but in ENDGAME's case it is probably one of the most usable, making this a killer feature!

For maximum flexibility, the serial loop features routing that can exist either before or after the IR loader and/ or Doubler (when active). Buffered for the sake of long cable runs and to maximise signal clarity, you can now hear your stereo pedals and other effects in their true pristine glory! Plus, you can quickly switch the loop on or off via the convenient soft footswitch.

True Double Tracker

Whether playing live or recording with a single instrument, the KMA ENDGAME's True Double Tracker provides the perfect solution for adding a "fatness" and "width" to your performances and really feels like you are playing the same riff twice!

Enabled via the footswitch, the doubler accurately replicates the minor differences that could exist within two separate recordings and the width control can spread your doubled tracks anywhere from completely centred (0%) to 50% left and right (centre indent) and 100% left and right split.

Notes: Floating above your head, delicate and elusive yet dreamy and sweeping. Always in motion until it dissolves and merges with the all immersive atmosphere around it. Just close your eyes and let the KMA Audio Machines' Cirrus Delay and Reverb carry you across the open sky, onto its sonic cloudscapes.

Cirrus is KMA Audio Machines' first step into the fully digital realm. But KMA have come up with a special and versatile, dynamically modulated combined Delay and Reverb pedal that will forever change your perception of time and space.

Made up of a Delay side and a Reverb side, both sides of Cirrus sport the most important basic controls such as Time (up to 1.5 sec). Repeats for the Delay and Decay and Damp for the Reverb. Plus, each side has its own mix control as well. So far so good, but now it's time to jump down the sonic wormhole!

This little Spatial-Temporal Modifier gives you three different Delay AND Reverb modes, which all sport a special dynamic feature that is controlled by your picking attack. This enables you to create sounds that are certifiably out of this world! To set the sensitivity of how the sound reacts, every section has its own sensitivity control.

The different Delay and Reverb modes cover vastly different modulated areas.

Modulated Delay Mode (MOD) fluctuates the Delay signal for a dynamic dancing tape echo-inspired modulation that'll deliver everything from subtle sways, to crazy pitch-bends. The Sample & Hold Mode (S/H) adds a sequencer-like filter in front of the Delay line, perfect for synthy textures. Play softly for subtle filter action or hit it hard for more pronounced electro-vibes. The third Delay Mode (OCT) blends in a high octave as your notes decay for unique shimmery dimensions, shining through like tiny stars in the cloudy night sky.

Over to the Reverb section, Modulated Reverb Mode (MOD) will decorate your trails with silky smooth movement, whereas the two other Modes deliver either an opening Low-pass Filter (LP) or a closing High-pass Filter (HP). The harder you pick the more the Low-pass will open up and bring in those shimmering highs, as if you're opening and closing portals to far away galaxies simply through your playing. Contrary to that, the closing High-pass will cut your lower frequencies when picking harder which will create cool lo-f textures. However, the ambient party doesn't stop here!

A big part of creating a signature sound comes from your pedal order and we know that a lot of you like to get creative there. Well, the Cirrus obliges! Set the Order Toggle to "Reverb" to run the Delay into the Reverb or flip it to "Delay" to switch it the other way - either direction will give you worlds of inspired soundscapes. You even get another Toggle Switch to set the Delay Tap subdivision, so you can get the right rhythms rolling fast. Toggles are awesome!

Now, on to the footswitches - Tap-Tempo on the left (neat!) and the much-needed Bypass Switch on the right (classic!). But wait, we actually made these stompers cool - the humble Bypass and Tap-Tempo Switches are suddenly full of additional creative secrets!

Besides the standard latching mode, the Bypass Switch offers some cool, yet creative and simple to use options. When the pedal is off, you can engage the pedal momentarily by holding the Switch down for sudden bursts of ambience. When the pedal is on though, holding down the Switch maxes out the Decay, jumping you straight into infinite reverb wonderland. You can also hold down the Tap-Tempo Switch to max out the repeats for infinite echoes. Plus, you can even hold down BOTH at the same time to enter an endless cascading dream state!

The Cirrus has been equipped with an Expression Pedal input (standard TRS connection) and a Selector Switch, giving you complete hands-free control over whatever key parameter of Cirrus you want. In addition, an internal switch can turn the Reverb and Delay trails on or off to taste, plus the individual Reverb and Delay mix controls help to tailor your sound exactly as you see ft.

As the final piece of the tonal puzzle, a Serial FX-Loop was added, letting you put any pedal in front of the Delay/Reverb line, to further flavour your own signature sound.

Powered by an optional standard 9V DC (max.) PSU (negative center, 2.1mm, approx. 220mA current draw)

Every pedal is designed, assembled, silkscreened, tested and numbered by hand in our small workshop. We use external manufactured PCBs to guarantee our high quality standard and keep the price of our pedals reasonable. The use of an indestructible powdercoated die-cast enclosure ensures a maximum durability.

Notes: Welcome to a new era of the most iconic fuzz/distortion sound the world has ever known. You know, that epically huge and super saturated tone (some might call it big and muffy) that has defined the signature sound of so many artists and countless records in the past few decades. It's arguably one of the pedals with the biggest impact on the entire industry, which has seen it modified over and over and over again. So much that you think it's all been done, right? Well, KMA Machines have a surprise for you right here!

Holding three different Gain Modes, a pre- or post-EQ Clean Blend, active Bass and Treble controls, a foot-switchable and expression-controllable parametric Mid-EQ as well as a switchable top-boost for even more raspy, grinding bite, CHIEF DISRUPTOR is the most flexible, beautifully balanced and LOUDEST muff-style pedal you'll ever hear!

Over the years, different muff drives had different levels of gain, so KMA Machines derived three major distinctive gain structures all based on what was thought to be the best versions. The Vintage Mode (VTG) will give you every shade of discrete overdrive, while the Tight Mode will give a more focused and modern tone with less bass and super crisp harmonics. Heavy Mode is the essence of what we all love about muffs. Heavy, sustaining and crazy thick fuzzy distortion, with bone-shaking lows and chewy mids. Just crank the Disruption (Gain) Control and you'll see this in action.

Tonal shaping was one of the true weak points of classic muff pedals, and this has been remedied with the Chief Distruptor. KMA Machines opened the gates to more modern tonal flexibility through the active Bass and Treble controls, which let you boost or cut highs and lows with up to 15 dB, while the parametric Mid-EQ with adjustable centre-frequency and level boost/cut allows you to fine tune the mids with extreme precision, for everything from classic scooped fuzz tones, modern mid-focused dirt tones and all the way to cocked-wah saturation.

You can take complete hands-free control of the Mid-EQ frequency via an expression-pedal. This lets you make instant tone changes on the fly, as well as unleash fast and quacky wah-like sounds or slow and enveloping phaser-like sweeps. If you feel like the filter needs to be more resonant for screaming synth-like sweeps or needs to be subtler, then you can adjust the Q of the Mid-EQ via an internal trimpot. The mids can also be turned on and off via the relay-based soft-switch, allowing you to kick in the mids for soaring solos, cutting chords or when you want to get filter freaky. Having super saturated mids and lows can sometimes result in a perceived loss of highs. To fix this, just engage the Top-Boost to give your high-mids a big push for more crunchy harmonics and bite to cut through any band mix. The Top Boost has been tweaked, but if you feel like it's either too loud or not loud enough, you can also adjust the Top Boost Level via an internal trimpot.

The gain control has been carefully balanced to achieve total control of even the slightest harmonic nuances. So, whether you're looking for low gain drive, crunchy medium gain rhythm tones, singing or saturated lead sounds or skull-crushing doom tones, the Disruption control can and will cover all of them! A lot of gain rules! But gain also means compression, and the more you compress your sound, the more your instrument will lose definition. To preserve your precious core tone the CHIEF DISRUPTOR sports a clean blend control and a toggle switch to define the insert position. Insert your dry signal before the EQ section for a more cohesive sound or place it post-EQ to keep your dry signal completely unaffected.

Last but not least, KMA Machines have implemented stacked headroom topology to keep the EQs from getting saggy when cranked, all which results in the tightest, most punchy and LOUDEST muff-style tone on the market. Go forth and empower your creative side, with tone that has true vision to inspire. If you are ready for a change in distortion history, then it's time to follow the CHIEF DISRUPTOR!

Notes: 4-in-1 RAT and SD-1 Style Overdrive and Distortion

Keeley put two very different overdrive & distortion pedals in one box and gave you two new sounds in the process. The Keeley Electronics Super Rodent is a 4-in-1 pedal that gives you two well-known distortion circuits and two brand new sounds by way of the toggle switches! It's almost like pedal modelling, except these are 100% analogue circuits and you decide which tone-control or clipping-section you want to play through.

You can play through the classic yellow 'Japanese Super O-Drive' or a 'Rodentia Michigander' distortion circuit, or even better, you can Frankenstein new monster tones with the two hybrid modes.

