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Notes: Based on the legendary Roland Space Echo, the RE-202 brings tape-style delay effects into the future. Classic vintage sound in a modern, user-friendly package.

Supplier's Notes:
A Masterpiece Returns in the Modern Era

Introduced in 1974, the Roland RE-201 Space Echo stands among the most legendary and sought-after effect units ever produced. This tape-based classic remained in production for over 14 straight years, and its distinctive rhythmic echo sounds, warm character, and highly playable sonic quirks still inspire musicians, producers, and audio mixers over four decades on.

Backed by intensive R&D and Boss' latest innovations, the RE-202 faithfully delivers the authentic sound and behaviour of the Space Echo like never before. Built by the company that designed the original, this advanced pedal captures the RE-201's magic in flawless detail, from the magnetic tape and motor properties to the vibrant spring reverb and colourful preamp circuit. And to take things even further, Boss have expanded the vintage Space Echo experience with lots of new features tuned for today's music.

Tape Echo Magic

Tape echo was the first delay effect and one of the first effect processors available for electronic musicians. In contrast with today's CPU-based digital units, a tape echo is a simple machine that uses a motor to pull magnetic tape across one or more record/playback heads. Warm, full, and dynamic, the tape echo sound is influenced by many factors. The ever-changing input level colours the sound with varying amounts of tape saturation and compression. In addition, motor speed fluctuations, friction, wow and flutter, and other elements introduce an appealing modulated character that's subtle and continually evolving.

RE-201 Space Echo: Simply Legendary

The RE-201 was a benchmark Roland product and one of the leading tape echo units of its era. It featured three evenly spaced heads that produced a wider range of echo effects than typical single-head designs, plus an innovative free-running tape system that provided superior performance with minimal tape wear. Grab-and-go controls enabled quick access to clean, single delays or various head combinations for dense, rhythmic echoes. A spring reverb tank was included too, making the RE-201 a one-stop shop for quality ambience effects. Last but not least, analogue preamp circuitry was another key ingredient in the Space Echo's rich sonic recipe.

A Masterpiece Reborn

Realized through the latest technologies and exhaustive analysis of several vintage RE-201s-including a pristine original unit from the BOSS and Roland factory archive-the RE-202 brings the complete Space Echo experience to life in a versatile modern pedal.

While previous BOSS designs captured the true sonic flavour and essential characteristics of the Space Echo, new advancements have allowed us to go much deeper than ever before. With the RE-202, Boss' engineers have fully reproduced all the complex, non-linear behaviours that contribute to the RE-201's immortal character. Everything that influences the sound was carefully examined and recreated with all-new algorithms, including the tape path, record/playback mechanism, motor variations, preamp coloration, tape age, spring reverb character, and more.

Retro Sound at Your Fingertips

The RE-202 delivers the full vintage vibe of the RE-201-without the need for regular tape replacement and hardware maintenance. All the core controls of the original are here, including the iconic 12-position mode selector. Every behaviour is replicated with complete accuracy, such as the gradual pitch change that occurs when the Repeat Rate knob is tweaked, or the cool runaway feedback that happens when the Intensity knob is maxed.

With selectable tape age and variable controls, you can dial in everything from a brand-new Space Echo to the worn character and quirks of a well-loved vintage piece. The Saturation control has been carefully calibrated based on the actual magnetic tape and preamp behaviours of the RE-201, with the sound becoming warmer and more compressed as you turn up the knob.

Sampling Frequency: 48 kHz

AD Conversion: 24 bits + AF method
AF method (Adaptive Focus method) This is a proprietary method from Roland & BOSS that vastly improves the signal-to-noise (SN) ratio of the AD converter.

DA Conversion: 32 bits
Processing: 32-bit floating point
Modes: 12 modes
Memory127 + Manual
Nominal Input Level: INPUT A/MONO, INPUT B: -10 dBu
Maximum Input Level: INPUT A/MONO, INPUT B: +7 dBu
Input Impedance: INPUT A/MONO, INPUT B: 1 M ohm
Nominal Output Level: OUTPUT A/MONO, OUTPUT B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, OUTPUT B: +7 dBu
Output Impedance: OUTPUT A/MONO, OUTPUT B: 1 k ohm
Recommended Load Impedance: OUTPUT A/MONO, OUTPUT B: 10 k ohms or greater
Bypass: Buffered bypass
Controls: ON/OFF switch, MEMORY switch, TAP switch, SATURATION knob, WOW & FLUTTER knob, MODE SELECTOR knob, BASS knob, TREBLE knob, REVERB VOL knob, REPEAT RATE knob, INTENSITY knob, ECHO VOL knob, MEMORY button, INPUT button, TAPE button

Connectors: INPUT A/MONO jack, INTPUT B jack, OUTPUT A/MONO jack, OUTPUT B jack: 1/4-inch phone type
CTL 1, 2/EXP jack: 1/4-inch TRS phone type
MIDI (IN, OUT) jacks: Stereo miniature phone type
DC IN jack
USB port: USB micro B-type (program update only)
Power Supply: AC adapter
Current Draw: 140 mA
Accessories: AC adapter, Owner's Manual, Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Rubber foot

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

Size & weight

Width: 192 mm / 7-9/16 inches
Depth: 133 mm / 5-15/64 inches
Height: 52 mm / 2-3/64 inches
Height (including rubber foot): 53 mm / 2-3/32 inches
Weight: 860 g / 1 lb 15 oz

Notes: HI POWER is Crazy Tube Circuits' next endeavour in pedal + amp-in-a-box overdrives recreating legendary sounds, following the success of Crossfire and Unobtanium.

It was inspired by the sonic combination of two British tone machines. The almighty Colorsound Power Boost meets the blistering high-headroom Hiwatt amp.

While the combination of these two units directly hints at the gear setup of David Gilmour and especially the gear used on Pink Floyd's album: Wish You Were Here (think the guitar solo sounds of "Shine on you Crazy Diamond", "Have A Cigar") the sonic options are endless.

The orange enclosure silicon transistor circuit (Colorsound Power Boost) can deliver from a transparent clean boost to an all-out fuzz driving a tube amp to sonic bliss. Crazy Tube Circuits set out to clone the original unit featuring the true-to-the-original spec BC184 transistors running on 18V DC (via an internal voltage booster circuit).

The ultra-flexible 2-band Baxandall EQ circuit can add bite and low-end rumble to any setup. Crazy Tube Circuits used a reverse log gain pot (labelled as volume), compared to the linear taper pot found in the original units and acted as an on/off switch, to be able to set the amount of boost/overdrive more precisely. While the earlier units didn't feature a master volume control (only as an aftermarket mod - Pete Cornish made an external unit master volume for David Gilmour's Power Boost) Crazy Tube Circuits chose to include one that is setup in a way so that when it is all the way clockwise it is bypassed. Later versions of the Power Boost had 9V power supply and were renamed as the "Overdriver" due to the lower headroom and their ability to drive the signal earlier. They were offered in a grey enclosure and can be seen in the gear setups of Jeff Beck, Marc Bolan, etc. Crazy Tube Circuits chose to incorporate this version as well with a flip of a toggle switch (PWR-ODR toggle switch).

On the left side of the HI POWER you will find an all-analogue circuit set out to emulate the sound and feel of a Hiwatt amp. Following the path of the famed British tube amplifier, this circuit offers authentic amp tone and feel resembling guitar tones from guitar greats like David Gilmour, Pete Townsend, Jimmy Page, Noel Gallagher to name a few. From the big bold high-headroom clean sounds to the face-melting crunchy tones.

True to the last detail, Crazy Tube Circuits have included the full EQ section along with a presence control located at the negative feedback of the power amp simulation circuit. A headroom toggle switch selects between the high headroom 100w power section provided by a quartet of EL34s (think Hiwat DR103), or the lower headroom and compression provided by a 50W power section with a pair of EL34s when hit hard (think DR504). Similar in operation to the original amps the master volume was designed to produce more gain at higher settings.

Crazy Tube Circuits taken the design a step further by adding a switch to select between input channels of the amplifier. You can select between the full response of the normal channel of the amplifier, the increased presence and tight low end of the bright channel input or the "Gilmour-ish" enhanced frequency response and added gain of those inputs linked together. This follows the modifications that Pete Cornish did to all David Gilmour's Hiwatt amps.

Like their other dual overdrive/amp-in-a-box designs, Crazy Tube Circuits also included a passive effects loop to give you the option to connect your beloved pedals between your booster/overdrive and amp in a box or use the two sections as separate and independent effects when using an external bypass switcher/looper. Gilmour enthusiasts will love to insert their Big Muff, Tube Driver and Phase 90 in there. Note that all pedals inserted in the passive effects loop are still in the signal chain when any or both sections of HI POWER are in bypass.

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

All-analog dual booster/overdrive - amp in a box.
Recreates the tones of the legendary setup used by David Gilmour in the recordings of Pink Floyd's Wish You Were Here album.
Right side: Faithful reproduction of the Colorsound Power Boost/Overdriver circuits with true-to-the-original-spec BC184 transistors.
Controls: gain, bass, treble, master, voicing toggle.
Wide gain range control: from transparent boost to gnarly and fuzzy overdrive.
Two-band (treble & bass) Baxandall EQ.
Master knob sets overall output. Huge amount of dB boost available.
Toggle switch to select between the 18V Power Boost style circuit or the 9V Overdriver style circuit.
Left side: Hiwatt AMP in a box overdrive.
All analog simulation of the preamp and power amp sound and response.
Controls: gain, bass, middle, treble, master, input channel toggle switch, headroom toggle switch.
Gain control: from clean to big bold British crunch/overdrive.
3-band Hiwatt style EQ (bass, middle, treble).
Presence control follows the original design/is located at the negative feedback of the power amp simulation circuit to control the amount of upper mid and high frequencies.
Master knob sets overall output volume. Designed to respond like the original control producing more gain at higher settings.
Input channel toggle switch selects between normal, bright, or linked input channels of the AMP for different voicing and gain levels.
Headroom toggle switch selects between the high headroom and dynamic response of a 100W amp or the lower headroom and compression of a 50W power amp.
Independent operation of the BOOST/OVERDRIVE and AMP sections
Click-less true bypass design via high-quality relays for each section.
2 Footswitches / 2 Status LEDs - one for each effect section.
Power-up bypass/engage preset function for the footswitches.
Top-mounted jacks
Passive series effects loop to connect pedals between the two sections or use them separately as independent effects.
Power Supply: Use only 9V DC, 2.1 mm x 5.5 mm, center negative (not included).
Runs internally at 18V DC (via voltage doubler circuit) for higher headroom and tube-like performance.
Current consumption: 84mA.
British Racing Green die-cast enclosure with color-coded lettering for the control section (orange for BOOST/OVERDRIVE section, white for AMP section).
Dimensions: (W x L x H): 119 x 97 x 53 mm.
Weight: 444 g.
Made in Greece.

Notes: The HRM V2 is designed to achieve the overdriven sounds of a D style amp with the HRM EQ mod. This EQ mod creates a very low-mid centric throaty sound where the guitar frequencies live. The touch sensitivity and quickness gives the effect of immediacy and cuts through the mix.

