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Notes: Zweikommasieben Magazin #28

The sound of each individual's voice is thought to be entirely unique. Like a fingerprint, its composition is distinct, nuanced, and one-of-a-kind.

While all this is true, it's a concept that has been challenged in recent times by the refinement of AI powered systems which are able to emulate voices to a tee. And not only voices, for that matter, but whole styles and aesthetics: an AI-generated facsimile of Drake and The Weeknd's voices titled "Heart on My Sleeve" made the rounds this year and was even submitted for Grammy consideration. It's a legitimate song and a proposal that does not only keep legal departments busy, but also allows for myriad reflections on originality and, bluntly, the future of music. But as the future of music is a broad and daunting topic to speculate on, we want to hone in on what's been prefaced above: issue #28 of Zweikommasieben centres the voice as means of expression, and wants to expand on what is meant by that: it's not only what is heard, but also why a voice is used and by whom. This latest edition considers what it means to voice, and its physical, societal and political dimensions.

Zweikommasieben #28 includes:

-interviews with / portraits on Bela, Krista Papista, DJ Voices, Tianzhuo Chen,Meth Math, Rainy Miller, Honour, Ziur, and Natural Wonder Beauty Concept
- an essay on fan culture
- columns on stimming and the work ofDjamil Image
- a contribution by Claudia Pages with Nora Haddad and nara is neus

All content in English

Zweikommasieben is a magazine that has been devoted to the documentation of contemporary music and sound since the summer of 2011. The magazine features artist interviews, essays, and columns as well as photography, illustration, and graphics.

Quotes (previous editions):

Dekmantel - "So well worth getting your hands on a copy!"

Where To Now? - "Zweikommasieben is the best mag out."

abcdinamo - "A beautifully designed must read on electronic music."

Thomas Lennon - "Zweikommasieben is an automatic purchase every issue."
Tom Mouna - "(...) probably the best magazine for anyone interested in the key figures in contemporary electronic music."

Rubadub - "One of our fav mags for sure."

Sara Berts (Gang of Ducks) - "Every issue of the magazine is a typographic gem."

&mags - "A journey of discovery through contemporary music."

A s h (Do Hits, Taiwan Beats) - "Underground community's DIY spirit never fails."

Magculture - "From its 2011 beginnings, the magazine has had an inherent confidence. It's a magazine that takes good design and rigorous journalism just as seriously as the music. The interviews themselves are pacy and interesting, the antithesis of basic promotional content."

Rob Booth (Houndstooth) - "Another essential magazine..."

Rewind Forward -"Now in its 18th edition, [zweikommasieben] is a testament to this rather solid DIY venture from a group of friends [...]. Each zine packs a masterclass in design-each one has a different look and feel-whether it's a curious mix of page sizings, colour photos offset on newsprint, foil sleeves etc etc. They're always a pleasure to unfold..."

Notes: As the team behind Zweikommasieben takes its latest edition to ponder the essence of longevity, they arrive at several questions which they have worked through with their featured artists and writers. On the one hand, artistic traditions might be useful to lean on, to conjure an image and an accompanying gut feeling of a recent past. On the other hand, investing in the knowledge of traditions might allow to bend and twist them to explore ones own expression. Whether that is consciously incorporating sounds from the past to evoke historical resonances, as Courtesy did for her most recent album Violence of the Moodboard, or propelling the presentation of music forward into new traditions, such as in the work of Xzavier Stone who has recently started pairing scent with sound during his live performances. In a similar manner, Lateena Plummer proposes new traditions for a dancehall scene which finally makes space for marginalized identities and voices, a purpose directly derived from her experiences in the past, which she openly speaks about in conversation with Anna Froelicher.

When Beatriz de Rijke decided to work under the moniker Bea1991, she did this as a conscious anchoring in time, with the latter part of the name being a direct reference to her year of birth. One can imagine that a birthdate might be one of the only constants in life: one that will forever connect someone to a certain generation, and maybe even to a global cultural zeitgeist.