The creative design keeps the pedal a simple and space-saving three-knob distortion pedal with an amazing tone. It only takes two seconds to make the Super Rodent either buffered-bypass or true bypass, whatever works best on your pedalboard. The Keeley Super Rodent Overdrive and Distortion is entirely designed and manufactured by Keeley Electronics in a new aluminium enclosure.

Tone Control

The Super Rodent gives you two tone control circuits to choose from. When the Tone Switch is down and in the RT Position the tone control simply rolls off high-frequencies. If the Tone Switch is up and in the SD Position you have an active low pass filter and more bass and treble frequencies are available.

Diode Clipping

Hard or Soft Clipping: The Super Rodent gives you both styles of diode clipping. Diodes are used to create hard clipping distortions or smooth overdrive sounds. If the Clipping Switch is in the RT Position it features Hard Diode Clipping which is an edgier, more aggressive tone. When the Clipping Switch is in the SD Position that uses Soft Diode Clipping, like a softly overdriven tube amplifier.

Buffered and True Bypass

The Keeley Super Rodent features our Jfet buffer for noise free switching. Keeley have developed an amazing sounding buffer which not only makes your rig sound better, it gives you silent switching with no tone loss.
No more pops and clicks to distract from your music. If you prefer true bypass, simply press and hold down the foot switch for two seconds and the LED will flash twice to indicate success. True Bypass is great for players that want the effect of plugging directly into their amp when the pedal is off.

Alternatively, players that want a strong and clear signal whether the Super Rodent is on or off, simply hold the stomp switch down for two seconds and the effect is back to Buffered Bypass (LED flashes three times). Enjoy truly silent switching and let your music be the only voice.

Made In The USA

Keeley have designed, engineered, and manufactured the Super Rodent in Oklahoma City. Everything about the Super Rodent is geared towards the professional musician and their quest for an inspiring tone when the performance demands it. From the inside of the pedal and its meticulously built circuit boards and metal construction audio jacks to the outside of the effect its newly fabricated aluminium enclosure; Keeley make guitar effect pedals to be finely crafted musical instruments.

Notes: A clever pedal design based on classics. Mix and match tone and distortion circuits from legendary Nobels ODR-1 Natural Overdrive and Ibanez Tube Screamer. Versatile stuff.

Supplier's notes:
Imagine the ability to combine the best and defining characteristics of different overdrive & boost pedals in order to create hybrid sounds no one has ever played through before. That is exactly what Keeley have engineered with the Noble Screamer.

It's a 4-in-1 pedal that gives you two very familiar drive circuits and two brand new amp-like overdrive and distortion tones. It's almost like pedal-modelling, except these are 100% analogue circuits, and you decide which tone-control or clipping-section you want to play through.

Toggle between battle-tested, classic overdrive effects or innovate your sound using new hybrid tones; let your ears be the judge. Even with all of these features, the pedal remains a user-friendly three knob overdrive. The innovation in the Noble Screamer doesn't end there; this new design features true-bypass or buffered, truly silent switching, on the fly. The Keeley Noble Screamer Overdrive and Boost is entirely manufactured at Keeley Electronics and is the first release in a new aluminium enclosure.

The Noble Screamer gives you two tone control circuits to choose from - a Broad Spectrum Tone Control or Narrow Focus Filter Control.

When the Tone Switch is up and in the OD Position you will hear a 'Spectrum' type of tone control that has the ability to go from a flat EQ to an EQ that has a boost in the treble and bass response. If it is in the TS Position you have a Low Pass Filter that rolls off the high frequencies only.

Diode Clipping

Also the pedal offers both styles of diode clipping - Hard and Soft Clipping: If the Clipping Switch is in the OD Position it features Hard Diode Clipping which is an edgier, more aggressive tone. When in the TS Position that uses Soft Diode Clipping, like a tube amplifier softly overdriven.

Buffered and True Bypass

The Keeley Noble Screamer features Keeley's Vitamin K Infused Buffer for noise free switching. Keeley have developed an amazing sounding buffer which not only makes your rig sound better, it gives you silent switching with no tone loss.

No more pops and clicks to distract from your music. If you want to turn that feature off and go back to true bypass, simply press and hold down the foot switch for two seconds and the pedal will switch to True-Bypass. This is great for players that want the effect of plugging directly into their amp when the pedal is off.

Alternatively, players that want a strong and clear signal even when the Noble Screamer is turned off, simply hold the stomp switch down for two seconds and the effect is back to Buffered Bypass. Enjoy truly silent switching and let your music be the only voice.

Made In The USA

Keeley design, engineer, and manufacture the Noble Screamer in Oklahoma City. Everything about the Noble Screamer is geared towards the professional musician and their quest for an inspiring tone when the performance demands it. From the inside of the pedal and its meticulously built circuit boards and metal construction audio jacks to the outside of the effect its newly fabricated aluminium enclosure; Keeley make guitar effect pedals to be finely crafted musical instruments.

Notes: The MUSE DRIVER - Andy Timmons Full Range Overdrive is an overdrive workstation that allows you to orchestrate everything from a clean boost to a treble supercharger, a chimey tube-amp overdrive to a square-wave, germanium fuzz generator and more.

This Pedal combines a three-control blues driver circuit with two switches for the voicing of Drive and Tone characteristics. Robert and Andy developed these switches to give players a broad range of drive tones. The Drive toggle engages two germanium diodes for a smoother, slightly compressed drive. Switch to Andy's clipping style for a brighter and more articulate attack.

Every part of the circuit has been optimized for tone and the demanding needs of a recording and touring artist such as Andy Timmons. Simply adding the MUSE DRIVER to your pedalboard will make your rig sound better. This professional grade overdrive can be switched between true-bypass and buffered bypass at any time.

Andy Timmons - Tone Switch

This drive pedal gives you two tone control circuits to choose from. When the Tone Switch is up and in the AT Position the tone control features Andy's preferred voicing and low-end response. Each note in a chord is clear and articulate. If the Tone Switch is down and in the RK Position that features the legendary Phat Boost providing more low-end frequency response, perfect for pushing up vintage or single coil pickups.

Full Range Overdrive - Germanium Toggle Switch

The MUSE DRIVER combines JFET saturation, diode clipping, and op-amp clipping in order to create its harmonically rich tone. Drive Switch UP for AT Clipping - this mode features asymmetrical LED and silicon diode clipping and is Andy's Super AT Mod sound. Drive Switch Down for RK Clipping - now the circuit features two germanium diodes for clipping. This mode can sound a bit like a vintage fuzz pedal with a softer, smoother feel.

Muse Driver - Buffered Bypass or True Bypass

The pedal features our industry leading buffer for noise-free switching. Keeley Electronics have developed a buffer which not only makes your rig sound better, it gives you silent switching with no tone loss. Switch between true-bypass and buffered on the fly. Simply press and hold the foot switch for two seconds and the pedal will switch between true-bypass and buffered bypass! You decide what works best in your rig.

Made In The USA

Keeley Electronics design, engineer, and manufacture the Keeley Electronics/Andy Timmons MUSE DRIVER in Oklahoma City. Everything about the MUSE DRIVER is geared towards the professional musician and their quest for an inspiring tone when performance demands it. From the meticulously built circuit boards to the newly fabricated aluminium enclosure; we make guitar effect pedals like finely crafted musical instruments.

Notes: The Moon Op Amp Fuzz is a supermassive destroyer, spinning galaxies of gain. Tidal wave bass response gives you tones heavy as gravity itself.

The filter control offers an expanded range of usable tones and the filter switch gives you three distinct EQ phases: Scooped Mids 'classic', Flat EQ, or Full Range.

Feed the Moon Op Amp Fuzz with your favourite drive pedals and unlock worlds of complex tones.

The Moon's massive sound is achieved with a quad op amp delivering four stages of gain and fuzz. This circuit has its roots in Keeley's popular Dark Side pedal. In that design the tone and gain of the pedal were both tailored to be a vintage sounding fuzz for lead work. Keeley wanted to go 180 degrees in the other direction with this pedal's tone, the purpose being to achieve infinite sounding dreamy deep fuzz.

This is a punishingly heavy op amp fuzz designed to extend your guitar or bass frequencies as low as possible. This also means that your lead tones are as harmonically as rich as possible. So thick is the fuzz that your notes will rise and peak into brilliant feedback.

Keeley's most lunar sounding pedal: Moon Op Amp Fuzz.

Notes: Your eyes are not deceiving you! This incredible overdrive used to go by another playful bard-esque name. The new Mk3 Driver - Andy Timmons Full Range Overdrive is an overdrive workstation that allows you to orchestrate everything from a clean boost to a treble supercharger, a chimey tube-amp overdrive to a square-wave, germanium fuzz generator and more.

This Pedal combines a three-control blues driver circuit with two switches for the voicing of Drive and Tone characteristics. Robert and Andy developed these switches to give players a broad range of drive tones. The Drive toggle engages two germanium diodes for a smoother, slightly compressed drive. Switch to Andy's clipping style for a brighter and more articulate attack.

Every part of the circuit has been optimized for tone and the demanding needs of a recording and touring artist such as Andy Timmons. Simply adding the Mk3 Driver to your pedalboard will make your rig sound better. This professional grade overdrive can be switched between true-bypass and buffered bypass at any time.