For this V2 version J Rockett were able to spend about 2 years living with an actual Dumble Amplifier with the HRM EQ mod, and attention was paid to the subtle nuances to make an even better version than the previous HRM. This pedal, even at lower gain settings, will bloom and feedback making it feel like the real thing. Some very nice NOS parts were that enhance the authenticity of the V2 version and most importantly it makes it fun to play.

One of the great happy accidents is the pedal can achieve some of THE best Tube Screamer sounds you could ask for with more control over the EQ.

Successor of HRM v1 but dramatic improvement when it comes to authenticity and closeness to a real Dumble amplifier.

Based on an ultra-rare, actual (!) Dumble amplifier with HRM mod, distinguishing it from HRM v1, which was based on JRAD's 'Dude V2'.

Developed by J. Rockett after living with the actual Dumble amp for over 2 years, ensuring meticulous craftsmanship.

Exceptional touch sensitivity, quick responsiveness, and ability to cut through the mix.

HRM (Hot Rubber Monkey) is a popular modification by Howard Dumble, adding gain stages and tonal options, enhancing versatility and sonic capabilities.

Notes: Music's best octave pedal in a powerhouse pico package!

EHX's smallest and most powerful compact Polyphonic Octave Generator yet. The Pico POG takes the streamlined simplicity of the Micro and Nano POGs and fits it all into an ultra-compact chassis and adds a powerful tone control. The tightest octave effect now fits on the tightest of pedalboards.

The EHX Pico POG features a lighting fast feel that will track every note and chord you play with precision. Dial in Sub Octave to add stumble rumble or monstrous thunder. Add Octave Up for ethereal air or max it out to shred into another galaxy. Perfectly blend 3-voice tones for fat synthy madness. The 3 mode Tone control lets you tailor your sound to fit into any pocket no matter how massive or small.

Controls on the Pico POG include dedicated volumes knobs for the SUB OCTAVE, OCTAVE UP, and DRY voices. These three controls act as a mixer for infinite possible voice mixes. The TONE knob features three modes controlled by the FILTER button. In Tone Mode, the knob acts as a tilt-EQ with a flat frequency response in the center, more treble and less bass as you turn the knob clockwise, and less treble and more bass as you turn the knob counterclockwise. In this mode, the EQ is applied to all 3 voices. In Low Pass Filter mode, the knob cuts highs in the Sub and Octave Up voices, while High Pass Filter mode cuts lows in the Sub and Octave Up Voices.

Lightning-fast tracking with perfectly precise octave tones

3 volume knobs control level of SUB OCTAVE, OCTAVE UP, and DRY tones

TONE knob with 3 filter modes

Tone Mode applied tilt-EQ to all output

Low Pass Mode applies a resonant low pass filter, which allows low frequencies to pass while cutting higher frequencies of the Sub and Octave Up voices

High Pass Mode applies a high pass filter, which allows high frequencies to pass while cutting lower frequencies of the Sub and Octave Up voices

Power adapter included

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 3.65 x 2.0 x 2.0
Current Draw: 100mA
Year Released: 2023

Notes: This is a digital effects pedal in a compact format, including reverse delay - pitch shifter - delay and modulated reverb.

Effects engine is 12 bit and includes analogue filtering before and after digital conversion, based on vintage eighties units' topologies, but it allows for all the effects to be simultaneously available.

Despite its complexity, operation is simple and intuitive, all functions are directly controlled by the corresponding knob.

Pots controls:

1-Blend controls mix of effects over final output signal
2-Octave blend mix a pitched signal to the input of the reverb
3-Octave -1 +1 controls tuning of pitch component
4-Repeat controls feedback of delay component 5-Balance controls mixture from reverb and
delay.
6-Sample rate controls the frequency operation for the whole pedal, modifying delay time
and reverb decay.
7-Reverse blends the reverse component with the direct signal.

Indicators:

Signal: indicates clipping, the input path has compression and limiting so it gives an idea of how hard you are driving the pedal.

Tap: blinks at the rate of the delay, depending on tap and sample rate.

Tap/freeze: turns red while tapping time, blue indicates reverb freeze.

Bypass: global effect on/off

Footswitches:

1-Tap/ freeze works as a tap tempo for the delay and reverse delay, and freeze/infinite for reverb, selected by the associated toggle switch. Max delay time is around 6 seconds, depending on sample rate setting.

2-Bypass: buffered bypass for the whole pedal.

Power consumption: 150 milliamps.

Notes: The Beam Splitter is a single pedal meant to create a massive sound. It is three different takes on overdrive, voiced to work together perfectly. Two of them can be delayed in time, and all three can be run in parallel or split out to three separate sources.

Beam Splitter takes a mono input and makes it wildly bigger than before. Things stretch in time and compress in dynamics, and a rich harmonic wash is achieved without sacrificing clarity.

To be washed in sound, does it have to be one big sound, or will a number of small sounds do the trick? To create a wall of sound, same question, but also how does it stay solid? How can sound waves make a wall, and is it just a moment in time; will it always crash down?

Why record your guitar thrice when Beam Splitter exists?

Beam Splitter is best seen in three sections - Purple, Green and Blue.

Purple is a hard-clipping distortion that can be seen as the core gain sound of Beam Splitter.

Of Beam Splitter's three gain sections, it is arguably the heaviest and most compressed. It has three controls, identified by their purple knobs and labels - Gain, Volume and Tone.

Green is an overdrive with both soft and hard clipping. It is the lightest and brightest of the three gain sections in Beam Splitter. Also featuring Gain, Volume controls the green gain circuit features a Time knob, which sets the delay time, up to 125 sections. When blended in parallel with the other drives, this delay time can create anything from tight comb filters to loose doubling delays to short slapback.

Additionally, there is a Decay knob, which sets the feedback of the delay, from one repeat up to many repeats trailing off. In comb filter settings this can increase resonance.

Blue is a transistor Overdrive and the most neutral and reactive of the three gain circuits, with a gain range somewhere in the middle. Its Gain switch sets the amount of breakup. In the down setting, it is less overdriven, with less compression in the mids and highs. In the up setting, it is more overdriven and aggressive. It also boasts Time and Decay controls, on top of the Tone and Volume knobs and gain switch.

The pedal's Deviate control is a shared knob that sets the amount of random variation in the delay time of the Blue and Green drive sections. The more it is turned up, the farther their delay times can deviate, and the faster those deviations happen. When at zero, the delay times are fixed, above zero, each Time knob sets that sections delay time.

Deviate intends to create a more realistic sense of doubled players, with random variations in timing as if you were playing to the track twice. It can also give the impression of flanging, chorusing or broken vibrato, depending on the settings.

The Expression jack is used to externally control the Deviate knob using a TRS expression devices with standard polarity and tip connected to the wiper.

Beam Splitter has a mono input. From there the signal goes out to Purple, Green and Blue drive sections in parallel. If only plugged into the Purple Out Jack, all three sections will join in parallel mono at that Output. Green and Blue can each be broken off into their own output by plugging into the corresponding Out jacks.

In this way you can have a full 'stereo' setup.

Notes: The DISTURBANCE is an extreme filter, flanger, and phaser with modulation like you've never heard before.

DISTURBANCE's controls allow for a wide range of sounds to be sculpted perfectly to your needs. The 'Tensity' knob changes the feedback amount and structure of all effects, with two totally different intensity options to choose from for each disturbing modulation. The Filter allows for deep swells and piercing resonance with highpass and lowpass options.

The Flanger creates a classic modulation sound with options for watery, multi-tap delay matrixes or a screaming flange with distorted feedback. Last but certainly not least, the Phazer mode is a psychedelic 8-stage phaser sound with options for mellow filtered scoops on one side and combination phaser/flanger on the other.

But that's not all - the pedal introduces a brand-new way to control an effect: The custom designed modulation core lets you pause the LFO where it stands and listen to the strange world of frozen modulation. Not only does this new system control its own sounds, the DISTURBANCE includes a CV OUT jack which lets the modulation control signal be sent to whatever device dares let it in.

Go forth and DISTURB and bend, break, and twist your sound!

Notes: Simply sophisticated

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

The OD-200 Hybrid Drive brings next-level sound, feel, and flexibility to overdrive and distortion, combining decades of BOSS tone expertise with innovative technologies. Powered by hybrid analogue/digital circuitry, this dream pedal delivers any drive tone you can imagine via 12 primary modes, 15 boost types, series/parallel gain paths, and more. There's even an advanced gate on board, ideal for both eliminating noise and adding tightness to high-gain drive tones.

Version 1.1 Update: User Memory Expansion

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

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

Premium Drive Tones with BOSS's Advanced Hybrid Design

The OD-200's next-generation hybrid design seamlessly brings analogue and digital clipping circuits together for the best of all worlds, putting a universe of expressive drive colours under your fingers. Twelve modes offer a variety of premium overdrive, fuzz, and distortion sounds, including a high-gain Brown mode derived from the acclaimed Katana amplifier series. And with the three high-performance "X" drive modes powered by BOSS's cutting-edge MDP tech, you'll experience enhanced definition, clarity, and dynamic response that's perfect for modern playing styles.

Powerful Gain Shaping with Series and Parallel Boosts

While each of the OD-200's 12 main drive modes sound fantastic on their own, you're able to craft tones even further with 15 switchable boost circuits. Placing the boost in series lets you create traditional stacked drive voices, complete with post-gain level to balance with the bypassed sound or kick up the volume for solos. The boost circuit can also be used in parallel with the main mode, enabling side-by-side blending for an unlimited range of unique drive textures.

Kill the Noise and Tighten Your Tone

With its integrated gate circuit, the OD-200 always keeps your signal clear and quiet when you're not playing. The default setting is a great starting point, providing gentle, transparent gating that works well for general playing styles. The decay and threshold controls can also be adjusted for super-fast gate performance when needed, perfect for bringing tightness to heavy modern styles that combine full-throttle gain with precision staccato riffing.

Dial in Sounds Fast

The OD-200 offers a ton of advanced capabilities, but remains as simple to use as any regular distortion stomp. With dedicated controls, you can quickly dial in the gain and overall level for any selected mode, then sculpt the tone with wide-ranging low, mid, and high EQ. There's also a multi-function parameter knob, which changes operation based on the group selected with the panel's parameter switch and LED status indicators.

Save and Recall Your Favourite Setups

The OD-200 features 127 user memories plus a real-time panel setting, giving you 128 total setups to choose from. Any range of consecutive memories and the panel setting can be assigned for scrolling access from a footswitch. It's also possible to limit the scrolling range or assign memories directly for even faster recall.

Specifications

Sampling Frequency: 96 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point
Drive Circuit: Analogue + Digital

Modes:
12 modes
OVERDRIVE, BLUES, SCREAM, CNTR OD, X-DRIVE, DIST, X-DIST, STACK DRIVE, FAT DIST, BROWN, X-METAL, FUZZ

Memory: 127 + Manual
Nominal Input Level: INPUT: -10 dBu
Maximum Input Level: INPUT: +7 dBu
Input Impedance: INPUT: 1 M ohm
Nominal Output Level: OUTPUT: -10 dBu
Maximum Output Level: OUTPUT: +7 dBu (Load Impedance: 220 k ohms or greater)
Output Impedance: OUTPUT: 1 k ohms
Recommended Load Impedance: OUTPUT: 10 k ohms or greater
Bypass: Buffered bypass

Controls: ON/OFF switch, MEMORY/BOOST switch
MODE knob, DRIVE knob, LEVEL knob, PARAM knob, LOW knob, MIDDLE knob, HIGH knob
PARAM button, MEMORY button
Display: 7 segments, 3 characters (LED)
Indicator: PARAM indicator, MEMORY (MAN, 1--4) indicators

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

Power Supply: Alkaline battery (AA, LR6) x 3, AC adaptor (sold separately)
Current Draw: 220 mA

Expected Battery Life Under Continuous Use:
Alkaline: Approx. 6 Hours
* These figures will vary depending on the actual conditions of use.