Zweikommasieben #27 includes

-Interviews with / portraits on Bea1991, Christian Marclay, Courtesy, Divide and Dissolve, DJ Loser, Lateena Plummer, Somatic Rituals, and Xzavier Stone
-essays on "New Moon" by Children of the Light for Darkside
- a column on Rike Scheffle's work
- a contribution by Lou Lou Sainsbury
All content in English; 92pages; 230x305mm

Zweikommasieben is a magazine that has been devoted to the documentation of contemporary music and sound since the summer of 2011. The magazine features artist interviews, essays, and columns as well as photography, illustration, and graphics.

Quotes (previous editions):

Dekmantel - "So well worth getting your hands on a copy!"

Where To Now? - "Zweikommasieben is the best mag out."

abcdinamo - "A beautifully designed must read on electronic music."

Thomas Lennon - "Zweikommasieben is automatic purchase every issue."

Tom Mouna - "(...) probably the best magazine for anyone interested in the key figures in contemporary electronic music."

Rubadub - "One of our fav mags for sure."

Sara Berts (Gang of Ducks) - "Every issue of the magazine is a typographic gem."

&mags - "A journey of discovery through contemporary music."

A s h (Do Hits, Taiwan Beats) - "Underground community's DIY spirit never fails."

Magculture - "From its 2011 beginnings, the magazine has had an inherent confidence. It's a magazine that takes good design and rigorous journalism just as seriously as the music. The interviews themselves are pacy and interesting, the antithesis of basic promotional content."

Rob Booth (Houndstooth) - "Another essential magazine..."

Rewind Forward -"Now in its 18th edition, [zweikommasieben] is a testament to this rather solid DIY venture from a group of friends [...]. Each zine packs a masterclass in design-each one has a different look and feel-whether it's a curious mix of page sizings, colour photos offset on newsprint, foil sleeves etc etc. They're always a pleasure to unfold..."

Notes: In this issue, many of the featured artists are aware of the circumstances that they are embedded in. Subsequently, the objective realities of creating the music and culture which we cover with zweikommasieben are foregrounded. Rather than only focusing on music's inherent qualities, the magazine highlights what is necessary to be able to produce and participate, and who has these resources at their disposal. The often-sobering view on music and art could be read as disappointing. However, the texts, their authors, and the featured artists also reveal their strategies for navigating their situations and how they aspire to find ways of moving towards a more sustainable context for everyone involved.

A red thread running through various entries of this issue is the focus on the importance of community: Lazer-Gazer and Noise Diva, two representatives of the Amsterdam scene, see collaboration at the heart of their practices. In another contribution, the Berlin-based label Unguarded makes a plea for their community as an (artistic) support network. Such a support structure is also acknowledged by Sega Bodega in his interview.

Those and the other contributions are responding to the shared reality of creating anno 2022.

Zweikommasieben #26 includes:

-Interviews with Heith, Robert Hampson (of Loop), Evita Manji, Organ Tapes, Sega Bodega, Joanne Robertson, Lazar Gazer & Noise Diva, and JJJJJerome Ellis
-Essays on (musical) scores as well as late payment in the music industry
- A column on the recent focus on smell in the arts
- A contribution by Unguarded.

All content in English; 64pages; 145×232mm+

Zweikommasieben is a magazine that has been devoted to the documentation of contemporary music and sound since the summer of 2011. The magazine features artist interviews, essays, and columns as well as photography, illustration, and graphics.

Notes: The next electro exploration from the infamous DMX Krew comes in the form of 'Blue Bob', which scours the genre's less bangerific backwaters. The four tracks on this new EP her for Further Electronix centre on everything from the weezy, to the gaseous, to the strange. 'Ambient Fog' does what it says on the tin, working as one of Krew's most minimal cuts to date; its noir synth strings and piquey melodic motifs sound like the soundtrack to a space-age murder mystery, as we try to decipher who killed Zog with what; a laser-blaster? a lightsaber? a photon torpedo? 'Clean The Stylus' and are 'Blue Blob' further sci-fi pleasantries, with icy blue notes and propulsive FM basses gluing it all together.