Andy Timmons - Tone Switch

The Mk3 Driver gives you two tone control circuits to choose from. When the Tone Switch is up and in the AT Position the tone control features Andy's preferred voicing and low-end response. Each note in a chord is clear and articulate. If the Tone Switch is down and in the RK Position that features the legendary Phat Boost providing more low-end frequency response, perfect for pushing up vintage or single coil pickups.

Full Range Overdrive - Germanium Toggle Switch

This pedal's circuit combines JFET saturation, diode clipping, and op-amp clipping in order to create its harmonically rich tone. Drive Switch UP for AT Clipping - this mode features asymmetrical LED and silicon diode clipping and is Andy's Super AT Mod sound. Drive Switch Down for RK Clipping - now the circuit features two germanium diodes for clipping. This mode can sound a bit like a vintage fuzz pedal with a softer, smoother feel.

Buffered Bypass or True Bypass

The Mk3 Driver features our industry leading buffer for noise-free switching. We have developed a buffer which not only makes your rig sound better, it gives you silent switching with no tone loss. Switch between true-bypass and buffered on the fly. Simply press and hold the foot switch for two seconds and the pedal will switch between true-bypass and buffered bypass! You decide what works best in your rig.

Made In The USA

Keeley design, engineer, and manufacture the Keeley Electronics/Andy Timmons Mk3 Driver in Oklahoma City. Everything about the Mk3 Driver is geared towards the professional musician and their quest for an inspiring tone when performance demands it. From the meticulously built circuit boards to the newly fabricated aluminium enclosure; we make guitar effect pedals like finely crafted musical instruments.

Note From Andy Timmons:

'The Mk3 Driver is the ultimate expression of the clean/slightly broken-up tone I've been going for over the last several years. Robert Keeley and his incredible team have once again knocked it out of the park!

The AT/AT setting is exactly my Super AT Mod tone: just the right amount of breakup available at your dynamic command. Every note and nuance is clear as a bell. The crazy thing about this mode is that it also sounds great with the gain turned up, providing an incredibly cool Marshall-esque crunch tone.

Having the original RK modded BD-2 circuit is sheer luxury as that's the circuit that I fell in love with years ago! It still inspires me! The real hidden gem here is Robert's new modification that utilises germanium diodes instead of the original silicon for a new kind of clipping that works insanely well on its own OR as a boost for my lead tone. It has a lovely way of further taming the low-end that I really love.

With the Mk3 Driver and the Halo, I'm in Tone Heaven!'

Notes: Bags of character courtesy of 'tone wizard' Andy Timmons (Danger Danger). Dual delay lines work in tandem, creating stereo effects from vintage tape delay to infinite hold.

Supplier's Notes:
Andy Timmons' mysterious sounding "Halo" effect is a modulated dual echo sound that has long been kept a secret by the tone wizard himself. Andy spent decades combining and crafting the sounds you can now get from the HALO. Notes from the HALO dance rhythmically, almost creating a reverb diffusion. Those notes are held together with tape-style effects like modulation, saturation and compression. The results are stunning!

The pedal comes loaded with his signature delay tone and you can program your own sounds and save them as presets. Easily bounce between Side A and B on the fly, essentially giving you two delay pedals in one. In addition to Andy's signature "Halo" sound, there are numerous other rhythmic delays including: quarter note, dotted 8th, stereo rack mount analogue delay, and a vintage multi-head tape echo. Stunning stereo and pristine sound quality are further enhanced with controls for saturation, tone, and shelving filters that give you the ultimate delay pedal.

Think of HALO as two delay pedals that work in tandem, letting you switch between your main delay (side A) and an alternative (side B). With up to 1500 ms of available delay, set sides A and B for different delay times, then simply foot switch between the two. Keeley's Smart Stomp System allows you to press and hold either stomp switch to engage tap tempo mode. Press and hold the alternate stomp switch for infinite repeat/hold.

Each Preset bank gives you 2 delays settings for a total of 8 user-storable effects. Use the Rhythm control to select between different echoes like HALO, Analog, Tape, Quarter and Dotted Eighth. HALO's Saturate control adds tape compression texture to your tone. The Tone and High Pass Filter controls your overall delay shape and mix. The Rhythm Mode selector delivers 5 delay types, including Andy's unique "Halo" sound. Set the Time and Feedback controls low, and you can open up a world of ambient chorus and flanger effects.

Run the HALO in stereo for incredible true-stereo imaging or save your favourite combination of settings as a preset and the HALO becomes an incredibly compact multi-effect workstation!

Notes: 4-in-1 Blues Breaker and OCD Style Overdrive and Distortion

Keeley combines two completely different overdrive and distortion circuits to create four different drives in one box. The Blues Disorder has two switches that allow you to separate the tone control from the clipping section.

By mixing and matching the Tone and Drive switches you get two hybrid sounds. With both switches up it's a smooth, soft-clipping Bluesy Breaker. The BB side is a low gain, soft-clipping overdrive. With both switches down it's a fuller sounding, hard-clipping OC Distortion. The clever design keeps the pedal a three knob overdrive with 4 unique sounds.

Switch easily between buffered or true-bypass; whichever sounds best in your rig. The Keeley Blues Disorder Overdrive and Distortion is designed and manufactured entirely by Keeley Electronics in a brand new aluminium enclosure.

Switchable Tone Stacks - Swap Voicings

The Blues Disorder gives you two tone control circuits to choose from. When the Tone Switch is down and in the OC position you will hear an active midrange boost and then the tone control rolls off high-frequency. If the Tone Switch is up and in the BB position you don't have the active mid boost, there's just a simple high-frequency filter and therefore a more transparent sounding overdrive and response.

Switchable Diodes - Hybrid Gain Clipping

The Blues Disorder gives you both styles of diode clipping. Where diodes are placed in the circuit, can have a dramatic effect on gain and compression. This pedal gives you both hard clipping distortion or soft clipping overdrive, depending on the position of the Drive Toggle.

If the Clipping Switch is in the OC position it features Hard-Clipping which is an edgier, more aggressive tone. Alternatively, when the Clipping Switch is in the BB Position, that uses Soft-Clipping and sounds like a softly overdriven tube amplifier.

Buffered and True Bypass

The Keeley Blues Disorder allows you to quickly switch between either mode. Having a great buffer will make your rig sound strong and clear even when the pedal is off.

Buffered switching prevents the pops and clicks of true-bypass switching. If you want to turn on true bypass, simply press and hold the foot switch for two seconds. Holding the switch for two seconds toggle between modes. True Bypass is great if a buffer might affect the tone of a vintage pedal.

Enjoy truly silent switching and a better sounding rig with Keeley's buffered switching mode.

Made In The USA

Keeley design, engineer, and manufacture the Keeley Blues Disorder in Oklahoma City. The Blues Disorder is geared towards the professional musician's demand for an inspiring tone when performance demands it. From the meticulously built electronic circuit boards to the in-house fabricated aluminium enclosure, Keeley pedals are professional grade. Keeley make guitar effect pedals to be finely crafted musical instruments.

Notes: Drawing on the classic Boss DS-1 and 'Civil War' Big Muff, the Angry Orange serves up two iconic flavours of distortion and fuzz, plus two hybrid modes via a combination of tone control and clipping settings.

Supplier's Notes:
4-in-1 DS-1 and Civil War Big Muff Style Distortion and Fuzz

Keeley crammed two legendary distortion and fuzz circuits into one stompbox and gave you two new sounds in the process. It's sort of like pedal-modeling except these are 100% old-school, analogue circuits and you decide which tone control or clipping section you want to rock.

Heavily saturate your guitar through either a legendary '78 Japanese Orange Distortion or a '91 Soviet Civil War Fuzz. Use the Angry Orange to make your own fuzzztortions with the hybrid modes, all with only three simple knobs.

This pedal can be True Bypass or Buffered Bypass, it only takes two seconds to switch between the modes. The Keeley Angry Orange is entirely manufactured at Keeley Electronics and is in the new aluminium enclosure.

Tone Control

The Angry Orange gives you two tone control circuits to choose from. When the Tone Switch is up and in the MF Position the tone control is a scooped sounding, passive tilt-style. If the Tone Switch is down and in the DS Position it also features a passive sounding tilt control, voiced a little differently.

Diode Clipping

Hard or Soft Clipping: The Angry Orange gives you both styles of diode clipping. Diodes are used to create hard clipping distortions or smooth overdrive sounds. If the Clipping Switch is in the DS Position it features Hard Diode Clipping which is an edgier, more aggressive tone. When the Clipping Switch is in the MF Position that uses Soft Diode Clipping, like a muffled fuzz tone.

Buffered and True Bypass

The Keeley Angry Orange allows you to quickly switch between either mode. Having a great buffer will make your rig sound strong and clear even when the pedal is off.

Buffered switching prevents the pops and clicks of true-bypass switching. If you want to turn on true bypass, simply press and hold the foot switch for two seconds. Holding the switch for two seconds toggle between modes. True Bypass is great if a buffer might affect the tone of a vintage pedal. Enjoy truly silent switching and a better sounding rig with Keeley's buffered switching mode.