Accessories:

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

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

Size & weight:

Width: 101 mm / 4 inches
Depth: 138 mm / 5-7/16 inches
Height: 63 mm / 2-1/2 inches
Height: (including rubber foot)65 mm / 2-9/16 inches
Weight: 600 g / 1 lb 6 oz
Weight (including battery): 670 g / 1 lb 8 oz

Notes: Part of the new Boss 200 series, the RV-200 is a seriously classy reverb. With a choice of 12 algorithms, things quickly move from classic ambience to the pitch-shifted arpeggiated madness of the new Arpverb program.

Supplier's Notes:
Ambient Bliss

The RV-200 delivers inspiring reverbs and premium sound in the streamlined BOSS 200 series design. Twelve versatile reverb types-including the newly developed Arpverb-provide everything from subtle spatial colour to complex, dreamy textures for ambient explorations. Quickly dial in sounds with the fast-access interface. Save favourites in 127 memories. And take performances to the next level with flexible onboard footswitches, deep external control support, and head-turning creative tools like Warp, Twist, and more.

Studio-Grade Processing

The RV-200 features a powerful reverberation engine with class-leading sound quality, backed by custom BOSS DSP, 32-bit AD/DA, 32-bit floating point processing, and a 96 kHz sampling rate. Every algorithm offers true studio-grade performance, with exceptional detail and definition from the shortest early reflections to long, floating tails spanning multiple seconds.

Twelve Distinctive Reverbs

From essentials like Room and Hall to deeply immersive reverbs like Shimmer, Slowverb, and the cool new Arpverb, the RV-200 gives you the ambient colours you need for every song and style.

Room

Simulates the reverberation characteristics of a small room. Select from four room sizes with the Param knob.

Hall

Simulates the reverberation characteristics of a concert hall. Select from three hall sizes with the Param knob.

Plate

Simulates the reverberation characteristics of a studio plate reverb. Balance the high and low damping of the reverb with the Param knob.

Spring

Simulates the distinctive sound of the hardware spring reverb effect found in guitar amplifiers. Select the number of springs with the Param knob.

Shimmer

Creates long, dreamlike reverberations rich in harmonic content. Adjust the harmonic character and diffusion with the Param knob.

Arpverb

A newly developed BOSS reverb that creates an arpeggio type of sound with evocative pitch-shifted tails. Use the Param knob to adjust the attack of the arpeggio sound.

Slowverb

A sweet ambient reverb with gentle attack and soft harmonics. Param adjusts the amount of direct sound blended with the reverb, allowing you to create deep, immersive tones.

Modulate

Adds a modulation effect to a rich hall reverb sound. Adjust the modulation depth with the Param knob.

+Delay

Combines a delay with reverb, with the length of both effects controlled with the Time knob. Use the Param knob to adjust the delay level.

Lo-Fi

A specialty reverb with limited bandwidth and added distortion. Adjust the distortion amount with the Param knob.

Gate

A distinctive reverb effect that abruptly cuts off the reverb tail. Use the Param knob to control the timing of the gate effect.

Reverse

Plays the reverb sound in reverse. Adjust the high-frequency character with the Param knob.

Instant Sound Creation

Like all 200 series pedals, the RV-200 offers a powerful yet intuitive panel that lets you realize great sounds with minimal effort. Along with core parameters such as reverb time, effect level, and pre-delay, there are variable high and low filters to perfectly balance the verb for your application. You also have a density control to adjust the weight of the sound, plus a parameter knob with access to multiple sound-shaping tools that are unique to each type.

Expressive Performance Control

The RV-200 includes memories for storing 127 reverb sounds, so your favourite setups are always ready to go. Two onboard footswitches pack a lot of performance versatility, with numerous options to reassign their targets to suit your needs. For example, you can bypass the effect, scroll through memories, and activate a Hold function to carry on the reverb effect for as long as the switch is pressed. It's also possible to assign powerful performance effects such as Warp, Twist, and Fade.

Specifications

Sampling Frequency: 96 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point
Modes: 12 modes- ROOM, HALL, PLATE, SPRING, SHIMMER, ARPVERB, SLOWVERB, MODULATE, +DELAY, LO-FI ,GATE, REVERSE
Memory127 + Manual
Nominal Input Level: INPUT A/MONO, B: -10 dBu
Maximum Input Level: INPUT A/MONO, B: +7 dBu
Input Impedance: INPUT A/MONO, B: 2 M ohms
Nominal Output Level: OUTPUT A/MONO, B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, B: +7 dBu
Output Impedance: OUTPUT A/MONO, B: 1 k ohm
Recommended Load Impedance: OUTPUT A/MONO, B: 10 k ohms or greater
Bypass: Buffered bypass
Controls: ON/OFF switch, MEMORY/HOLD switch, MODE knob, TIME knob, PRE-DELAY knob, E. LEVEL knob, PARAM knob, LOW knob, HIGH knob, DENSITY button, MEMORY button
Display: 7 segments, 3 characters (LED)
Indicator: DENSITY indicator, MEMORY (MAN, 1--4) indicators

Connectors
INPUT (A/MONO, B) jacks, OUTPUT (A/MONO, B) jacks: 1/4-inch phone type, CTL 1, 2/EXP jack: 1/4-inch TRS phone type, MIDI (IN, OUT) jacks: Stereo miniature phone type, DC IN jack, USB port: USB2.0 micro B (program update only)
Power Supply: Alkaline battery (AA, LR6) x 3, AC adapter (sold separately)
Current Draw: 260 mA

Expected Battery Life Under Continuous Use: Alkaline: Approx. 4 Hours
* These figures will vary depending on the actual conditions of use.
Accessories: Leaflet "USING THE UNIT SAFELY", Leaflet "To obtain the Owner's Manual", Alkaline battery (AA, LR6) x 3, Rubber foot x 4

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

Size & weight

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

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


The EHX Epitome is the quintessence of guitar effects! This powerful digital multi-effect begins with the flawless polyphonic tracking of the Micro POG. Next is the Stereo Electric Mistress. Creamy stereo flanging and chorus weave and undulate for the richest modulations. Finally, the Holy Grail Plus wraps you in a silken shroud of luxurious reverb. Shimmer mode reroutes the effects chain for heavenly modulated ambience!

The polyphonic Micro POG provides glitch-free octaves above and below your actual pitch
Stereo Electric Mistress adds EHX's signature stereo flanging and chorus
Holy Grail Plus lets you choose from Spring, Hall and Room reverbs, plus Flerb
Shimmer Mode re-routes the effects' chain and opens the door to a world of amazing sonic discovery
Individual footswitches plus dedicated controls for all three effects
Power adapter included

Specifications:
Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 5.75 x 4.75 x 2.5
Current Draw: 185mA
Year Released: 2013

Notes: Dial in Professional Sounds in Seconds

The BOSS ME series has been a favourite of performing guitarists for over three decades, combining multi-effects power with intuitive hands-on control for crafting tones in seconds. The ME-90 is the most advanced ME model to date, offering exceptional audio quality, flagship-grade AIRD amp models, IR loading, an effects loop, and more. Compact, battery-powered, and filled with premium BOSS tones, this versatile all-in-one processor makes it easy to build customized sound setups for every playing situation.

Fast Sound Creation

With its knob-driven interface and diverse effects selection, the ME-90 lets you build configurations and tweak tones with the ease of a stompbox-filled pedalboard-without the hassle of fastening tape, power distribution, and multiple connection cables. Just dial up an amp model or effect type within a category and turn the knobs to get the sound you want. There are 36 preset patches with ready-to-play pro tones, plus 36 user patches for storing your custom creations.

Flexible Real-Time Control

The ME-90 features eight footswitches with smooth, quiet operation and an expression pedal with an integrated toe switch. Use Memory mode to call up complete patch setups with the footswitches, and then switch to Manual mode for direct on/off control of each effect category within the patch. The footswitch LEDs light in different colours for quick identification in the heat of a performance. It's also possible to set all LEDs to light in a fixed colour for each mode if desired.

High-Quality BOSS Effects

The ME-90 puts a massive library of BOSS effects at your command, offering seven different categories filled with selections derived from the flagship GT-1000. Everything you need is here, from overdrives and distortions to pitch/mod effects, delays, and high-quality reverbs. You also get 11 dedicated Pedal FX, a looper, and specialized effects such as acoustic simulation and down tuning. There are 60 effect types in total, with access to over 20 more via BOSS Tone Studio. A send/return loop is available for external pedals, complete with the ability to save the on/off status in patches and place the loop before or after amp models in the signal chain.

Premium Amp Sounds with AIRD Technology

Along with its effects, the ME-90 includes amp models ported from the GT-1000, driven by our advanced AIRD technology for authentic tube tone and touch response. Eleven onboard amp types offer everything from clean combo sounds to punishing high-gain stacks, and you can access more selections in BOSS Tone Studio. Each amp includes a dedicated cab sound for connecting to a PA or recording device, and you can load three of your favourite speaker IRs to personalize sounds to your taste.

Edit, Customize, and Expand

BOSS Tone Studio for macOS and Windows extends your creative range, allowing you to edit tones and change out some amp and effect types with alternate selections. In addition, you can save and organize patches for different gigs, download pro setups at BOSS Tone Central, and swap patches with the ME-90 community on BOSS Tone Exchange. The ME-90 also supports the optional Bluetoothr Audio MIDI Dual Adaptor, enabling you to stream music from a mobile device and wirelessly shape tones using the dedicated BTS editor app for iOS and Android.

Light, Durable, and Ready to Travel

The ME-90 is lighter than its previous generation model while maintaining the rock-solid durability that BOSS is famous for.