Notes: Zweikommasieben is a magazine that has been devoted to the documentation of contemporary music and sound since the summer of 2011. The magazine features artist interviews, essays, and columns as well as photography, illustration, and graphics. Issue #21 includes:

-interviews with Anthony Pateras, Asma Maroof, Ben Vince, MC Buzzz, Dasychira, East Man, Laila Sakini, Lung Dart, Lyra Pramuk, Mark Knekelhuis, Sicaria Sound, Sonia Calico, Stine Janvin, and VTSS

-essays on Nicolas Jaar as well as by Annie Garlid and Flora Yin-Wong

-contributions by A Flolder (aka Powell, Michael Amstad, and Marte Eknaes), Elg, and the Nihilist Spasm Band

-columns by Alex Rudolph (feat. poetry by Chirstof Szalay), George Gatsas (photos), and Michael Eby ("Art Review" on an exhibition by Graham Lambkin)

-144 pages
-size: 200 x 285mm
-edition of 2000

Notes: zweikommasieben is a magazine that has been devoted to the documentation of contemporary music and sounds since the summer of 2011. The magazine features artist interviews, essays and columns as well as photography, illustration and graphics. In addition, zweikommasieben organizes a variety of events, concerts, and performances.

The twentieth issue of zweikommasieben Magazin tries once again to trace what forces shape contemporary musical practice and its underlying aesthetic premises. It features interviews with artists like pianist and composer Kelly Moran, who discusses her desire to give a more palpable form to her emotions through her music. DJ Lyzza and performer Aya understand their work in terms of the impact it might have on the nightlife and its attitude towards minorities and marginalized groups. Kelman Duran, whose music offers a melancholic echo to the history of reggaeton, describes how he attempts to keep his compositions clear of most discursive ballast. These interviews (and more) are complemented with columns and contributions, including the poetry of Cia Rinne, a photographic essay by Georg Gatsas as well as pieces by Paul Woolford and Sea Urchin.

The artists featured and their musical practices may raise questions that have been exhaustively debated in other disciplines of art. However, these contexts are neither more suited to address them, nor have those questions been answered with any degree of finality. The latter claim, in particular, would be naive and zweikommasieben #20 proves that there are a myriad of ways of addressing these questions in aesthetic discourse.

Notes: For its 19th edition, Zweikommasieben presents a view on ambiguity as a hallmark of contemporary art and music, especially within its scene and culture. After all, one would be hard-pressed to classify the work of its artists in terms of a singular activity, style, scene, or context.

Felicia Atkinson for example, who has contributed a series of collages to this issue of Zweikommasieben, is not simply a musician, but also a poet, visual artist, publisher, label owner, and more. The DJ and producer Parris, who was interviewed for this issue, places himself in a musical "no-man's land," although he grew up listening to grime and dubstep. The feeling of not belonging has been an issue for Phillip Sollmann aka Efdemin throughout his entire career. Until recently, Sollmann was set on keeping two fields of interest- a career in techno and his pursues in sound art projects is separate from each other. In the interview he talks about how realizing that such a clear distinction was not necessary and how the resulting aesthetic cross-fertilization has had an impact on himself. Finally, Caterina Barbieri, Cam Deas, Kali Malone, and Robin Buckley aka rkss, who all pop up in this issue of Zweikommasieben in one way or another, all understand their craft as a rupture with established musical genres and associated aesthetic norms, albeit in different contexts and using different means.

There is no doubt that ambiguity, uncertainty, tension, and conflict lead to friction, but at the same time ambivalence, complexity, and multiplicity generate enormous aesthetic potential.