Made In The USA

Keeley design, engineer, and manufacture the Keeley Angry Orange in Oklahoma City. Everything about the Super Rodent is geared towards the professional musician and their quest for an inspiring tone when the performance demands it. From the inside of the pedal and its meticulously built circuit boards and metal construction audio jacks to the outside of the effect its newly fabricated aluminium enclosure; Keeley make guitar effect pedals to be finely crafted musical instruments.

Notes: The Keeley Compressor is the most popular boutique compressor in the world.

The Keeley Compressor Plus is the first true advancement in Keeley's 2 and 4 knob compressor line. The new features are simple and straight forward. Now, there is a simple Release Switch that is tuned for single coils or humbuckers. No more wondering if you have the attack or release set right. Your humbuckers will have all the attack and punch that they should. The Tone Control was also added, which emphasizes the most sensitive harmonics that can be lost in compression. The Compressor Plus now sports a Blend Control that retains the peaks in your playing and, more importantly, the proper phasing of your guitar signal. The Keeley Compressor Plus offers the same gorgeous push of frequencies and sweetening of tone that the old comps gave you, now with the flexibility to easily handle any instrument.

The Keeley Compressor Plus is a compressor with an expander/sustainer. Not only does it act as a regular compressor, limiting the peaks in your playing, it adds more and more gain as notes fade out. Now you have sustain. Nothing worse than a note or a bend that has died before its time. The Keeley Compressor Plus adds just the right amount of sustain and expressive bloom to your notes.

The new Release Switch on the Keeley Compressor Plus is designed to make it very easy to transition between single coil and humbucker guitars. Humbuckers have more average energy than single coils which can cause compressors to stay in "compression mode" for a lot longer. When this happens, any series of notes you play will sound dull. With the quick release of the new Compressor Plus, your humbuckers remain true sounding, and each note retains dynamic attack and definition.

The Tone Control is Keeley's own design taken from analog delays and other vintage effects. Those effects used an emphasis circuit to recover treble and highs after they went through the BBD or other analog delay lines. That circuit was then taken and made it into a full fledged tone controll- it is the perfect way to gently add back in those highs lost in the compression process.

The Blend Control is a way of getting the peaks to come through while having sustain at the same time. So if you want sustain more than peak-limiting, this style of Manhattan Compression is for you! Keep all the peaks and transients with the Blend and Tone Controls while adding sustain on the back end. Heaven!

This compressor isn't just for heavy funk or chicken pickin' anymore.The new Compressor Plus is for players wanting a smooth, subtle wash from their guitar. Remove just the right amount of peaks for an ambient layer and then blend in the right amount of treble for a nice shimmer to your guitar. Use with your favorite fuzz to create a wall of tone like you've only heard on records. Looping has never been easier than with this compressor. Consider it an essential tool when creating loops that sound well-balanced. Forget it all and use the Compressor Plus for the best amp boost you've heard. Nothing pushes an amp better than the Keeley Compressor Plus.

Notes: All the reverb and analogue-style delay you could wish for in a single pedal thanks to this killer all-rounder. Separate foot switches for reverb and delay on/off, with optional true bypass or 'trails' setting.

Supplier notes:
The Caverns Delay Reverb V2 dual-effect pedal combines delay and reverb for the perfect end to any pedal board. It features Keeley's analog-style tape delay with modulation options. The 650ms of warm delay combine with Spring, Shimmer or Modulated Reverb. Caverns now comes with a True-Bypass or Trails option. Because of its small and compact design, the New Caverns is a perfect fit for any fly-rig or small board where you have tight space requirements. The New V2 features Keeley's most popular time-based effects, blended perfectly via a design fine-tuned for over 2 years. Simply put, it will be an amazing addition to any board.

The Reverb side of the pedal features 3 cavernous sounds:

Spring Mode - Blackface Amp style spring reverb with F Style Tremolo
Modulation Mode - Choral modulation to the reverb for a huge, cavernous space
Shimmer Mode - Reverb with emphasis on octave-up voices in the reverb trails

The Delay side of the pedal incorporates Keeley's popular Magnetic Echo circuit, which is designed to emulate analog tape delay lines. Three way switchable modulation gives you options for adding Wow and Flutter to the repeats. Perfectly voiced echoes sit well in the mix, either clean or with distortion.

The New Caverns Delay Reverb V2 builds on the old Caverns pedal by giving players a more open and logical control layout with more space between the foot switches.

Top-Mounted Jacks allow for a compact pedalboard layout.

True-Bypass or Trails option gives you the freedom to create huge caverns of sounds and lets them ring out even after you turn the pedal off. Our buffers are engineered to retain your tone and to feed your amplifier a full-strength signal.

The New Caverns Delay Reverb V2 is entirely built in the US. Keeley's veteran crew builds the most reliable and road-worthy gear.

Use 2 TRS Breakout cables for effects patching or to use the Caverns with a pro switching system.

Notes: The HOUR GLASS Dual Compressor Pedal - Unlock timeless sustain and endless creativity with dual, independent circuits inspired by the legendary Ross compressor.

It is your ticket to extended sustain and unparalleled tonal control.

From warm, natural compression to soaring sustain, the HOUR GLASS opens up a world of sonic possibilities for you to explore.

Choose from Fast, Medium, or Slow Attack time options to tailor the HOUR GLASS's response to your playing style, and use the Treble toggle switch to select Flat, Medium, or High boost options to help shape your high-frequency tones.

Set one compressor for your single coil guitars, the other compressor for humbucker guitars and have precise tone and dynamic shaping when you switch guitars! Both compressors can also be engaged simultaneously for endless sustain!

Discover the freedom of expression with two independent circuits, that maintain the transparency of your guitar's tone. Precision controls for Level, Sustain, and Blend on each circuit allow you to sculpt your sound exactly as you desire. Built to withstand the rigors of time and the road, the HOUR GLASS is your reliable companion on every musical journey.

Unleash your creativity, transcend genres, and experience endless sustain with the HOUR GLASS Dual Compressor Pedal - Where Sustain has No Boundaries!

Notes: The Golden Boy Mini - the epitome of versatile and transparent overdrive, designed in collaboration with the renowned guitarist Joey Landreth. With its exceptional harmonic detail and abundant headroom, this compact overdrive pedal takes the concept of transparent overdrive to new heights, using a simple and powerful interface.

The Golden Boy Mini is the perfect addition to any guitarist's arsenal, allowing you to shape and enhance your tone in ways you've never imagined. Its transparent nature ensures that your core tone remains intact, while adding a dynamic of warmth, richness, and depth that elevates your playing to new levels.

Its intuitive controls allow you to dial in the perfect blend of overdrive, from subtle grit to soaring, harmonically rich tones. The pedal's wide-ranging gain control ensures that it can adapt to any musical style or genre, whether you're playing delicate fingerpicked melodies or unleashing blistering solos. Pair it with Asymmetrical or Led Clipping and put the final touches with it's 3-band Baxandall-style EQ.

Beyond its exceptional sound, the Golden Boy Mini is built to withstand the rigors of the road. Its rugged construction and top-quality components ensure reliability and durability, making it a reliable companion for both studio sessions and live performances.

Whether you're a seasoned professional or an aspiring guitarist, the Golden Boy Mini will transform your tone and ignite your creativity.

Discover the Golden Boy Mini and unlock the true potential of your guitar tone. Order yours today and witness the power of transparent overdrive like never before. Elevate your sound and embark on a sonic journey with the GOLDEN BOY Mini!

Notes: Based on the classic tones of bearded Texas legend Billy Gibbons (ZZ Top), El Hombre is the ideal overdrive for those feeling the blues or ready to rock all night. Capturing the nuances and touch sensitivity of an amplifier, El Hombre can go from mild to wild with the turn of the gain knob showing its versatility with each guitar plugged into it. From added harmonics to chewy sag El Hombre has it all. The El Hombre is simple in format but complex in its abilities. The tone section is highly effective allowing you to alter the drive style simply by adjusting the "Bite" control. When you bring the bite control up (Clockwise) it becomes more aggressive, turn it down (counterclockwise) making it smoother and more reminiscent of Dumble tones.

Notes: The Archer Ikon is sort of a 2 in one guitar pedal. It can be used as just a clean boost by turning the gain all the way down. As you introduce gain it will attenuate the clean signal but there is a magical blend in between that you will find. Please experiment!!

Dimensions: 4.00" x 2.30"

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

9 volt Battery

Buffered Switching

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: It's time to break free

Bring your perfect studio guitar sound onstage with the new AmpliTube X-VIBE modulation pedal. This boutique pedal features 16 all-new modulation effects leveraging IK's latest AmpliTube technologies, accompanied by an exclusive virtual X-GEAR version of the exact same effects. Use the virtual version with AmpliTube 5 (SE version included) to record and tweak settings and save as presets on your X-VIBE pedal for world-class tone anywhere.