Specifications
Sampling Frequency: 48 kHz
AD Conversion: 24 bits + AF method
AF method (Adaptive Focus method) This is a proprietary method from Roland & BOSS that vastly improves the signal-to-noise (SN) ratio of the AD and DA converters.
DA Conversion: 32 bits
Processing: 32-bit floating point
Effects: 97 Types
Memories: 36 (User) + 36 (Preset)
Phrase Loop: 38 sec. (MONO)
Tuner Internal Detection: +/-0.1 cent
Nominal Input Level: INPUT: -10 dBu, RETURN: -10 dBu
Maximum Input Level: INPUT: +7 dBu, RETURN: +7 dBu
Input Impedance: INPUT: 1 M ohm, RETURN: 1 M ohm
Nominal Output Level: OUTPUT (L/MONO, R): -10 dBu, PHONES: -10 dBu, SEND: -10 dBu
Output Impedance: OUTPUT (L/MONO, R): 1 k ohm, PHONES: 44 ohms, SEND: 1 k ohm
Recommended Load Impedance: OUTPUT (L/MONO, R): 10 k ohms or greater, PHONES: 44 ohms or greater, SEND: 10 k ohms or greater

Controls:BANK DOWN/AMP switch, BANK UP/EQ switch, CTL/REV switch, MEMORY/MANUAL switch, 1/COMP switch, 2/OD/DS switch, 3/MOD switch, 4/DELAY switch, PEDAL FX switch, Gt. AMP/LINE switch, POWER switch, EXIT button, WRITE button, CTL button, EDIT button, PREAMP TYPE knob, GAIN knob, BASS knob, MIDDLE knob, TREBLE knob, LEVEL knob, REVERB knob, COMP/FX1 TYPE knob, SUSTAIN/SENS/-1OCT knob, ATTACK/TONE/-2OCT/DEPTH knob, LEVEL/PEAK/DIRECT knob, OD/DS TYPE knob, DRIVE knob, TONE knob, LEVEL knob, MOD TYPE knob, RATE/KEY knob, DEPTH/HARMONY knob, E.LEVEL/RESONANCE knob, DELAY TYPE knob, TIME knob, FEEDBACK knob, E.LEVEL knob, OUTPUT LEVEL knob, PEDAL FX TYPE knob, PEDAL FX pedal
Display: 7 segments, 2 characters (LED)

Connectors: INPUT jack, OUTPUT (L/MONO, R) jacks, SEND jack, RETURN jack: 1/4-inch phone type
PHONES jack: Stereo miniature phone type
USB COMPUTER port: USB Type-C(R)
Bluetooth ADAPTOR connector: Dedicated connector
DC IN jack

Power Supply: Alkaline battery (AA, LR6) x 4 or AC adapter
Current Draw: 190 mA

Expected battery life under continuous use:
Alkaline battery: Approximately 6.5 hours
* This can vary depending on the specifications of the batteries, capacity of the batteries, and the conditions of use.
Accessories: STARTUP GUIDE, Alkaline battery (AA, LR6) x 4, Leaflet "USING THE UNIT SAFELY"

Options (sold separately)
AC adaptor: PSA-S series
Bluetooth(R) Audio MIDI Dual Adaptor: BT-DUAL
Carry Bag: CB-ME80,CB-BU10

Size & weight

Width: 443 mm / 17-1/2 inches
Depth: 220 mm / 8-11/16 inches
Height: 67 mm / 2-11/16 inches
Maximum Height: 93 mm / 3-11/16 inches
Weight(including battery): 2.9 kg / 6 lb / 7 oz

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: Deluxe version of Hungry Robot's excellent lo-fi Wardenclyffe pedal, introducing elements like Snake (white noise) and Campfire (vinyl crackle) to your signal.

Supplier's Notes:
This pedal is a Deluxe expansion of the Wardenclyffe pedal, with the same great Wardenclyffe vibes, and base circuit and coding. Here's what's new (spoiler: it's a lot).

The Deluxe now has tap tempo control, as well as a wider range of modulation rates, and an LED rate indicator. Also new is an independent control over the level of the ambient PAD. The CLOCK knob controls the operating frequency of the DSP.

Lower frequencies turn the signal into an ultra-muddled, borderline unusable, muddled lo-fi mess. The DETUNE toggle splits the signal into two and tastefully detunes one of them for a lush chorus effect. The CRUSH toggle adds a gnarly bit crusher to the signal.

The three small knobs on top are a Vinyl Noise simulator, to mimic an old record player. The Snake knob adds a filtered white noise/hiss to the mix. The Campfire knob adds a crackle effect. The Pop knob (adds a random popping effect. The Wardenclyffe was already a very solid pedal, but it's now got a claim to be the most feature packed lo-fi pedal out there.

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: EROS - Boost / 3-Band EQ

EROS is not your typical boost. It will boost clean without overdrive, add a little grit, or add distortion.

It has a 3-band active EQ for precision sculpting.

Place it in front of your amp or pre-amp to add volume or grit to a clean or crunch channel. Or, sculpt your amp's distortion response, as you would with a typical boost. However, you're no longer limited to a narrow frequency range dictated by a single tone control found on a lot of classic boosts.
Similarly, use it before or after the CERES / VESTA or any other pre-amp for even more control over its tones, and in order to get the most out of it based on your power amp situation.

This is not "just another TS style boost," therefore it should not be setup in that way. e.g. don't crank the Level and cut the Gain. Start with both at noon and go from there. The Feel (tight/fat/thick) and Mode (clean/clip/dirt) switches will lose effectiveness the lower the Gain control is set.

Further, the higher Level is cranked the more internal distortion can be generated in the last gain stage, and therefore it will add distortion within the EROS coupled with a higher Gain setting. With a lower Gain setting the last stage will remain unclipped, but a huge signal will slam the front end of any amp. This can be too large a signal to achieve your desired sound. e.g. too much saturation due to lack of headroom in the amp's first stage.

Notes: HERA - Transparent Boost with active 3-band EQ

Like the KSR EROS, HERA is not your typical boost. Where the EROS was designed for playing drop-tuned extended range guitar into the muddiest of amps, the HERA is completely different. HERA is designed to push any amp with more typical standard tunings. This pedal is transparent and the low-end is full, yet clear. It will boost clean without overdrive, add a little grit, or add distortion. HERA has a 3-band active EQ for precision sculpting.

Use it in front to add volume or grit to a clean or crunch channel. Or, put it in the loop for some unique boosting and EQ response changes. Similarly, use HERA before or after the CERES / VESTA or other preamp for even more control over its tones, and in order to get the most out of it based on your power amp situation.

This is not "just another TS style boost," therefore it should not be setup in that way. e.g. don't crank the Level and cut the Gain. Start with both at noon and go from there. The Feel (tight/fat/thick) and Mode (clean/clip/dirt) switches will lose effectiveness the lower the Gain control is set.

Further, the higher Level is cranked the more internal distortion can be generated in the last gain stage, and therefore it will add distortion within the HERA coupled with a higher Gain setting. With a lower Gain setting the last stage will remain unclipped, but a huge signal will slam the front end of any amp. This can be too large a signal to achieve your desired sound. e.g. too much saturation due to lack of headroom in the amp's first stage.

In short, all the controls will interact, and there are countless ways you can run this pedal. Please experiment!

Product Height (cm): 5.700
Product Width (cm): 6.500
Product Depth (cm): 12.200
Product Weight (kg): 0.300

Box Height (cm): 8.300
Box Width (cm): 10.800
Box Depth (cm): 7.100
Boxed Weight (kg): 0.390

Notes: Cutting Room Fllor Pedal

(Echo, Pitch, Modulate, Glitch)

The most original and versatile release from Recovery Effects to date. Unlike any effect you've heard before, it offers mountains of wild modulation, delay, freeze, and stutter. Anything from light lo-fi chorus to broken-tape-deck sounds can be achieved with this unique pedal. Melt, then freeze tones in place, or use it as a gritty echo or faux reverb.

Designed and assembled in Seattle, Washington. Includes a limited lifetime warranty, if registered within 30 days of purchase.

New in V2:

*Intensity and Modulation parameters under one control called "Wow".

*New tape deterioration parameter introduced called "Stability". 2 knobs control "Shape" and "Flutter" in conjunction with Wow.

*CV control for Eurorack modular.

Enclosure size: 4.67" x 3.654" x 1.547"

Notes: Dirty Murals

(Reverb and Delay)

Dirty Murals delivers complex delay and reverb with powerful controls for each, in a small 125B enclosure. Two distinct delay and reverb styles create a variety of rich, lush, ambient, textured sounds.

The first mode offers a modulated "oil can" style delay with shorter, vintage style repeats, paired with a small room reverb. The second mode delivers a long, high fidelity, analog-style delay with a large hall reverb. The reverb level can be dialed to taste or completely removed in either mode, allowing it to function as a traditional delay pedal. The reverb can be boosted while keeping the mix low, generating the effect of a reverb with an adjustable pre-delay.

The Dirty Murals will quickly become an essential part of your sound. It is your go-to delay and reverb solution in a small size that will free up space on your pedalboard by combining the perfect delay and reverb in one device. Includes a limited lifetime warranty, if registered within 30 days of purchase.

Enclosure size: 4.77" x 2.6" x 1.39"

Notes: Endless Summer Pedal

(Real Spring Reverb Booster)

The Endless Summer is an all-analogue, real spring reverb in pedal form. It features a boost allowing you to make things gritty, or go full-on over the top fuzzy and psychedelic. Simply put, it's the coolest sounding and most unique reverb available!

Start with the balance all the way to the left to get a splashy reverb with a slight "buffered" boost. 9 o'clock grits it up and boosts your amp. Things get crazy at 12 o'clock! Dial-in the color and depth with the brightness control.

The Endless Summer is hand-wired in Seattle, Washington. True bypass, lead-free solder, and yes, it has a real-spring-reverb tank inside! It operates on a standard Boss style 9vdc power supply, not included. Includes a limited lifetime warranty, if registered within 30 days of purchase.

Enclosure size: 5.625" x 4.625" x 1.563"

Notes: Gallows In The Morning

(Versatile Double Overdrive Plus Haunting Reverb)

Gallows in the Morning combines two of (Recovery)'s favourite things: gritty overdrive and haunting reverb. Switch between Bold and Brazen to go from shimmering, melancholic tones to monster distortion and foreboding reverberation. The simple controls allow you to easily dial in all the levels to suit your mood.

The clean, independent reverb control is one of the most distinctive features of this pedal. Even with distortion, the reverb is pristine in the mix, adding clarity to heavily distorted and reverberated signals. Using the reverb at 100% makes this pedal ideal for creative studio mixing.

Controls:

Clean: Unadulterated input signal

Dirty: Distorted guitar signal level

Reverb: Reverb level generated from the clean signal, with no dry signal

Volume: Overall volume

Bold: Overdrive

Brazen: Distortion

Gallows In The Morning is hand-wired in Seattle, Washington. It operates on a standard Boss style 9vdc power supply (not included). Includes a limited lifetime warranty, if registered within 30 days of purchase.

Enclosure size: 4.77" x 2.6" x 1.39"

Notes: Ghost Writer Pedal

(Audio to MIDI Device)

Ghost Writer is a pedal that transforms the notes you play into MIDI data. This means you can connect to a synth and literally play your synthesizer from your guitar. You can also trigger phrases or samples, add functionality to your MIDI-equipped pedals, and more.

Independent controls allow you to toggle audio and MIDI signals or use both. The monophonic MIDI data is automatically assigned to MIDI Channel 1, and transmitted through a *3.5mm TRS MIDI cable* on the back of the pedal. The audio is processed through a high-quality buffer stage to ensure no loss of signal.

Ghost Writer provides a simple way to interact with your synths and MIDI-equipped gear as you play. It's an essential tool for creative musicians who are on the search for innovation.

Hand-wired in Seattle, WA. Ghost Writer operates on a standard "Boss" style 9vdc power supply (not included). Includes a limited lifetime warranty, if registered within 30 days of purchase.

Enclosure size: 4.77" x 2.6" x 1.39"

* Type A 3.5mm TRS to 5-pin MIDI Cable *

Notes: Phantom Operator

(Supernatural Random Flux Filter)

This supernatural filter has a mind of its own. With its rhythmic paranormal activity, you may think there's a ghost at the helm. The haunted randomization makes you feel like you've entered the Twilight Zone. Plug into this pedal for endless inspiration that challenges you to compete against an otherworldly spirit!