Notes: Latest issue of Zweikommasieben Magazine. It features interviews with Acolytes, Nkisi, DJ Heroin, Vladimir Ivkovic, Eartheater, Lorenzo Senni, Sue Tompkins, DJ Lycox, upsammy, and a portrait about Queeste. Furthermore, you'll find the essays "Echoes and Minerals," "I Dance Alone," "Platforms Beyond Prediction," and "Still Standing," as well as contributions by Tomoko Sauvage, Pierre Berthet, and Belia Winnewisser & Vinzenz Meyner in the magazine. Finally, there's the usual suspects aka the columns that are "Basslines," "Soundtexts" and "We Are Time."

Notes: In the 17th issue of zweikommasieben something that has been apparent from the beginning of the magazine - whose credo is to study the present - only seems increasingly true: in the supposed present, temporalities overlap and intersect. They burst out, reaching at once backwards and forwards.

The magazine features interviews with John Maus about the six years between the release of his last two albums, with Anna Sagstrom and Daniel Iinatti of Country Music discussing accelerationist force of globalization or with Alessandro Cortini on the private retrospective of 1970s Italy in Avanti. In those conversations the nature of time shows itself as enigmatic, fragmented and displaced.

On top, this issue features interviews with Anna Homler, Errorsmith, Further Reductions, Gabber Eleganza, Jasss, Ossia, Peter Rehberg and Renick Bell; conversations with Russell Haswell and between Christoph Fringeli, Simon Crab and Nigel Ayers; a portrait on Mmodemm; an essay by DeForrest Brown Jr.; columns on gender in dancehall ("Basslines"), authenticity of field recordings ("Track Down Fiction"), pictures from Georg Gatsas ("We Are Time") as well as poetry with "Sound Texts"; and contributions by Angoisse, Ipek Gorung & Ceramic TL and Jay Glass Dubs.

In zweikommasieben #17, the nature of time also shows itself in the design-a design initially looking for an aesthetic of speed but ultimately as much a reflection of pausing as of deceleration and acceleration. And in this attempt to give form to time, there's also the primordial-musical moment.

Notes: Zweikommasieben #16 features interviews with Steve Hauschildt, Laurel Halo, DVA Damas, Mechatok, Farai, Parrish Smith and portraits on Nina of Golden Pudel and V.I.S, as well as Casual Gabberz' Evil Grimace & Von Bikrav. There's also an extended mail exchange with Terre Thaemlitz, 'A Short History of the Aesthetics of Excess in Hip Hop', various columns and a photo essay, plus contributions by Das Ding, Macao, Laraaji and German Army.

Zweikommasieben is a Swiss magazine that has been devoted to the documentation of contemporary club culture since the summer of 2011. The magazine features artist interviews, essays and columns as well as photography, illustration and graphics. In addition, Zweikommasieben organizes concerts, parties, club nights, matinees, raves and other fun events in various cities.

Notes: Zweikommasieben is a Swiss magazine that has been devoted to the documentation of contemporary club culture since the summer of 2011. The magazine features artist interviews, essays and columns as well as photography, illustration and graphics. In addition, Zweikommasieben organizes concerts, parties, club nights, matinees, raves and other fun events in various cities.

Notes: Zweikommasieben is a Swiss magazine that has been devoted to the documentation of contemporary club culture since the summer of 2011. The magazine features artist interviews, essays and columns as well as photography, illustration and graphics. In addition, Zweikommasieben organizes concerts, parties, club nights, matinees, raves and other fun events in various cities.

Featuring: Noological Multiobjective Outlines, Endgame, Phuong-Dan, Carla dal Forno, Zuli, Ekman, Telephones, Broshuda, meandyou, etc.

Co-published with Motto Books.

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


A few years ago ZVEX Effects released the Candela Vibrophase, a candle-powered vibrato/phaser machined from solid brass and glass that used a mix of 1800s technology (a Sterling heat engine) and 60s/70s audio circuitry to create a lovely swirling effect. After numerous requests to put that sound into a guitar pedal, they came up with a way of dramatically broadening the spectrum of textures available using the original circuitry from the Candela.