Best-in-show DSP

AmpliTube X-VIBE leverages IK's latest technologies for hyper-realistic emulations of real-world gear. The state-of-the-art DSP onboard offers 16 high-end algorithms, while a special X-MODE opens additional hyper-modulation effects. All combined, X-VIBE delivers amazing clarity to the stage with the realism and response that users love about AmpliTube 5.

Hardware that stands out

For AmpliTube X-VIBE, great effort was made to guarantee your tone stays as pure and pristine as possible, no matter how simple or sophisticated your signal chain becomes.

Ultra-low noise, 24-bit/192kHz converters for class-leading sound quality
5 Hz-24 kHz frequency response to capture the full scope of your guitar's sound
112 dB dynamic range provides whisper-quiet operation at any gain setting
Selectable true or soft bypass for maximum control

Industry-leading integration

AmpliTube X-VIBE includes a matching virtual version for Mac/PC and a copy of AmpliTube 5 SE. Open any version of AmpliTube 5 and you'll find your virtual X-VIBE pedal available as a stomp for use within the program. Adjust any of your pedal settings with the convenience of AmpliTube's award-winning workflow and save them as presets. The X-GEAR Librarian lets you move presets between X-GEAR pedals and AmpliTube and easily reorganize them on the hardware pedal. You can store up to 300 presets per pedal.

All-in-one recording

With AmpliTube X-VIBE there's no need for any other gear when it comes to recording guitar. The X-VIBE has a USB audio interface and some must-have recording features right onboard.

5Hz to 24kHz frequency response to record the full range of your guitar or bass
Versatile routing options let you send the wet or dry signal to your DAW
Stereo out for monitoring sound between the X-VIBE pedal and your computer
Full MIDI implementation to map control of AmpliTube and/or any compatible DAW

From soundcheck to final encore

When it's time to play out, AmpliTube X-VIBE holds everything you need to perform at your best. In fact, you can even leave your amp and cab at home, if you want to.

Fast, intuitive interface and control knobs to tweak your sound on the fly
High-contrast LED display keeps you informed on everything, indoors and out
Expression pedal input adds additional control over any parameter you choose
Full MIDI implementation is built-in for even the most complex setups
5 cabinet impulse responses let you connect directly to a powered cab or PA

With great tone comes great portability

With its open architecture for future updates, AmpliTube X-VIBE will empower you no matter where you are and for years to come. Experience the freedom of moving between the studio and stage seamlessly, confident that you and the audience hear your sound exactly as you created it to be.

Notes: It's time to break free

Bring your perfect studio guitar sound onstage with the new AmpliTube X-TIME delay pedal. This boutique pedal features 16 all-new delay effects leveraging IK's latest AmpliTube technologies, accompanied by an exclusive virtual X-GEAR version of the exact same effects. Use the virtual version with AmpliTube 5 (SE version included) to record and tweak settings and save as presets on your X-TIME pedal for world-class tone anywhere.

Best-in-show DSP

AmpliTube X-TIME leverages IK's latest technologies for hyper-realistic emulations of real-world gear. The state-of-the-art DSP onboard offers 16 high-end algorithms, while a special X-MODE opens additional infinite-feedback effects. All combined, X-TIME delivers amazing clarity to the stage with the realism and response that users love about AmpliTube 5.

Hardware that stands out

For AmpliTube X-TIME, great effort was made to guarantee your tone stays as pure and pristine as possible, no matter how simple or sophisticated your signal chain becomes.

Industry-leading integration

AmpliTube X-TIME includes a matching virtual version for Mac/PC and a copy of AmpliTube 5 SE. Open any version of AmpliTube 5 and you'll find your virtual X-TIME pedal available as a stomp for use within the program. Adjust any of your pedal settings with the convenience of AmpliTube's award-winning workflow and save them as presets. The X-GEAR Librarian lets you move presets between X-GEAR pedals and AmpliTube and easily reorganize them on the hardware pedal. You can store up to 300 presets per pedal.

All-in-one recording

With AmpliTube X-TIME there's no need for any other gear when it comes to recording guitar. The X-TIME features an USB audio interface and some must-have recording features right onboard.

5Hz to 24kHz frequency response to record the full range of your guitar or bass
Versatile routing options let you send the wet or dry signal to your DAW
Stereo out for monitoring sound between the X-TIME pedal and your computer
Full MIDI implementation to map control

From soundcheck to final encore

When it's time to play out, AmpliTube X-TIME holds everything you need to perform at your best. In fact, you can even leave your amp and cab at home, if you want to.

Fast, intuitive interface and control knobs to tweak your sound on the fly
High-contrast LED display keeps you informed on everything, indoors and out
Expression pedal input adds additional control over any parameter you choose
Full MIDI implementation is built-in for even the most complex setups
5 cabinet impulse responses let you connect directly to a powered cab or PA

With great tone comes great portability

With its open architecture for future updates, AmpliTube X-TIME will empower you no matter where you are and for years to come. Experience the freedom of moving between the studio and stage seamlessly, confident that you and the audience hear your sound exactly as you created it to be.

Notes: The Wash is a dream come true for ambient player and ushers in a new chapter in the world of delays. It accomplishes the arduous task of creating an organic, below-the-mix wash. Normally this requires stacking 3-4 reverb and delay pedals at the end of your chain. The unique "Wash Circuit" creates the perfect wash with only one pedal.

For the new version (V2), Hungry Robots worked hard to squeeze the circuit into a smaller enclosure while keeping the build quality and tone quality identical. The circuit that hundreds of users have fell in love with is unchanged. The new versions are 2 inches smaller left and right. In addition to the smaller enclosure, the new option for top mounted jacks can save you a lot of board space.

At its most basic utility, The Wash is an outstanding analog-voiced, tap-tempo delay with just over 1000ms of delay time.

The Wash circuit is what makes the pedal stand out from other delays on the market. The Wash circuit adds reverb to the signal and through a complicated network of internal feedback loops, subtle multi-head Binson effect, and what is known as "ripple effect," It works to add a hauntingly beautiful wash to your signal in ways that can't be accomplished by stacking a reverb and a delay in series. It does all of this while keeping the clarity and presence of your original signal without getting lost in the soup of decay.

The Wash reacts to your playing unlike the common DSP reverb/delays with an infinate sustain function. There is a dynamic quality to it that is hard to replicate with any other single pedal.

The "Ripple" knob controls The Ripple Effect. The Ripple Effect is a feature in which each successive delay trail slowly scatters and transforms into reverb. The "Resonance" knob is to fine-tune the resonance and decay of the wash. The Middle "The Wash" knob controls the mix/level of the wash.

Current Draw: 92-93 mA

Switching: True-Bypass

Dimensions: 4.7" x 3.7" x 1.96"

Powering: 9V DC - Negative Center - 2.1mm Barrel

Notes: The Moby Dick V2 brings up to date one of the first pedals that put Hungry Robot on the map. The original Moby Dick is well known for its chimey, tape-emulating delay line with slight lo-fi imperfections and subtle modulation; a "back-to-basics" delay in the world of multi-mode DSP delays.

The V2 has an obviously smaller footprint, but the most exciting changes lie in the circuit updates. When working on the V2, Hunry Robots wanted to further explore the sonic capabilities of the Moby Dick tape-emulation, rather than a miniature version of the pedal- specifically in a lo-fi, wrecked-tape context.

One of the magical qualities of recording to tape is the lovely saturation. The original Moby Dick had a gritty, saturated quality, but in the V2, this quality was pushed to its limit. A "Lo-Fi" knob which allows you to dial in additional tape saturation to the delay line. This is done by applying pre-gain amplification to the front end of the delay chip, resulting in a wonderfully organic character when gain is applied.

The capabilities of the modulation were also expanded. The original Moby Dick had a very subtle chorusing effect. Though it sounded great, it was admittedly subtle. The V2 increases the modulation depth dramatically, allowing it to travel beyond subtle chorusing into more extreme pitch bending territory. The "Mod" in conjunction with a cranked "Lo-Fi" knob creates the most amazing broken tape-deck quality, but when these knobs are dialed back it retains the overall character of the original.

Current Draw: 30 mA

Switching: True-Bypass

Dimensions: 4.7" x 2.6" x 1.5"

Delay Time: Approximately 1000ms

Powering: 9V DC - Negative Center - 2.1mm Barrel

Notes: The Collective is a brand new fuzz pedal designed by Hungry Robot. The Collective is an over-designed, complex fuzz pedal, a true desert island fuzz designed to please the most ardent fuzz connoisseur. The Collective covers a lot of ground with plenty of external controls as well as over a DOZEN internal parameters to narrow down that perfect fuzz tone. The Collective is a pedal that requires and encourages exploration. The Collective has three fuzz circuits in one box. On top of that there is a 2-band State Variable Filter and a chatotic feedback loop.