Achieve rhythmic patterns, complex tremolo, cadenced filters, and hard, glitched-out sounds with Sample and Hold mode. The Voltage Controlled Filter mode is an incredibly smooth, classic low-pass, conducted by the dynamics of the input. Controls allow manipulation of filter frequency, as well as resolution, attack, and decay.

The Phantom Operator includes mode-changing via footswitch, with status and speed indicators. It's 100 percent analog, true bypass, and hand-wired with quality, through-hole components in Seattle, Washington. Powered by a standard 9vdc negative-tip power supply, not included. Includes a limited lifetime warranty, if registered within 30 days of purchase.

Enclosure size: 4.67" x 3.654" x 1.547"

Notes: Sound Destruction Drive V3

(Sonic Destruction, Filter, and Oscillation)

Total sonic destruction tool for guitar, or anything with a 1/4" jack you want to plug into it. It distorts, filters, oscillates, glitches, clips, and does things to your instrument that naturally should not happen. Super thick fuzz, starved splatter, and wild oscillation that can be controlled with an expression pedal. The Sound Destruction Device is unlike anything you've ever heard.

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

Enclosure size: 4.67" x 3.654" x 1.547"

Notes: White Gold

(Choral Synthesizer)

White Gold creates densely lush harmonized textures, synthesized pads, and shimmering ensembles. Use it on any instrument, drum machine, synth, or vocal. Effortless at any setting, it's designed to resonate, glisten, and always stay musical.

White Gold easily makes a single instrument track resonate and sparkle with beautiful complexity. It is the perfect tool for adding lush, intricate, synth-like layers to any arrangement.

White Gold is hand-wired in Seattle, Washington. Includes a limited lifetime warranty, if registered within 30 days of purchase.

Controls:

Lush is the primary color, adding rich, modulated texture to the original source.
Glimmer blends a shimmering octave up.
Glow adds sparkling 5ths.
Level controls the overall blend.

Enclosure size: 4.77" x 2.6" x 1.39"

Notes: Cutting Room Floor V3 Pedal

(Vintage Reel-to-Reel Tape, Echo, and Stutter)

The Cutting Room Floor has been updated and now has separate controls over the saturation of the input signal and tape delay signal. With this change, it's possible to have any amount of emulated tape saturation on the input signal and an adjustable tape delay level.

Housed in a smaller, compact footprint, the Cutting Room Floor V3 provides beautifully marred saturated tape tone and ethereal repeats. Imagine an abandoned factory with a fluttering tape machine left on infinite replay.

The Cutting Room Floor was designed to emulate the sound and functionality of vintage reel-to-reel tape overdrive and echo. This pedal reaches into the 21st century with characteristics that traverse the world of modulation and delay. Other features include a freeze button that traps a tone while still playing, and expression/CV control for time.

Designed and assembled in Seattle, Washington. Includes a limited 1-year warranty, if registered within 30 days of purchase.

- 150ma current draw

New in V3:

- Independent control of the tape saturation and tape delay levels

- High-quality knobs with textured grip

- Tape reel design lights up when the pedal is on

- Better layout of the knob placement

- Smaller 125B enclosure (4.77" x 2.6" x 1.39")

Notes: Cory Wong is a Grammy-nominated artist renowned for laying down some of the finest grooves across all genres. The Wampler Cory Wong Compressor is at the heart of his legendary tone. More than just a Compressor and a Boost pedal, this dynamic toolkit shapes your tone with sparkling cleans and responsive compression either direct to your amp or straight into your recording interface. Prepare to find the funk!

The Wampler Cory Wong compressor features two soft footswitches that operate each function of the pedal. For the Compressor side there is also complete control over Volume, Sustain, Attack, and Blend as well as Brian Wampler's signature Tone control which can be dialled in to add sparkle and chime to your guitar's tone.

For the boost side there is a single rotary boost control that adjusts the amount of boost activated and a profile switch that sets the mode of the boost circuit from a flat boost to a rich saturated boost with an extra vibrancy around the 550Hz range. The Blend control controls the amount of dry and compressed signal in the compressor circuit.

The Compressor is operated by the independent "Compress" footswitch on the left, the LED will turn green when active. The Boost is controlled by the independent "Boost" footswitch on the right and the LED will turn blue when the boost is active. This particular boost was based on the classic MDX Strat boost style circuitry (once favoured by Eric Clapton). When both sides are active, the LED turns Rainbow white. On the right hand side of the pedal there is a "Comp On" switch which permanently engages the compressor circuit when depressed - useful for a live environment where you want to really just stomp down for boost. The left hand side has an XLR socket to go direct to a PA system or mixing board, and a "Ground Lift '' switch which can be used to eliminate unwanted ground noise.

The Wampler Cory Wong Compressor delivers all of this with the premium build quality Wampler is known for.

Get boosted

Cory was keen for a choice of boost, that allowed him to choose either a flat volume boost or a rich, saturated boost that could push his midrange a little when the boost switch is engaged. There is a single rotary boost control that adjusts the amount of boost activated and a profile switch that sets the mode of the boost circuit from a flat boost to a rich saturated boost with an extra vibrancy around the 550Hz range.

Two switches, no dancing

There are two footswitches which each control the functions of the pedal. When Compress is switched the LED will turn blue. When the Boost is switched on the LED will turn green. If you have both the Boost and Compressor active the LED will turn Rainbow white. Use the Comp On switch to permanently engage the compressor and avoid the pedalboard tap dance when you want to add boost!

Go straight into your draw

The pedal features a Wampler first - a balanced XLR output enabling it to be plugged directly into a computer interface, mixing desk, or PA for those signature bright and clean tones. Theres an independent switch to lift the ground in case of additional hum.

Total tone controls

The Compressor side offers complete control over Volume, Sustain, Attack, and Blend as well as Brian Wampler's signature Tone control which can be dialled in to add sparkle and chime to your guitar's tone.

Notes: Empress Effects' Most Versatile Distortion Pedal Ever

Get any high-gain tone from crunch to crushing, with advanced EQ and gating for total control over sound and silence.

The Heavy Menace is the most versatile distortion pedal Empress Effects ever created. It's an evolution of the original Heavy with new features and a compact enclosure.

In addition to the original Heavy and Heavier modes, the Heavy Menace adds a new Lite(ish) mode, covering any high-gain sound from classic hard rock to searing modern metal.

Enhanced EQ

The 3-band circuit on Heavy Menace is one of Empress Effects' best.

The Weight control adjusts a high-pass filter in the distortion circuit to shape low-end character. Turn it up for a thick, full sound, or turn counterclockwise for a tight response that's perfect for palm muting and extended-range guitars.

Midrange is a key element of a great distorted sound, so the mid frequency is sweepable from 200 Hz to 2.5 kHz to dial in the sweet spot for your guitar and amp. Scoop for a tight, aggressive sound, or push to add definition and cut through a mix.

True or Buffered Bypass

The Heavy Menace offers both true bypass for maximum transparency, and buffered bypass to protect against signal loss over long cable runs.

Adaptive Gate

Players loved the gate on the original Heavy. Envelope followers in the circuit respond to your playing, letting sustained notes decay naturally but clamping down quickly during fast stops.

On the Heavy Menace, this gate is now footswitchable, with two available modes of operation. In normal bypass mode, the gate doesn't affect the signal if the distortion is off, while independent bypass mode is like having separate distortion and gate pedals.

A key input has also been added so you can optionally trigger the gate with an external signal. This is particularly useful if you have additional pedals before the Heavy Menace in your signal chain, such as a low-gain pedal for stacking. Split a clean signal with a pedal like Empress Effects' Buffer+ and connect it to the Gate Key Input, and the gate will behave consistently regardless of changes at the main input.

Specifications

Input Impedance: 1MO
Output Impedance: 100O
Frequency Response (-3dB): 35Hz - 17kHz
Input Voltage: 9-12VDC
Required Current: 250mA
Power Input Connector: 2.1mm Barrel Connector
Height (Enclosure Only): 1.5"
Height (Including Controls): 2.5"
Length: 4.8"
Width: 2.6"
Weight: 1lb

Notes: There is something special about a Keeley Modded Blues Driver. There's something even more remarkable about Andy Timmons' tone.

Since his exposure to this Keeley modded stompbox early on, it has been virtually glued to Andy's board. The Super AT Mod Overdrive captures the magic of the original Blues Driver Phat Mod with the addition of AT Mode. Chord work and harmonies are cleaner and tighter now, without reducing gain.

Asymmetrical Tube Clipping

The new Super AT Mod Overdrive features a return to RK's original clipping style, a 20 year old modification first performed in the Keeley Blues Driver Phat Mod. If you want a drive pedal that responds just like a tube amp, this is it. The topology of the pedal is similar to classic California tube amps, Keeley simply use JFET transistors in place of tubes. Nothing has been left out, even the filtering of an amp's tone stack is designed into the pedal. It's an amp-in-a-box, only better because it's Keeley developed with the guidance of Andy Timmons!

New Tone Switch

There is a new circuit design for the Tone Switch employed in the Super AT Mod. The new AT-mode is voiced for humbuckers and features lower mid-bass frequencies for tighter, more transparent response. The original Keeley PHAT-mode stands ready to put more power behind your favourite single coil equipped guitar. Either way, the Super AT Mod has got you covered.

"The Super AT Mod Overdrive is the ultimate expression of the slightly broken up/clean tone I have been searching for all these years. It also rocks with an amazing overdrive tone that is incredibly amp-like. I already have 2 on my board! Wishing you all the best on your Tone Quest!" - Andy Timmons

Notes: Introducing the Octahive v2, one of Beetronics' legendary bees that has been buzzing since day one! This pedal draws inspiration from the iconic '70s octave pedals, blending vintage tones with modern enhancements.

In "Buzzz" mode, prepare to unleash a ferocious high-gain fuzz that's perfect for low riffage and powerful chords. Enter the mystical "Octave" mode and watch as you're transported to a mind-bending psychedelic wonderland. And here's a tip fit for a Queen Bee: Roll down the "Pre" control, switch to your neck pickup, and watch those beautiful octave harmonics take centre stage.

But that's not all! Beetronics have matched vintage tone with cutting-edge features to enhance your playing experience. Hold the footswitch to instantly switch from "Buzzz" to "Octave", giving you complete control over your sonic destiny. And with a quick double tap, seamlessly shift between modes, keeping your creative flow buzzing.

With three footswitch profiles (fast, medium, lazy), you can customize the speed of your momentary switching. It's all about tailoring the pedal to perfectly suit your unique vibe!

The Octahive v2 is here to deliver the sweetest high octave buzz and allow your creativity to soar. Embrace the hive magic and let your sound bee heard like never before!