It's presented to you here as the Vibrophase, a five-knob four-stage phaser that creates phase and vibrato nuances never heard before. Five knobs! Count 'em! Speed sweeps from maddeningly slow to puppy dog flippy, vibrato/phase sweeps from, erm, you'll figure that out, feedback sends the output back through the phaser again to raise intensity, and there are controls for the top end and bottom end of the sweep so you can completely tailor the sound to your song.

Notes: A few years ago ZVEX Effects released the Candela Vibrophase, a candle-powered vibrato/phaser machined from solid brass and glass that used a mix of 1800s technology (a Sterling heat engine) and 60s/70s audio circuitry to create a lovely swirling effect. After numerous requests to put that sound into a guitar pedal, they came up with a way of dramatically broadening the spectrum of textures available using the original circuitry from the Candela.

It's presented to you here as the Vibrophase, a five-knob four-stage phaser that creates phase and vibrato nuances never heard before. Five knobs! Count 'em! Speed sweeps from maddeningly slow to puppy dog flippy, vibrato/phase sweeps from, erm, you'll figure that out, feedback sends the output back through the phaser again to raise intensity, and there are controls for the top end and bottom end of the sweep so you can completely tailor the sound to your song.

Notes: A sub-heavy silicon fuzz with some new twists: An input impedance control (push/relax) that adjusts from passive pickups to line level. It works very well for re-amping bass tracks that needto be fuzzed up after tracking and keyboards. There's also a three-position sub control switch, a treble tone control, adjustable pulse width, and a wide fuzz depth control. More flexible than any silicon fuzz to date.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: Gating very complex sounds like fuzz and delay is always a challenge. The Loop Gate provides a loop switch with a built-in "perfect" audio gate (high headroom, no distortion, no hiss) that lets you set up a loop of pedals you can switch in and out of your signal path at will, but you have a couple of really fun options to control that loop that include a cross-fade "mix" option, as well as creating tremolo-like sounds with "chop" mode.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: This pedal is a modified version of our Box of Rock's Distortron Engine. The improvements include a gain boost switch for added sizzle and a sub control switch with 3 levels. The amounts were carefully selected to reduce "flubbiness" that occurs when using ampswith heavy low-end response. It would be immodest of me to suggest that this ZVEX effect is the greatest distortion pedal of all time, but it probably is. Try it last in your chain, and beat it up with your other effects... it stacks like a dream.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: Designed for bass, a favorite for guitar, this incredibly sub-frequency-preserving unit will hold on to the lowest lows like no fuzz ever heard before. It features a gentle gate for silencing your instrument between notes or phrases, and has an EQ control that smoothly selects between more bass and more treble.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: A wah-wah pedal with no rocker pot to wear out, it uses a proximity sensing radio transmitter so you can achieve super fast wah action and chewy sounds (pulling your foot quickly away), and it even has a Super Hard On built in so you can drive it to any volume you want.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: The Super Seek Wah is a hugely expanded 16 step version of our original Seek Wah II sequencer pedal.

Features include MIDI sync, tap tempo control, tap tempo sync, expression pedal control of speed or glissando, individual step glissando, 8 user programmable memory locations, and delta speed control.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: The Super Seek Trem is a much expanded 16 step version of our original Seek Trem sequencer pedal.

Features include MIDI sync, tap tempo control, tap tempo sync, expression pedal control of speed or glissando, individual step glissando, 8 user programmable memory locations, and delta speed control.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: The Super Ringtone is a greatly expanded 16 step version of our original Ringtone sequencer pedal.