Starting at the top of the pedal, the "Conventional" knob is a traditional sounding fuzz. This is meant to balance out the more chaotic fuzz tones and provides a bread-and-butter sound when you need it. The "Low Spectrum" and "High Spectrum" knobs are part of an active State-Variable Filter, similar to the one found on The Lumen. The "Synthetic" knob is a logic based CMOS fuzz that can be described using the words, velcro-ey, synth-ey, gate-ey, and glitch-ey. The "Pristine" knob allows you to blend in your clean signal when you need a bit of pureness to balance out the crazier sounds. On the left is the "Overload" knob. This controls the amount of signal let back through an internal feedback loop. The output of the fuzz is fed back into the input causing self-oscillation and some gnarly textures. Underneath the knob is a dedicated momentary footswitch to activate the feedback loop or you can latch the feedback loop ON by flipping the toggle switch up. On the right is the "Submerge" knob. This is a monophonic sub-octave fuzz. Similar to the "Synthetic" fuzz, this is also CMOS-based, so similar gated, unstable tones. The "Submerge" also has a dedicated momentary footswitch to add in the sub-octave with its own toggle switch that can latch the sub-octave.

Controls

Conventional: Adjusts the volume of the Conventional Fuzz
Synthetic: Adjusts the volume of the Synthetic Fuzz
Pristine: Adjusts the volume of the clean signal.
Overload: Controls how much feedback is looped back into front end when Overload is active.
Latching Toggle Next to Overload: Latches the Overload effect ON when up. When down, the effect is bypassed.
Footswitch Below Overload: Momentary control of Overload effect. Does the opposite of what the Toggle Mode is set to.
Submerge: Amount of Submerge, monophonic sub-octave is sent to the output.
Latching Toggle to Submerge: Latches the Submerge effect ON when up. When down, the effect is bypassed.
Footswitch Below Submerge: Momentary control of Submerge effect. Does the opposite of what the Toggle Mode is set to.
Middle Footswitch: Master Bypass

Technical specifications:

Current Draw: 97 mA
Dimensions: 5.7" x 4.7"
Powering: 9V DC - Negative Center - 2.1mm Barrel

Notes: The Aether is a modulating delay pedal.

The initial vision for the design of The Aether came shortly after the release of the Wardenclyffe Deluxe. The intention was to take design the philosophies and incorporate tonal characteristics that made the Wardenclyffe so special, but this time as a delay pedal.

At the heart of The Aether is a PT2399, tap tempo delay. It has the standard Echo, Feedback, and Time controls you would expect on any delay, but what makes it special is the Color, Saturation, and Degrade Controls. The Color toggle completely changes the character of the Aether and has two voices: Warm Analog and Bright Tape. The Saturation knob is a gain adjustment that overdrives the delay chip. The Degrade toggle adds lofi textures and artifacts to the delay line. The Degrade toggle removes a very vital section of the delay circuitry that keeps the delay stable with longer delay times. As you increase the delay time, the artifacts become more present and lofi.

The Aether uses a simple, but versatile modulation LFO core inspired by the Wardenclyffe, but with more features. The LFO cores sets it apart from other modulated delays out there. The speed of the modulation core can be set 3 different ways: Rate knob, tap tempo tact switch, and Sync toggle. When the Sync toggle is set to its middle position, the LFO can run at whatever speed you want. When the Sync toggle is in the up position it is synced to the delay time. When the Sync toggle is in the down position, it is synced to delay time, but in half-time for slower evolving moduation. The Shift knob determines the depth of the modulation; this has plenty of range in case you want to get really obscene. The Stray toggle changes the LFO from a typical Sine wave to a Slewed Random waveform. Creative exploration of the modulation section of The Aether is strongly encouraged. The way the delay rate and LFO rate interact with each other can yield very creative results.

Notes: Alter Y is the pedal version of Alter 2 eurorack module featuring four 1/4" jacks in addition to 1/8" as well as buffered switching that allows for trails.

Though it functions the same as other pedals, this pedal is a little different. Most pedals are made for guitars and then artists may choose to use them in different ways. Folktek made this pedal to work with either standard 1/4" jacks (for both input and output) or 1/8" (3.5mm) jacks for use with anything else. For those who like to use CV (control voltage) for any eurorack format, cv keyboard, or pedals which output cv (e.g. expression or sequencing), all four of the main knobs have cv inputs (mix, x, y, filter) so you can control your knobs without touching if the desire strikes you.

These pedals accept guitar, line or eurorack levels.

The enclosure is very thick, gold plated PCB (it's very, very tough).

Included power is standard for most pedals (2.1mm, -tip)

Folktek wanted a broad array of effects in each X and Y pedal so each is a mashup of effects which complimented one another when used together. Running X into Y or vis versa creates some powerful changes.

Control

- Controls for Mix, X, Y and Sift as well as clock.
- All effects have a variation of a filter which may change effect to effect.
- X and Y control various rates, feedback and time over the different effects (note that some of the images shows a prototype which says "rate" under two of the pots. The faceplate has been changed to "X" and "Y").
- Clock control adjusts the bitrate which controls the DSP which can drastically change the effect. In doing so it does slightly lower the quality of the output signal but the results are fantastic. This clock is not for synchronization.
- Mix, X, Y and Filter all have CV control inputs.
- Each control level or CV input is visualized on the control panel.
- Buffered relay-based bypass over 1/4" ins and out.

Ins and outs

- Stereo 1/4" ins and outs.
- Stereo 3.5mm inputs with separate level/gain control for right and left channels. These levels can also act as mute as it can take the signal to 0. They can also add gain to a quiet signal.
- Peak level indicator for clipping levels at the input.
- Mono input is made stereo within the DSP and outputs to both left and right channels.
- Stereo outputs for right and left channels.

Effects

1 - analogue delay
2 - reverb with infinite capture and LP + HP filters
3 - choral reverb
4 - palindrome reverse delay - backward/forward repeat
5 - time stretch
6 - pitch shift (notated semi-tones)
7 - time stretch glitch

Specs

- Power: 12v negative tip AC Adapter (included) - US - 100-240V ~ 50/60Hz 0.6A
- Dimensions: 6" x 5.1" x 2.2" (152.7mm x 128.5 x 56mm)

Notes: Alter X is the pedal version of Alter 1 eurorack module featuring four 1/4" jacks in addition to 1/8" as well as buffered switching that allows for trails.

Though it functions the same as other pedals, this pedal is a little different. Most pedals are made for guitars and then artists may choose to use them in different ways. Folktek made this pedal to work with either standard 1/4" jacks (for both input and output) or 1/8" (3.5mm) jacks for use with anything else. For those who like to use CV (control voltage) for any eurorack format, cv keyboard, or pedals which output cv (e.g. expression or sequencing), all four of the main knobs have cv inputs (mix, x, y, filter) so you can control your knobs without touching if the desire strikes you.

These pedals accept guitar, line or eurorack levels.

The enclosure is very thick, gold plated PCB (it's very, very tough).

Included power is standard for most pedals (2.1mm, -tip)

Folktek wanted a broad array of effects in each X and Y pedal so each is a mashup of effects which complimented one another when used together. Running X into Y or vis versa creates some powerful changes.

Control

- Controls for Mix, X, Y and Sift as well as clock.
- All effects have a variation of a filter which may change effect to effect.
- X and Y control various rates, feedback and time over the different effects (note that some of the images shows a prototype which says "rate" under two of the pots. The faceplate has been changed to "X" and "Y").
- Clock control adjusts the bitrate which controls the DSP which can drastically change the effect. In doing so it does slightly lower the quality of the output signal but the results are fantastic. This clock is not for synchronization.
- Mix, X, Y and filter all have CV control inputs.
- Each control level or cv input is visualized on the control panel.
- Buffered relay-based bypass over 1/4" ins and out.


Ins and outs

- Stereo 1/4" ins and outs.
- Stereo 3.5mm inputs with separate level/gain control for right and left channels. These levels can also act as mute as it can take the signal to 0. They can also add gain to a quiet signal.
- Peak level indicator for clipping levels at the input.
-Mono input is made stereo within the DSP and outputs to both left and right channels.
- Stereo outputs for right and left channels.

Effects

1 - long delay
2 - notated granular delay
3 - plate reverb
4 - shimmering reverb
5 - distortion and multi-filter
6 - pitch delay
7 - stutter glitch

Specs

- Power: 12v negative tip AC Adapter (included) - US - 100-240V ~ 50/60Hz 0.6A
- Dimensions: 6" x 5.1" x 2.2" (152.7mm x 128.5 x 56mm)

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: ***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: Eventide's Riptide pedal is the result of extensive research into overdrives and Uni-vibes. With stereo overdrive and Vibe, each effect features dual voicings versatile enough for funky bright tones to explosive and warm lead tones.

The Vibe knob delivers classic Hendrix-style Uni-Vibe to full-on vibrato perfect for modern soul and lo-fi tones. With the power to engage each effect individually, swap the order, and store presets, Riptide makes it easy to get caught up in the excitement.

Drive features a balanced distortion with superb dynamics and touch sensitivity. Use the "Green" voicing for a classic transparent overdrive or activate the "Red" voicing for a tight modern overdrive.