Successor to the original Beetronics Octahive
Smaller box size with same dimensions as the Beetronics Vezzpa & Fatbee (Babee Series design)
2 modes: Buzzz (Vintage Fuzz) and Octave (High Octave Fuzz)
Intelligent Bypass switch: double-click to flip modes; hold to momentarily switch between modes
3 footswitch profiles selectable to define speed when momentarily switching between modes via the hold function: fast (20 ms), medium (100 ms), lazy (250 ms)

Specs

Pedal Size - 4.5" x 2.5" x 2.25" (including knobs, switches and etc)
Pedal Weight - 0.80 lbs / 0.3 kilos
Package Weight - 0.90 lbs / 0.4 kilos
Package Size - 4.85" x 2.55" x 3.50"
Requires 9VDC power supply (Center Negative)
*Does not include power supply

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

Neuro Editor Features

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

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

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

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

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

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

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

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

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

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

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

MIDI features

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

Preset Saving - Save up to 128 effect presets.

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

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

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

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

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

Specifications

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

Notes: The EQ2 Programmable Equalizer is the most powerful and advanced equalizer pedal on the planet. This exceptional piece of gear builds off the legacy of its predecessor, the Source Audio Programmable EQ, a tremendously popular pedal that landed on the boards of numerous pro guitarists, including six-string icons David Gilmour, Steven Wilson, and John Mayer. The updated EQ2 is a combination graphic and parametric equalizer with 10 fully adjustable frequency bands, stereo ins & outs, MIDI In and Thru jacks, 4 or 8 onboard presets, 128 MIDI accessible presets, an additional 12dB volume boost, and the ability to simultaneously run two separate and unique EQ settings, each of which can be independently routed to either stereo output. But wait, there's more: the EQ2 is also has a hidden TUNER function! How's that for saving space on your pedalboard?

The EQ2 Programmable Equalizer is the perfect companion for any musician looking to enhance or add flexibility to their tone. The availability of the full audible frequency spectrum across 10 completely customizable bands means that EQ2 is the EQ pedal not just for guitar, but for any electrifiable instrument. This allows you to move each of the 10 bands to any point on the frequency spectrum from 20 to 20,000Hz. With +/- 18 dB of boost or cut on tap for each band, bandwidth adjustments up to 10 times more narrow, flexible routing and separate stereo curves, an optional noise gate and limiter, and a deep interactive editing software, plus some shelving and high-pass frequency options, EQ2 is the ultimate Swiss-army knife for your tone.

Pedal Features: 4/8/128 Onboard Presets - Edit, save, and scroll between 4 onboard presets, 8 presets in Preset Extension Mode, or all 128 presets by turning the encoder while holding the Preset Select button.

10 Band Graphic Equalizer -- Use the EQ2's 10 adjustable frequency bands ranging from 31Hz to 16kHz with 18dB boost or cut to sculpt the perfect tone.

Parametric Equalization Capabilities -- Use the onboard controls or the Neuro Editor to adjust the frequency position and Q of each frequency bands.

Simple 1-Knob Control Panel - A sleek pedal calls for a sleek control set. EQ2 is armed with a single, do-it-all encoder mode that is rotated, pressed, or held in different situations for ultimate flexibility.

Onboard Chromatic Tuner - An onboard chromatic tuner adds to the flexibility and feature-set of the dynamic EQ2.

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

Unprecedented Sound Sculpting Options - The powerful Neuro Desktop Editor (Free download for Mac and Windows) and Neuro Mobile App (iOS and Android) offer maximum sound exploration and editing possibilities.

128 MIDI Accessible Factory Presets -- The addition of a third party MIDI controller provides access to any of the pedal's 128 presets as well as direct control of frequency bands, signal routing, output level, and more.

Stereo Inputs and Outputs -- Use the Neuro Editor's routing options in conjunction with Split Mode to get the most out of EQ2's flexibility.

Compact Design -- The durable, anodized aluminum housing has a small footprint and sturdy hardware. Dimensions: L: 4.5 in./11.4cm x W: 2.75 in./7cm x H: 2 in./5.1cm (including knobs).

Universal Bypass -- Select either analog buffered or relay based True Bypass.

USB Port -- Class compliant USB-MIDI allows the EQ2 to work as a plug-and-play device with recording software running on Mac and Windows recording software or any third party MIDI controller with USB host. The USB port also offers connectivity to the Neuro Desktop Editor providing access to deep editing possibilities and pedal firmware updates.

Two Way Mobile Communication - Brand new to the EQ2, the USB port now supports mobile connection, allowing for two-way communication between the Neuro App and your pedal. This also frees up the pedal's Input 2 jack for other use purposes.

External Expression and Switching Control -- Use the Control Input jack with the Source Audio Dual Expression Pedal (expression control to multiple parameters) or Tap Switch (scroll presets and toggle settings).

Neuro Editor Features

Connect the EQ2 to the Neuro Desktop Editor (a free download for Mac or Windows computers) or the Neuro Mobile App (free for iPhone and Android) and explore the power of effect downloading, customization, and sharing that comes with every One Series pedal.

Growing Library of Published Presets: Quickly test and download sounds from the ever-expanding collection of published User Presets created by Source Audio and the rest of the EQ2 /Neuro Editor Community.
Deep Effects Editing Capabilities: Use the Neuro Desktop Editor (free download for Mac and Windows) or the Neuro Mobile App (free for iOS and Android) to create, store, and share highly customized EQ settings.

10 Adjustable Bands: Each of the 10 bands can be set anywhere on the frequency spectrum between 20Hz and 20kHz.

Adjustable Q Factor (Bandwidth): Each band's Q (bandwidth) can be made to be wider or up to 10 times narrower for ultimate tone-sculpting.

Optional Noise Gate and Limiter: An optional noise gate threshold and an optional limiter to eliminate digital clipping can be configured in the Neuro editor.

Channel Gain Control: The gain of each channel can be tweaked in the Neuro editors.

USB Connection - Use the pedal's mini USB port to connect the EQ2 to the Neuro Desktop Editor, and for the first time, the Neuro Mobile App, both of which can be used to edit presets or download the latest pedal firmware.

MIDI Features

The EQ2 responds to MIDI Program Change (PC) and Continuous Controller (CC) messages via its 5-pin DIN ports or its mini USB port. The USB port handles communication between the EQ2 and digital audio workstations (DAW) on Mac and Windows machines as well as external MIDI controllers.


Preset Saving - Save up to 128 effect presets.

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

Preset Recall - Use MIDI CC numbers 103 & 104 or PC Messages to recall any of the EQ2's 128 MIDI accessible presets.

The Neuro Hub - Connect the EQ2 to the Neuro Hub and use MIDI CC messages to control parameters or recall presets

Specifications

Includes 9v DC power supply (300mA / Negative Tip)
Includes 1/8" to 1/4" cable for Neuro Mobile App connection.
Includes USB Mini cable for Neuro Moble App and Desktop Editor connection.
Power Consumption - 180mA
USB port - Connects to Mac or Windows PC for firmware updates and the forthcoming in-depth effects editing software.
Brushed anodized aluminum housing.
Dimensions: L: 4.5 in./11.4cm x W: 2.75 in./7cm x H: 2 in./5.1cm (including knobs)

Notes: The Lunar Phaser offers three styles of swirling stereo phase modulation. Choose from Vibe - a thumping Uni-Vibe effect, Classic - a resonant and creamy 4-stage phaser, and Multi - a highly animated, yet smooth and satisfying 8-stage phaser. Explore the sonic landscape even further by sweeping the Shape knob to gradually morph the LFO wave shape from a smooth, undulating sine wave to an aggressive and choppy square wave.

Pedal Features

3 Flavours of Phase Modulation

3 Presets - use Preset Mode to save a different preset to each of the three toggle switch positions. When the pedal is engaged, all of the parameters instantly jump to their saved value, regardless of the knob positions.

Stereo Input and Output Jacks - Create deep and wide stereo modulation or engage one of the Lunar's many Signal Routing options (see Neuro App Features for details).

Universal Bypass - Select either analogue buffered or relay based true bypass.

Expression Control - Compatible with Source Audio expression pedals and the Hot Hand 3 Universal Wireless Effects Controller.

Tap Tempo - Sync your phase modulation rate to the rest of the band with Source Audio's External Tap Tempo switch. Set beat divisions (quarter, eighth, triplet, and 16th) with the Speed knob.

Neuro Editor Features

Connect the Lunar Phaser to the Neuro Mobile App (a free download for iOS and Android) and explore the full power of effect downloading, customization, and sharing that comes with every Ones Series pedal.

Interchangeable Algorithms - It is possible to download ANY of Source Audio's phaser, flanger, and chorus algorithms directly to your Lunar Phaser for no additional cost. The same goes for the Gemini Chorus Mercury Flanger, so owning one of Source Audio's One Series modulation pedals is essentially like owning all three.

Customize Effects - Tweak an additional set or parameters including Frequency (the center point of the modulation), Output Level, Tremolo, Low Retain, a Parametric EQ, and more.

Save and Share Customized Presets; Once you've fine-tuned an effect, save it to your personal effects library and share it with the growing community of Neuro users.

Download Presets - Explore Source Audio's ever-expanding, library of free effect presets.

Envelope Follower Mode - Set the modulation source to envelope follower and control phaser modulation in the style of pick sensitive "auto wah" effects.

Signal Routing Options - The stereo Inputs and Outputs can be routed in a number of different ways including True Stereo, Mono to Stereo, Dual Mono, Sidechain Envelope, External Effects Loop, and more.

Simple Connection - The Neuro App. connects with the Lunar Phaser via the mobile device's headphone jack and stereo Input 2 on the pedal. A Neuro App connector cable (1/8" to 1/4") is included with the pedal.

MIDI Features

The Lunar Phaser also features full MIDI capabilities when coupled with the Neuro Hub.
Preset Saving - Save up to 128 effect presets.

Multi Pedal Scene Saving - Connect up to five One Series or Soundblox 2 pedals to the Neuro Hub and create 128 multi pedal scenes, recallable via MIDI program change messages.

External Expression Control - Connect the Neuro Hub to any Source Audio expression pedal, Hot Hand 3 Wireless Effects Controller or third party TRS (Tip Hot) expression pedal and manually control effect modulation. It's also possible to assign simultaneous expression control to multiple knobs and individually program their range and direction.

MIDI Clock - Sync your phaser modulation with external MIDI clock messages.

Specifications:
Includes 9v DC power supply (300mA / Negative Tip)
Includes 1/8" to 1/4" cable for Neuro Mobile App connection.
Power Consumption - 150mA
USB port - Connects to Mac or Windows PC for firmware updates and the forthcoming in-depth effects editing software.
Brushed anodized aluminium housing.
Dimensions: L: 4.5 in./11.4cm x W: 2.75 in./7cm x H: 2 in./5.1cm (including knobs)

Notes: The Spectrum Intelligent Filter is the most powerful stereo filter effect pedal ever created. Building on almost 15 years of filter pedal technology and know-how, Spectrum is the culmination of Source Audio's finest envelope sounds and best thinking on how to easily incorporate those sounds into rigs of all types. The pedal not only features finely crafted envelope filter effects inspired by some of the most iconic and sought-after effects pedals on the market, it also includes buzzing, synth-like octave/distortion/filter effects. The pedal is a cleverly integrated, all-in-one funk/psych/electronic/jam machine. Whether you want to easily plug and play with its six carefully crafted factory sounds, browse the ever-growing Neuro library for additional sounds created by Source Audio and other Spectrum owners, or use the Neuro's deep sound editing tools to create your own highly personalized presets, this filter pedal will satisfy the needs of any guitar, bass, keyboard, horn, or (insert your instrument here) player.