Features include MIDI sync, tap tempo control, tap tempo sync, expression pedal control of speed or glissando, individual step glissando, 8 user programmable memory locations, and delta speed control.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: The Super Hard On, or 'SHO' as we fondly refer to it, is an ultra-transparent boost that goes from unity gain to a whooping 60 times the original size (watch out!), while adding a delightful high-end clarity with its 5 million ohm input impedance.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: The Super Duper 2-IN-1 has two of our infamous Super Hard Ons in one small box, plus a Master volume control that lets you use it as an overdrive/distortion with any input volume. The two channels can give any amount of gain, from a soft bluesy boost in two stages, to a crunchy rock level, to a wild sustaining beast.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: The Sonar is a "tremolo" pedal, but this one's different. This unit has the ability to chop up any signal you send into or out of it. Unlike most other tremolos, it can cut down your high gain signal to silence. It can also sound gorgeously transparent like a traditional tremolo. It does other fun stuff like increase or decrease tempo, duty cycle (amount of time the trem is ON in a given cycle), or both simultaneously on the fly. It also has tap tempo and a slew of advanced features (attack, release, and depth controls). Lastly, and perhaps most importantly, it has aZVEX Machine circuit built right into the box.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: This pedal was designed to emulate the sounds and textures of the Lo-Fi Loop Junky in real time, but it goes far beyond that. Click it on and mix your sparkly clear compressed signal with the smashed, lo-fidelity warbled signal and listen to it become a luscious emulsification that can be blended to the most perfect depth. Achieve new haunting chorus sounds and pulsating vibrato. Unusual and fun, you've never heard anything quite like it.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: The older brother of the Fuzz Factory has a theremin-like antenna that lets you adjust one of the knobs (STAB) by moving your foot or hand close to the copper plate, making it a big favorite of experimental noise fans, with its varying oscillation pitch and strange fuzz guitar interactions.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: Packed with knobs that let you control everything from tight, radically fuzzy sounds that gate off instantly when you stop playing, to intermodulating oscillations that fight for control of your guitar as your notes decay, to shortwave radio sounds, ripping velcro and octave-like fuzz. Now includes an on/off LED and DC power jack!

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: A version of the Fuzz Factory. This variation features a three position mini toggle switch. Setting 1 is a standard Fuzz Factory, settings 2 and 3 introduce "low" and "lower" frequencies to manipulate, oscillate, and mutate as you like. The Fat Fuzz Factory sounds fantastic on both guitar and bass!

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: This pedal was originally designed for J.Mascis. He requested two Box of Rock pedals in one box with two stomp switches. He uses it regularly now, but we did one (or two) better with the one we're releasing to the public... we made it so you can adjust the sub frequencies (like the Distortron), and you can convert either channel to a Super Hard-On. In this way, you can configure the pedal to be two Distortrons cascaded, two Super Hard-Ons cascaded (like a Super Duper 2-in-1), or a Box of Rock with boost, or a Super Hard-On going into a Box of Rock. Distortion/boost heaven!

Power supply is not included

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: This Box of Rock simulates Zachary's favorite amp turned up all the way, a 1966 Marshall JTM45. The tone control adjusts brightness and there's a high-headroom low-noise boost.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: The heaviest-sounding pedal in the ZVEX lineup, the BOM has a massive amount of distortion with great thump and excellent tone control, and includes a very effective noise-silencing gate feature which can be turned off and on with a footswitch. Gain adjusts from hard to harder.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: This is our take on capturing what is arguably the first and last word in all tube amp distortion for bass. The debate always starts and ends with the Ampeg SVT. The harder you dig the more it growls. The connection between your hands and that kind of natural tube distortion is primal, immediate, powerful, and musical.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: This pedal was designed to emulate the sounds and textures of the Lo-Fi Loop Junky in real time, but it goes far beyond that. Click it on and mix your sparkly clear compressed signal with the smashed, lo-fidelity warbled signal and listen to it become a luscious emulsification that can be blended to the most perfect depth. Achieve new haunting chorus sounds and pulsating vibrato. Unusual and fun, you've never heard anything quite like it.

Notes: With these you may modify older ZVEX pedals to accept 9v DC (center negative) power input. The standard type will fit all models except Probes.

Notes: The Silicon Fuzz Factory contains carefully selected silicon transistors that preserve the classic texture of the original germanium Fuzz Factory while providing temperature stabilization. This means that it can be used in very hot situations such as sunny outdoor stages and under hot lights where germanium fuzzes can change texture as their gain climbs wildly.