Features:

Five presets loaded at your feet with dozens more available by software update in Eventide Device Manager
Dual-action Active Footswitch is latching or momentary
Rear panel Guitar/Line Level switch for matching impedances with guitar, synths, FX loop, or DAW interface
Map any combination of parameters to an Expression Pedal
Use a single Aux switch to Tap Tempo or a triple Aux switch for easy preset changing
MIDI over TRS capable
Multiple Bypass options: Buffered, Relay, DSP+FX or Kill dry
Catch-up mode helps dial in your sound when toggling between presets/parameters
Eventide Device Manager PC or Mac application for software updates, system settings and creating/saving presets

Notes: Eventide's legendary MicroPitch effect, as found in the H910 and H949 Harmonizers, packaged into a compact pedal format, suitable for guitar, bass, synth and other line level signals.

Supplier's Notes:
Savor the secret sauce simmered into countless hit records with the MicroPitch Delay Pedal. By utilizing subtle pitch shifts to create a rich stereo spread, MicroPitch Delay makes anything you cook up sonically delectable. This pedal is the key ingredient for serving up flavorful tone: Instantly harness soaring leads that jump out of the mix, add distinct lushness to a compelling clean passage and get your fill of vibey modulation that's sure to sweeten any pot with the push of a button.

Sample a bite of the newly baked up Positive and Negative Envelope modulation sources and you'll be sure to come back for seconds; and major and minor thirds. MicroPitch Delay adds unparalleled dimension to any source; it's not just a guitar pedal.

Use it to thicken vocals, keyboards, drums, strings, brass, winds and more.

What's the recipe for the MicroPitch Delay pedal? It's a unique flavor profile of dual pitch-shifters with fine-resolution de-tuning and modulation combined with delay in a delicious red package. The pedal is the latest incarnation of a legendary effect that originated in the H910 and H949 Harmonizers, and later popularized with the H3000. It can be utilized for chorusing and savoury repeating delays. It's a creative sonic design tool. It's effective whether used subtlety as a thickening tone-enhancer or dialed to the extremes for special effects. The simplicity of the pedal's ability to make things sound bigger is what makes it so tasty! With the MicroPitch Delay pedal, you can easily harness the power of this iconic Eventide effect that helped shape musical history.

The MicroPitch Delay algorithm has been a mainstay of audio production and musical performance since it was first introduced within the legendary H910 and H949 effects processors. Its subsequent appearance in the H3000 Harmonizerr further popularized the effect and cemented its place in musical history as a quintessential studio tool. Now players can harness the power of this iconic Eventide effect with the MicroPitch Delay pedal, which offers a unique combination of dual pitch-shifters with fine-resolution de-tuning, delay and modulation - including new positive envelope and negative envelope modulation sources. Its distinctive architecture yields a wide breadth of sonic applications ranging from subtle tone thickening to creating a rich stereo spread to a host of creative sound design special effects. The rugged, gig-ready red MicroPitch Delay pedal is not just for guitars the pedal brings unparalleled dimension to any source from vocals to keyboards to drums, strings, brass and winds.

Users can choose from dozens of Eventide presets to load via MIDI, which are also accessible in the preset list on the Eventide Device Manager (EDM - a Windows or Mac OS X application for software updates, system settings and creating/saving presets).

The pedal can store up to 127 presets in memory, with five presets loaded at a player's feet for access from a latching/momentary dual-action Active Footswitch with a Catch-up mode to help players dial in their sound when toggling between presets/parameters. A single Aux switch can be deployed to Tap Tempo, or a triple Aux switch can be used for easy preset changing (up/down/load). The MicroPitch Delay Pedal offers multiple Bypass options: Buffered, Relay, DSP+FX or Kill dry. MIDI capability is available over TRS (for use with a MIDI to TRS cable or converter box) or USB. The rear-panel Guitar/Line Level switch allows level-matching with guitars, synths, FX loops or DAW interfaces. Any combination of MicroPitch Delay parameters can be mapped to an Expression pedal.

Notes: Five decades of sound processing expertise distilled into a compact multi-effects pedal. Huge processing power derived from the H9000 Harmonizer, featuring classic algorithms and new effects.

***H90 Control app announcement - February 2024 ***

Eventide Audio has announced the immediate availability of the H90 Control iPad app Release 1.7.6, which enables Bluetooth functionality. H90 Control provides remote control access and Program list management for the H90 Harmonizerr pedal. The app lets users manage Program and Preset settings, perform system updates, and import/export User Lists with an easy-to-use interface, all now with the convenience of Bluetooth connectivity.

The release also implements a new Bypass mode in System Settings - "AB Only" - which allows users to bypass just the onboard effects, leaving insert routings active. It also adds support for full user content
backup/restore and log retrieval in H90 Control.

H90 Control for iPad is available for free download from the Apple App Store.

For H90 users who have updated their H90 firmware to 1.7.4+, H90 Control Release 1.7.6 for MacOS and Windows adds Backup/Restore for user content (Programs, Lists, Presets) and system settings.

H90 Control for Mac and Windows is only available for H90 owners who have registered their H90 pedal.

Supplier's Notes:
Beyond the Effect Horizon

The H90 Harmonizer is Eventide's next-generation multi-effects pedal. Whether you want high-quality bread and butter effects or experimental sounds unheard, the H90 has everything you need to inspire your creativity with an intuitive UI designed with players in mind. Discover why top artists and producers have chosen Eventide through the years with 62 effect algorithms and hundreds of Program combinations curated for a variety of instruments and genres. With its comprehensive I/O and flexible routing options, the H90 is designed to be the heart of your rig.

New Technology, New Effects

H90 Harmonizer features modern ARM-based architecture derived from the world's most powerful effects processor, Eventide's flagship H9000 Harmonizer. This paves the way for the ongoing creation of more advanced effects processing techniques. As a result, the pedal not only offers the iconic reverbs, delays, modulation, and pitch shifting effects of the H9 Max but goes far beyond with 10 new powerful algorithms including state-of-the-art, fast-tracking, and warble-free Polyphonic Pitch Shifting. Eventide's proprietary SIFT (Spectral Instantaneous Frequency Tracking) technology clears the road ahead for next-gen effects both long imagined and unimaginable.

Live Performance Machine

The H90 Harmonizer is a live performance powerhouse! The front panel has been reimagined with five push knobs, seven LED buttons, and a hi-res OLED display for greater hands-on control and parameter feedback. Two large push knobs allow you to switch between SELECT, BANK, and PERFORM modes with ease. In PERFORM mode, you get six programmable footswitches. Map functions like tap tempo, preset, insert bypass or momentary states; use them to engage options like reverb freeze, pitch flex, or delay repeat; make multiple instantaneous parameter changes with three Hot Switches .The comprehensive UI allows you to control any parameter with ease. Adjust expression mappings by hand with the PERFORM HotKnob and engage up to six individual assignable parameters with the three push-button Quick Knobs. Get even more control with two inputs for expression pedals or auxiliary switches with up to three buttons. If that wasn't enough, take advantage of the pedal's extensive MIDI control. The H90 comes with hundreds of factory Programs which can be loaded using either SELECT or BANK mode. In SELECT mode, you can navigate your Playlist sequentially without ever missing a detail thanks to the OLED display. In BANK mode, you can quickly load from a bank of 3 Programs, perfect for cueing up a range of sounds for a song. Organizing your favourite sounds has never been easier, simply load a new Playlist and you're ready for the next gig!

Specifications

Inputs 1 - 4: 14 inch TS mono jack
Outputs 1-4: 14 inch TS mono jack
Exp/Ctl 1-2: 14 inch TRS / Expression pedal or Aux Switch
USB Type-C: Use USB 2.0 for control, updates, and MIDI
MIDI In: Five-pin DIN (Female)
MIDI Out/Thru: Five-pin DIN (Female)
DC Input Jack: 5.5/2.5mm plug / Center Positive (+)
Input Impedance (Inst. Level: >600k ohms
Input Impedance (Line Level): >80k ohms
Output Impedance: 220 ohms
Recommended Load Impedance: 10k ohms
Maximum Input Level (Inst): +4dBu
Maximum Input Level (Line): +14dBu

Power
12V DC @ 1A / Center Positive (+), 5.5/2.5mm jack

Dimensions (Product)
English: 6.5" (W) x 5.25" (D) x 2.5" (H)
Metric: 170 (W) x 136 (D) x 68 (H) mm

Dimensions (Package)
English: 10.5" (W) x 7" (D) x 3" (H)
Metric: 265 (W) x 180 (D) x 75 (H) mm
Weight (Product): 1.85 lbs / 0.84 kg
Weight (Package): 3 lbs / 1.36 kg
Shipping Contents: H90, Eventide Sticker, 4x Rubber feet, Guitar pick, Universal power supply with plugs (US, UK, EU, AUS), USB A to Type-C cable, Quick Reference Guide

Notes: ***B-STOCK: Box opened, light surface marks, product in perfect working condition ***


The Eventide H9 Max features 45 algorithms and 99 factory presets from Space, TimeFactor, PitchFactor and Modfactor. More Presets are available via the H9 Control app and offer a huge range of effects; you may never need another stomp box again.