Pedal Features

Six Onboard Presets: Choose from six different onboard envelope filter effects. Vintage sounds include effects inspired by the iconic Mu-Tron- and Lovetone Meatball pedals, as well as contemporary envelopes with thumping octave-down effects and buzzing synth-like tones.

Simple 4-Knob Control Panel: Adjust 8 different parameters with 4 knobs. Primary controls include Input Level, Modulation Depth, Frequency Starting Point, and Envelope Speed. Alternate controls (accessible by pressing the ALT button) include Envelope Sensitivity, Wet/Dry Mix, Resonance, and Output Volume.

Excellent Envelope Filter Response: Use the Spectrum's Input Gain, Sensitivity and Speed controls to dial in the perfect envelope response for your needs. Maybe you like slow and smooth envelope movement while you really dig-in on the strings, or possibly you want a quick moving filter that responds to light picking - either way is achievable with the Spectrum.

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

Unprecedented Sound Sculpting Options: The powerful Neuro Desktop Editor (Free download for Mac and Windows) and Neuro Mobile App (iOS and Android) offer maximum sound exploration possibilities. Use Neuro's additional filter, octave, and distortion blocks to create highly unique effects.
Supreme Tracking: If tracking matters to you (and it should), you will be amazed by the lightning quick response from the Spectrum's octave effects.
128 MIDI Accessible Factory Presets - The addition of a third party MIDI controller with USB host provides access to any of the pedal's 128 Factory presets.

Stereo Inputs and Outputs: Use the Neuro Editor's panning controls to route each Voice to any location in a full stereo spread.

Compact Design - The durable, anodized aluminium housing has a small footprint and sturdy hardware. Dimensions: L: 4.5 in./11.4cm x W: 2.75 in./7cm x H: 2 in./5.1cm (including knobs).

Universal BypassTM - Select either analogue buffered or relay based True Bypass.

USB Port - Class compliant USB-MIDI allows the Spectrum to work as a plug-and-play device with recording software running on Mac and Windows recording software or any third party MIDI controller with USB host. The USB port also offers connectivity to the Neuro Desktop Editor providing access to deep editing possibilities and pedal firmware updates.

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

External Expression and Tap Tempo Control - Use the Control Input jack with the Source Audio Dual Expression Pedal (expression control to multiple parameters) or Tap Switch (adjust LFO rates on the fly).

Neuro Editor Features

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

Growing Library of Published Presets: Quickly test and download sounds from the ever-expanding collection of published User Presets created by Source Audio and the rest of the Spectrum Filter/Neuro Editor Community.

Deep Effects Editing Capabilities: Use the Neuro Desktop Editor (free download for Mac and Windows) or the Neuro Mobile App (free for iOS and Android) to create, store, and share highly customized filter effects.

25 Different Filters: Choose from a huge collection of filters including several types of low-pass, band pass, multi-pole, and phaser effects.

Dual Filter Effects: Run two different envelope filters simultaneously, each with its own envelope response as well as Frequency, Depth, Direction and Q controls.

Octave Effects: Use the Spectrum's two Octave Voices to mix in octave effects. Choose from one or two octaves down or one octave up.

11 Styles of Envelope Follower: Choose from 11 different types of envelope follower with adjustable attack/decay as well as ADSR triggering envelopes.

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

13 Types of Distortion: Choose anything from a subtle drive effect to extremely fuzzy Foldback effects.

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

MIDI Features

The Spectrum Intelligent Filter responds to MIDI Program Change (PC) and Continuous Controller (CC) messages via its mini USB port. The USB port handles communication between the Spectrum and digital audio workstations (DAW) on Mac and Windows machines as well as external MIDI controllers with USB host support.

Preset Saving - Save up to 128 effect presets.

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

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

MIDI Clock - Sync the Spectrum's LFO rate with external MIDI clock messages.
The Neuro Hub - Connect the Spectrum to the Neuro Hub and use MIDI CC messages to control parameters or recall presets.

Note: As of Hub fw 1.18 and Spectrum fw 1.05, the Spectrum can now be added to scenes, is visible through the Hub, and can be controlled by PC messages, giving you the full access to 128 preset slots.

Specifications

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

Notes: Turn on to the vintage charm of natural spring reverb coupled with pulsing tremolo. Source Audio doesn't depend on the off-the-shelf reverb effects processors found in many modern reverb pedals, we meticulously craft every one of our proprietary effects engines and load them to high-powered, 56-bit Sigma DSP. The two-man engineering team of Bob Chidlaw and Jesse Remignanti put years of collective man-hours into capturing every nuance and idiosyncrasy of the spring reverb and tremolo effects from some of the music gear industry's most iconic guitar amps and outboard gear. The result is indisputable sound quality with magnificent tonal depth and precision.

The Spring Reverbs

The True Spring's reverb effects are based on a mechanical design originated by the Hammond Organ Company in the late 1930s. This stark design uses a pair of input and output transducers to inject an instrument's dry signal into an actual set of spring coils and capture the very distinct reverberations as the sound bounces back and forth within the springs. Of course, Leo Fender adopted this design in the 1960s with the some of his "blackface" amplifiers and a revolution was born.

Short Spring Reverb: Modelled after the unmistakable twang of "blackface" amplifiers of the 1960s. After extensive research we found tremendous diversity in the spring reverb sounds of a variety of amps. Some offered a tighter, less animated tone while others sounded "drippier," with longer sustain and livelier reverb trails. The SHORT Spring reverb engine offers a taut sound with a quick decay and smooth trails.

Long Spring Reverb: Produces long and deep reverb decays with noticeable "drip" and highly animated trails. The LONG Spring engine is not as dramatic as the TANK Reverb engine, but does offer an extremely authentic representation of some of the livelier reverb tanks found in vintage combo amps.

Tank Spring Reverb (Outboard Spring): Captures the unmistakable effect of the tube driven outboard spring tanks of the 60s. The sound of reverb tanks like the classic Fender 6G15™ are characterized by their "drippy" attack and animated trail. This original two-spring design produces a bouncing, delay like sound inseparable from the early days of surf rock and spaghetti western soundtracks.

Pedal Features

Three Distinct Spring Reverb and Tremolo Effects.

Two Modes of Operation - Use the pedal in Standard Mode for a classic (non-preset) stompbox experience or turn on Preset Mode and save a user preset (including reverb/tremolo effects and knob positions) to each of the three toggle switch positions.

Flexible Stereo Routing - The True Spring is equally at home in a mono or stereo rig. The pedal's stereo inputs and outputs offer a variety of routing options such as Stereo to Stereo, Mono to Mono, Mono-to-Stereo, Stereo Sum-to-Mono and External Loop Mode.

Universal Bypass - Select Active Analog (Buffered) or True Bypass.

Secondary Tremolo Controls - Press and hold the CONTROL INPUT button to access the True Spring's tremolo effects (DWELL knob controls tremolo DEPTH / TONE knob controls tremolo RATE / toggle switch selects tremolo type).

Expression Control - Compatible with Source Audio expression pedals and the Hot Hand 3 Universal Wireless Effects Controller. Assign up to three simultaneous parameters with editable depth and direction.

External Tap Tempo - Use the Source Audio Tap Switch to tap in the tremolo rate with a choice of four different beat divisions (quarter, eighth, triplet, and sixteenth).

External Tremolo Engage and Bypass - Use the Source Audio Tap Switch to engage or disengage the tremolo effects on top of an active spring reverb.

Neuro Editor Features

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

Interchangeable Algorithms - Upload any of the additional reverb or tremolo effects directly to the pedal at no additional charge.

Customize Effects - Tweak an additional set of parameters including advance EQ, pre-delay, diffusion, reverb modulation, virtual spring length, and more.

Save and Share Customized Presets - Once you've fine-tuned an effect, save it to your personal effects collection in the cloud and share it with the growing community of Neuro users.

Download Presets - Explore Source Audio's ever-expanding library of effect presets. Choose from Source Audio Factory presets or presets created and published by members of the Neuro Community.

Signal Routing Options - Re-route the stereo Inputs and Outputs in a number of different ways including Auto Detect, True Stereo, Mono to Stereo, External Effects Loop, and more.

Simple Connection - The Neuro Mobile App. connects with the True Spring via the mobile device's headphone jack and Stereo Input 2 on the pedal. A Neuro App connector cable (1/8" to 1/4") is included with the pedal.

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

MIDI Features

The True Spring Reverb also features full MIDI capability and simplicity when coupled with the Neuro Hub (formerly Soundblox Hub).

Preset Saving - Save up to 128 effect presets.

Multi Pedal Scene Saving - Connect up to five One Series and Soundblox 2 pedals to the Neuro Hub and create 128 multi pedal scenes, recallable via MIDI program change messages.

External Expression Control - Connect the Neuro Hub to any Source Audio expression pedal, Hot Hand 3 Wireless Effects Controller or third party TRS (Tip Hot) expression pedal and manually control effect modulation or assign individual or simultaneous expression control to any adjustable parameter.

MIDI Clock - Sync your tremolo rate with external MIDI clock messages.

Specifications

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

Notes: ARIGATO neither seeks to recapture the sounds of the past, nor to be state of the art. It is a snapshot of a future we were promised as children. It is Caroline's way of saying thank you to customers who for years asked for a phaser. (Really? A phaser???)

While capable of the airy psychedelia of classic units, this one is meant to rumble, wobble, shake, rattle, and roar. It is also capable of going fully wet for interesting vibrato sounds, max feedback for auto-wah sweeps, and a wide range of responsive shades throughout each control as they interact with the others.

For those of you who didn't think you'd like a chorus, but fell in love with Caroline's Somersault™ pedal - you're going to really love this thing too. Whilstclassic one-knob units and their ALL CAPS WHOOSH approach to phasing, there's a world of subtle shading and different movement to be explored, and Arigato is here for it.

Notes: CROM is a BC184 Supa Tone Bender style fuzzstortion like Caroline's original Olympia, but with a classic tweed amp style tone control (MOUNTAIN) that interacts with the SWORD (gain) control. It is a LOT less lossy and less scooped than the classic M*ff style tone control in these circuits, giving the pedal an immediate and punchy response. A TURBO button on the side gives it extra power and gain.

Notes: Your quest for tones have brought you to Caroline's HAWAIIAN PIZZA: a bespoke artisanal blockchain of handcrafted tone, the sonic equivalent of a forbidden delicacy, all from just three knobs and the truth*.

This circuit was discovered in the discarded manila file folders of the Caroline vaults, Originally actually launched 2018 to help fund Caroline's local Girls Rock chapter, customer demand for it required it to be part of the regular Caroline line-up shortly thereafter. This thing really is "three knobs and the truth" and can both fulfill and surpass what you think a fuzz is capable of.

Notes: Caroline Guitar Company Icarus V2 is a great boost/overdrive and is based on the preamps of our Parabola and Meteore pedals.

This pedal incorporates two different gain stages: a clean, full-response stage capable of up to +12db boost, and a tailored clipping stage that overdrives a mix of silicon and Russian germanium components for colorful light to medium drive. A simple but elegant high-cut control helps keep things pleasant, and an internal switch converts this pedal from true to buffered bypass to maintain signal flow through long cable runs or effect chains even when "off".