Packed with knobs that let you control everything from tight, radically fuzzy sounds that gate off instantly when you stop playing, to intermodulating oscillations that fight for control of your guitar as your notes decay, to shortwave radio sounds, ripping velcro and octave-like fuzz.

Notes: With these you may modify older ZVEX pedals to accept 9v DC (center negative) power input. This type will fit all Probe models.

Notes: This limited-edition pedal utilizes a NOS 1960s 2N404 germanium transistor and a modern PNP silicon transistor which, when combined, provide a more aggressive tone than our standard Fuzz Factory model.

Packed with knobs that let you control everything from tight, radically fuzzy sounds that gate off instantly when you stop playing, to inter-modulating oscillations that fight for control of your guitar as your notes decay, to shortwave radio sounds, ripping velcro and octave-like fuzz.

This pedal can run off a 9V battery or a standard centre-negative 9VDC power supply.

Assembled in Minneapolis, MN USA using high grade, through-hole components.

Notes: The Fuzzolo is a raging beast of a fuzz. We managed to squeeze this wild thing into a small box to save real estate on pedal boards, and because we could. The Fuzzolo has two controls: Volume (post gain), and Pulse Width. The Fuzzolo is equally devastating on guitar and bass.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: The Channel 2 is derived from the second channel of our Super Duper 2-in-1 pedal. This is a small footprint pedal that covers the range from unity gain line buffer, to a light transparent overdrive. Think of it as the second channel on your amp, or as a line buffer, or as a boost that adds sparkle.

Power supply is not included.

*For audio demo, please visit - https://soundcloud.com/zvex-effects

Notes: Introducing the Zumreed color collection, the Sfit headphones are smart and slim and come in ultra stylish colours with mirror finish. They feature simple and convenient white headband with foldable mechanism. You can listen boldly with these style-defining Zumreed headphones.

Notes: Zumreed's Sfit Graphic Headphones feature a range of trendy designs while mixing colors and graphic patterns. At the same time it combines the classic headphone outlook, creating a simple fashion but with individual style.

The Sfit Graphic Headphone is lightweight, compact, and convenient with its folding mechanism. The earpads are smooth and soft to stay comfortable on the ears.

Notes: Introducing the Zumreed Funky DJ Nano Turntable Speaker. This tiny turntable from Japan connects to your MP3 player so you can mix sound and scratch effects into the music you're playing. Comes with a USB cable for charging and a 3.5mm mini-jack lead for audio in/out.

Notes: The ZORX ribbon controller is an all analogue, made in the USA synth controlling labor of love. Hand built from high quality components it measures 22" X 1.5" X 1" and features a 400mm touch sensitive ribbon that controls pitch, filter, etc., a pressure sensor, a N/O or N/C gate function with a momentary push button, and an ancillary knob for volume, filter, or whatever you'd like.

Measures 22" X 1.5" X 1"

3 LED colors to choose from (other colors may be available, message us)

12v Ribbon for pitch, etc., w/range adjustment

Gate Out - On/Off/Touch Activated

Pulse Out

Pressure Sensor

N/O or N/C Gate/Function Mom. push button

Auxiliary knob for LFO rate, VCA, whatever

LED On/Off/Touch Activated

Textured opaque sidewalls, top, and base

Teflon tape for long lasting durability and smoothness.

3.5mm TS mono jack outputs

No computer/module/breakout box needed

Switching DC power adapter included. EU plug adapter included if needed.

Durable, custom made by hand, built to last

Made in the USA

Notes: The ZORX ribbon controller is an all analogue, made in the USA synth controlling labor of love. Hand built from high quality components it measures 22" X 1.5" X 1" and features a 400mm touch sensitive ribbon that controls pitch, filter, etc., a pressure sensor, a N/O or N/C gate function with a momentary push button, and an ancillary knob for volume, filter, or whatever you'd like.