The H9 Max Stomp Box is fully controllable via its simple front panel one-knob user interface, but can also be controlled via a free iOS app, H9 Control, which can be downloaded to your iPhone or iPad for live editing, creating and managing presets and changing system settings wirelessly via Bluetooth. H9 Control is also available for your Mac and PC via USB.

The Eventide H9 features stereo audio I/O, MIDI I/O, Expression Pedal, and Auxiliary Switch inputs.

The H9 comes loaded with a set of Eventide's most popular algorithms taken from their award winning stomp boxes:

From ModFactor:
- Liquid Chorus
- Organic Chorus
- Shimmer Chorus
- Classic Chorus
- Phase XO Chorus
- Bias Tremolo
- Opto Tremolo

From PitchFactor:
- H910
- H949
- Crystals
- Tuner

From TimeFactor:
- Tape Echo
- Vintage Delay

From Space:
- Shimmer
- Hall

Notes: The Eventide H9 Max features 45 algorithms and 99 factory presets from Space, TimeFactor, PitchFactor and Modfactor. More Presets are available via the H9 Control app and offer a huge range of effects; you may never need another stomp box again.

The H9 Max Stomp Box is fully controllable via its simple front panel one-knob user interface, but can also be controlled via a free iOS app, H9 Control, which can be downloaded to your iPhone or iPad for live editing, creating and managing presets and changing system settings wirelessly via Bluetooth. H9 Control is also available for your Mac and PC via USB.

The Eventide H9 features stereo audio I/O, MIDI I/O, Expression Pedal, and Auxiliary Switch inputs.

The H9 comes loaded with a set of Eventide's most popular algorithms taken from their award winning stomp boxes:

From ModFactor:
- Liquid Chorus
- Organic Chorus
- Shimmer Chorus
- Classic Chorus
- Phase XO Chorus
- Bias Tremolo
- Opto Tremolo

From PitchFactor:
- H910
- H949
- Crystals
- Tuner

From TimeFactor:
- Tape Echo
- Vintage Delay

From Space:
- Shimmer
- Hall

Notes: Little box, big reverb. Specially designed for huge, cavernous echo effects and ideal for infinite tails and frozen sounds, the Blackhole is an exceptionally high quality pedal at a very reasonable price.

Supplier's Notes:
Create haunting echoes, ethereal landscapes and otherworldly ambience with Blackhole, a reverb pedal as big and as mysterious as the cosmos. Blackhole takes you there - beyond the ambience of mere earthly Halls, Rooms, Plates or Springs. Blackhole will take you on a journey from cathedral-type spaces to a universe of out-of-this-world soundscapes.

It includes onboard tone controls, modulation, and infinite reverb settings with mono or stereo operation, MIDI control, preset storing, and most importantly a new compact, easy-to-use interface.

Blackhole features two types of infinite reverb. Infinity mode continuously layers new sound on top of a suspended reverb. Freeze mode holds the effect allowing you to play over the reverb tail. The Freeze Footswitch allows instant access to this feature.

Unlike other reverbs which may offer pre or post modulation, Blackhole features modulation built into the reverb structure itself. It's essentially a big multi-voice chorus, with unique tone-shaping ability. You can utilize extreme settings to smooth out the edges.

Like all Eventide pedals, Blackhole allows you to fine tune every aspect of the effect. With a new, user-friendly, intuitive interface, just about anyone can shoot for the moon and land beyond the stars.

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 (-)

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

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: Immerse yourself and go beyond the boundaries of what is possible with a conventional guitar or synth pedal. GHOST PEDAL brings you new possibilities of tone shaping with its state of the art flexible audio routing chain, allowing you to jump between dimensions with a single press of a button.

From earth shaking subharmonics and distorted drones to angelic shimmer reverbs and anything in between, GHOST is a PEDAL for the adventurous sound designers and the most demanding guitar and synth players. Intuitive UI coupled with hands-on control and preset storage allows you to stay in the now and focus on your performance.

Unique user interface showing parameter values and real-time modulations

Line or high-impedance JFET guitar inputs with cabinet simulator

Full MIDI control over every parameter incl. MIDI clock over LFO and delay

True relay stereo, buffered and trails bypass modes

Bipolar LFO and expression pedal assignments to any parameter

3 reverb and 3 filter types, incl. comb with resonator, six possible routing variations

Reverb freeze, delay looper, spring reverb with virtual spring excite

Three footswitches let you change assignable parameters (tap tempo/freeze/spring excite), select presets and bypass with your feet

Notes: Pedal version of the excellent Golden Master module, featuring multi-band end-of-chain processing with EQ, compression and mid/side stereo widening effects. Ideal for bass or guitar.

Supplier's Notes:
On-stage mastering

Based on Endorphin.es' Golden Master eurorack module and our experience in electronic live music performances, Endorphin.es developed Golden Master - a multiband processor pedal to deliver high pressure audio for live concerts and venues: sound loud without overloading the master limiter.

Multiband processor consists of EQ, compressor and mid-side

24 bit 96 kHz audio I/O with 32 bit internal processing

Stereo enhancer for each of the 3 bands

High impedance inputs, pseudo-balanced outputs: works also as a DI-box on stage

One knob compressor per band along with global threshold allows you to intuitively achieve results

Dedicated expression pedal for master volume control

Two footswitches let you select presets and bypass with your feet

Notes: Well on its way to becoming a cult favourite already, Empress's Zoia brings modular synthesis to a compact pedal format. Create effects, synths, controllers or modules to integrate with other instruments.

Supplier's Notes:

The ZOIA is basically a modular synthesizer in pedal form. Instead of being a delay effect or tremolo, the ZOIA provides the modules necessary to build a delay or tremolo from the ground up. But since you're the one building it, you can make it do whatever you want. With the ZOIA you can build your own custom effects, synthesizers, midi controllers, and virtual pedal boards. And to make life a little easier, these modules have been created for all your standard guitar effects. So for instance, if you want a phaser, you can just plop down a phaser. You don't have to break out the textbooks to learn that they're built out of all-pass filters. (Of course, if you're a nerd like us, you can use the ZOIA to build them out of all-pass filters).

Input Impedance: >= 1M ohms
Output Impedance: 100 ohms
Frequency Response (-3dB): 10Hz - 23.4kHz
Total Harmonic Distortion: 0.22%
Dynamic Range: 105.5 dBA
Input Headroom (no pad): +0.5 dBu
Input Headroom (6dB pad): +5.7 dBu
Input Headroom (12dB pad): +10.8 dBu
Output Headroom: +16.2dBu
Power Input Connector: 2.1mm Barrel Connector
Power Input Voltage: 9V DC (center negative)
Required Current: 300mA
Height (enclosure only): 1.75"
Height (including controls): 2.625"
Length: 5.7"
Width: 3.75"
Weight: 1.5lbs

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: The #1 EQ pedal returns - better than ever

Empress Effects 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: Spanning the gamut of known delay possibilities and beyond, the Echosystem could be the ultimate delay-crafting tool. Faithful emulations of classics like digital, tape and analog delays are numerous, as well as Empress' own take on each of these delay styles. Moving beyond the traditional, the vast amount of sonic ground the Echosystem can cover becomes apparent. Check out the ambient modes when you're feeling chilled out, or perhaps a visit to the multi tap modes for a taste of inspiration.

The Dual Engine functionality allows any 2 of these delays to be used together, routed in either parallel, series, or left/right configurations.

In addition to delays, there's the super-useful reverb combos, which will elevate any guitar part. Oh, and don't forget Whisky mode, best accompanied by a dram of whatever you've got!

The pedal has 12 algorithm types, all with multiple variations. For example, there are 4 different tape delays on tap.

Emulations of classic tape and analog units are available, as well as our take on these types of delay.

All the algorithm controls are sitting on a knob in front of you, no fiddling through laborious menus.

Global tap tempo as well as local tempo with lots of subdivisions are available on all modes, in addition to being able to set the delay time directly with the knob.

Features a signal to noise ratio of >104dB and maintains an analog dry path.

2 delays can be used at the same time, each with its own full set of controls and routed in serial, parallel or left/right.

Settings can be saved to 35 presets. With three stomp switches, accessing the presets is easy.

Bank style or scrolling style preset modes.

It can be configured to run with true bypass or buffered bypass if you want to hear trails.

Cabinet Simulator - 3 variations to choose from, perfect for recording, practicing or for gigs without an amp.

Get hum-free operation when operating in stereo with two amps. Output 2 is isolated with a transformer to eliminate nasty ground loops.

48kHz sampling, with 24 bit conversion and 32 bit internal processing.

Dry signal is left untouched, and blended with the wet signal using VCA. (no zipper noise, hooray!)

The Universal Control Port allows you to connect an expression pedal, external tap switch, control voltage, external audio input and MIDI - all using a standard 1/4" jack!

The Advanced configuration menu lets you configure how your delay works. Select from true or buffered bypass, 0-35 presets, MIDI configuration, Control Port(expression pedal, external tap, control voltage and MIDI) as well as which style of preset system to use, input signal pad, output transformer enable and more!

The enclosure measures approximately 5.7" by 3.75" by 1.75", which is delightfully small when considering all the features packed into this unit.