Measures 22" X 1.5" X 1"

3 LED colors to choose from (other colors may be available, message us)

12v Ribbon for pitch, etc., w/range adjustment

Gate Out - On/Off/Touch Activated

Pulse Out

Pressure Sensor

N/O or N/C Gate/Function Mom. push button

Auxiliary knob for LFO rate, VCA, whatever

LED On/Off/Touch Activated

Textured opaque sidewalls, top, and base

Teflon tape for long lasting durability and smoothness.

3.5mm TS mono jack outputs

No computer/module/breakout box needed

Switching DC power adapter included. EU plug adapter included if needed.

Durable, custom made by hand, built to last

Made in the USA

Notes: The ZORX ribbon controller is an all analogue, made in the USA synth controlling labor of love. Hand built from high quality components it measures 22" X 1.5" X 1" and features a 400mm touch sensitive ribbon that controls pitch, filter, etc., a pressure sensor, a N/O or N/C gate function with a momentary push button, and an ancillary knob for volume, filter, or whatever you'd like.

Measures 22" X 1.5" X 1"

3 LED colors to choose from (other colors may be available, message us)

12v Ribbon for pitch, etc., w/range adjustment

Gate Out - On/Off/Touch Activated

Pulse Out

Pressure Sensor

N/O or N/C Gate/Function Mom. push button

Auxiliary knob for LFO rate, VCA, whatever

LED On/Off/Touch Activated

Textured opaque sidewalls, top, and base

Teflon tape for long lasting durability and smoothness.

3.5mm TS mono jack outputs

No computer/module/breakout box needed

Switching DC power adapter included. EU plug adapter included if needed.

Durable, custom made by hand, built to last

Made in the USA

Notes: The Zorx 1U CV Bus is an 84 HP 4 - 1 x 4 or 2 - 1 X 8 buffered mult with attenuation/attenuverting on each output for use with audio and CV signals.

There are four channels, each with four dedicated outputs, separated into groups of four. 4X4X4. Input a signal into any channel and use that channel's outputs to spread the input signal throughout your rig. With outputs spread out in this manner, it inspires creative modulation and patching.

Channel 1's input is normalled into Channel 2's input for use as a 1x8 mult. Likewise, Channel 3's input is normalled into Channel 4's input for use as a 1x8 mult. When nothing is patched into Channels 1 and 3,+5V is fed into each input for use as an offset throughout their respective channels with a peak to peak voltage of -5V to +5V available at each output.

Each output has attenuator/attenuverter potentiometer control. Center position is off - no signal at the output. These outputs are buffered so that with one input you can have four separate and different variations of the input signal at each of its corresponding outputs.

See-thru colour coded LED indicators denote which channel an output belongs to for easy maneuvering during live performance and in dimly lit situations, and there are also numbered dots below each potentiometer that denote that as well.

The Zorx 1U CV Bus uses +12V 90 mA and -12V 90mA, and doesn't need a +5V rail to operate. It has a depth of 27mm. The faceplate is black matte with copper.

The 20 HP Zorx SILENCER 1U CV BUS Expander is also available to buddy up with the 1U CV Bus.

The Zorx 1U SILENCER is a clickless 20 HP 4 channel performance silencing module that lets you manually switch each channel on and off, thereby muting it, with latching or momentarily capabilities. There is also a MIX OUT that sums all of the SILENCER's outputs into a single mono output. A connector cable [included] can be connected from the rear of the Zorx 1U CV Bus to the rear of the SILENCER which will take the last four outputs of the Zorx 1U CV Bus and duplicate them, normalling them to the corresponding inputs of the SILENCER. This normalization can be overridden by patching an input into each channel so that the SILENCER can act on its own or in tandem with the Zorx 1U CV Bus, or a combination of the two. Illuminated numbered dots correspond to the 4 channels of the 1U CV Bus for easy recognition.

The SILENCER can be used as a 4-channel on/off/(on) performance switch, a 4-channel audio or CV mixer, or a combination of the two while having control of which channels you want in the final mix.

The SILENCER consumes +12V 40mA and -12V 40mA and has a depth of 40mm.