It makes small amps sound big and mild-mannered drives sound excited. It whips sloppy fuzzstortions into fighting shape and gives gauzy sterile echoverbs character. It is the signal sweetener you never knew you needed until you plug it in. Handmade in the USA, you simply aren't going to find a better magic bullet for your sound than this.

Notes: Caroline have kept your original, dry signal path analogue and pure, then given you a +21db boost/overdrive preamp to smash a low fidelity digital delay chip designed for karaoke machines and kids' toys into smeared, repeated glory; going back in time; back to when they measured data in kilobytes.

This pedal is VERY capable of fun runaway oscillations, both by turning up the summation knob, or a controlled, high-pass filtered oscillation from the Havoc momentary foot switch. If you've ever struggled to make your delays come through prominently in the mix, or lost definition from your original signal, the attack and level controls can allow you to dial up everything from crisp, clean slapbacks to dirty, muted echoes and loud, powerful repeats. A beautiful, subtle modulation circuit courtesy of Jack DeVille also sweetens the repeats with just the right amount of movement.

Notes: Megabyte builds on the acclaimed Kilobyte legacy with two old school lo-fi digital chips for more delay time, tap tempo, trails or true bypass, and a nastier, dirtier runaway havoc. All with a straightforward and intuitive, immediately rewarding control setup.

Less time menu scrolling, more time rock and rolling. All this still fits on a card sized "manual."

Caroline added the most requested features from our customers' wish lists while making sure we kept the qualities that they loved. This includes a fun and functional tap-tempo with three subdivisions, double the delay time (up to 1200ms) for better noise handling and range, easily switchable trails or true bypass options, and a nastier *Havoc paired to the tap switch to go with the +21db drive preamp and modulation for the delay side. On the inside of the pedal are controls for a 100% dry-kill for production work and a maximum headroom option on the havoc/oscillation side.

Notes: Inspired by the ultra-modern line 14 of the Paris Metro and its sleek platforms of glass, steel and tile that add all kinds of cool sonic artifacts to the space, the METEORE (pronounced may-tay-or) is Caroline's take on reverb.

The original signal path has been kept analogue and pure, while giving you overdrive and regeneration controls to take you from spring reverb sounds to something much bigger. The controls are very interactive with each other, and as per Caroline tradition, this pedal can get VERY loud.

Notes: Using a cascading hybrid of op-amp and BC184 transistor gain stages, Shigeharu provides all the sweet singing sustain and massive flamethrower gain you crave, but with unprecedented clarity, improved punch and definition, and consistent performance wherever it sits in your signal chain - even after buffers or wireless units. Combine that with the parallel octave-up voiced fuzz available on demand with the Havoc* stomp and you have a whole lot of nasty right here.

Two extra controls reside inside the pedal - a bias/gate control for dialing up broken, spitty sounds, and a slide switch that locks the octave-up "on" and converts the momentary to a kill/mute switch. Shigeharu was designed in collaboration with John Snyder at Electronic Audio Experiments, because this thing was fearsome enough to consider a second opinion.

Notes: Think of this as your rig's new "tremolo channel". Caroline have adapted the deliciously sloshy, transistor-based LFO and distinctive waveform from the "West German" device, modified its speed and depth to match and go beyond those from your favourite classic amps, and then added pre and post effect gain stages for both overdrive and volume boost. Then this pedal offers the classic, dramatic amplitude modulation (AM) you might expect, or a filtered modulation (FM) that is subtle, beautiful, and less invasive on your playing.

Your pedal was dreamed, designed and created at Caroline's small batch distortery in Columbia, S.C. Thank you for supporting our work and putting it to use.

Notes: This one sparks joy! The SOMERSAULT is the chorus-y/vibrato-y/faux-rotary device that Caroline's customers demanded for years. So now it's time.

From seasick wobbles to glitchy bleep-bloops and "I think I can" huffs and puffs, the crazy sounding stuff was actually the easy part. So once you're done maxing out different settings to hear what kinds of bizarre wowie-zowie sounds you can make with this thing, you are encouraged to explore the subtleties of how each control interacts with the others, and the remarkable range of sounds that you can quickly and intuitively dial in. Gentle, lagging vibrato, 1980s style choruses, and even some doubling effects are possible - and then, turn up & go wild again.

SOMERSAULT applies a similar framework as our popular KILOBYTE and METEORE pedals. While the digital chip sets the delayed wet signal, the initial gain stage, dry signal, LFO, control set and output mixing stage are entirely analogue. The end result sounds rich and fat, with the same robust feel and power our customers have come to expect from our work.

Notes: So, what IS the story on Wave Cannon version 2.0, or as Caroline have decided to call it, the Wave Cannon MKII Superdistorter?

The long story short is that this thing is an unrepentant, unapologetic distortion pedal that is totally nasty and fun. This Cannon comes pre-loaded with balls (pun alert!) and is capable of going from cranked, lightly dirty amp tones to the sound of a furry Godzilla devouring a junkyard full of broken a/c window units.

It's different than the original, which was based on the classic '70s fuzzstortions we grew up playing. It's different from Caroline's Haymaker, which is a wide range drive pedal based around the rotation of a clipping network into different locations in the circuit, and which is intended to respond and feel like an extension of your amp. This pedal is really about rocking your socks off.

Notes: *** Onyx Edition ***

The ARP-87 is a compact, feature-rich delay, packed with a large pallet of inspirational delay tones. Featuring four main algorithms, digital, analog, lo-fi, and slap back, the ARP-87 can cover some serious ground in the world of echoes. The Digital algorithm boasts pristine, crystal clear repeats great for rhythmic riffs. The Analog setting works well to add warmth and dimension to chords and lines without getting in the way. The Lo-Fi algorithm, with its adjustable frequency range on the repeats, goes from warm, warped, and murky, to strait AM radio. Finally, the Slap setting makes it easy to dial in a great slap back echo perfect for smoking chicken pickin' runs.

With other features like the smart bypass switching, and momentary knob ramp, the ARP-87 provides endless creative opportunities that are waiting to be explored.The X knob changes functions depending on which Algorithm you are using. It adjusts a specific parameter in each algorithm.

In Digital, Analog, and Slap modes, the knob will control modulation depth. In Lo-fi mode, the knob will control Filter width. Note that when changing delay types this loads a whole new algorithm and the tempo must be tapped in again.

Trails Mode

The ARP-87 can be run in trails or no trails mode. In trails mode, when you turn the pedal off, the delay trails die off naturally. In no trails mode, the delay trails are abruptly cut off when you turn the pedal off. To toggle between either mode, hold down the bypass switch for 1 second while applying power to the pedal. Unplug power and repeat to toggle to the other mode.

Momentary Functions

When the switch is in off position, press and hold the Bypass Switch to temporarily activate the effect to add a moment of delay texture. Releasing the switch turns the effect off. When the effect is on, press and hold the bypass switch to momentarily ramp the X parameter to maximum. Releasing the switch sets the X parameter back to the knob location. Press and hold the Tap Switch to temporarily ramp the feedback to maximum.
Release to set the feedback back to the knob location.

The ARP-87 comes in a Frosted Charcoal finish with cream and seafoam ink featuring original artwork by Chris Castro of a lone ship traveling through the ARP-87 Galaxies.
Dimensions and power consumption:

6,6 x 12,2 x 5,6 cm (W x D x H)
100 mA

In the box:

Walrus Audio ARP-87
Manual
Sticker
Guitar pick
Pouch

Notes: *** Onyx Edition ***

For Eons, man has thought the sound of thunder to be from the heavens above, echoing boastfully over us as we stay safe from its greatness. However, legend tells of a stoic and indomitable beast residing in the highest mountains seen and heard only by the most brash of travelers. With gnarled and twisted horns, this creature emits a sound thicker than Earth's crust to command attention and warn all who stand in his way. This is Eons.

Eons is a five-state fuzz capable of massively thick sounds ready to test the limits of any amp's grill cloth. Use the Voltage (lightning bolt) knob to crank up to 18 volts into the pedal's circuit for massive, open fuzz sounds, or choose to starve it down to 3 volts for spatty, gated fuzz. Experiment with the Voltage and Mode knobs for nearly endless styles of fuzz tones. Find vintage-inspired sounds emanating from the stages of Woodstock to chaotic three-chord punk rock. Eons is ready for a fight.

The Eons features a five-position rotary knob that offers the following clipping configurations. Think of them as different "flavors" of the pedal:
I. Silicon soft clipping traditional fuzz that's well rounded with a huge sound; compressed and smooth.
II. Silicon clipping with an added bass boost that boosts the low end at the beginning of the circuit; compressed and crunchy.III. Germanium soft clipping with a feel of "what if a distortion and fuzz had a kid?"; crunchy and dynamic.
IV. LED clipping diodes with a slight high-end cut; dynamically dark.
V. Hard clipping silicon transistors combined with LED and Silicon soft clipping diodes. The rowdiest of the modes with tons of gain: compressed, loud, and angry.

Specs

The Eons comes in a sandy tan enclosure color with red, cream and black ink. Artwork features a stoic four horned, Markhor goat illustrated by Adam Forster.
9V DC, center negative, 100mA min
The use of an isolated power supply is recommended for powering all Walrus Audio Pedals.
Daisy chain power supplies are not recommended. Power supply not included.

Notes: *** Onyx Edition ***

The Fathom is a feature-rich reverb with 4 different customized reverb algorithms to choose from. Easily go from tasteful, small room reverb to long, modulated trails dripping of ambient goodness. The toggle switch adds options for low, medium and high modulation. Use the dampen knob to fine tune the tone of the reverb's decay.

The Fathom features 4 different algorithms.

Hall - Wide, open and vast with decay that ends with high-frequency rolloff. X knob adjusts pre-delay.

Plate - Full Body reverb with a smooth decay. X knob adjusts pre-delay.

Lo-fi - Filtered reverb with decay ranging from warm, to thin AM-sounding radio. X knob adjusts filter width.

Sonar - Reverb fed with both a high and low octave with the ability to blend the octaves with the X knob.

Momentary Functions:

When the pedal is in off position, press and hold the Bypass Switch to temporarily activate the effect to add a moment of reverb. Releasing the switch turns the effect off.

Press and hold the Sustain Switch while the pedal is on, to sustain the reverb decay for a dreamy ambient decrescendo.

Trails Mode:

To turn trails mode on or off, unplug the pedal and press and hold down the Bypass Switch for two seconds while plugging the pedal back in.

The diecast enclosure's exact size is 4.77" x 2.6" x 1.39".
Power requirements are 9VDC (100mA minimum).
The use of an isolated power supply is recommended for powering all Walrus Audio Pedals. Daisy chain power supplies are not recommended.
Power supply not included.

Notes: *** Onyx Edition ***

The Julia is a fully analogue, feature-rich chorus/vibrato packed with a wide array of tonal landscapes begging to be explored. Julia is able to produce mild smooth chorus, to seasick vibrato and everywhere in between. With controls like Lag, Dry-Chorus-Vibrato Blend, and selectable analogue LFO wave shapes, you are able to dial in all types of classic and unique chorus/vibrato sounds not found on traditional chorus pedals.

In 1999, spectrographs picked up an unexplained sound emanating from dark ocean depths. The source of the sound was untraceable. While most scientists attributed it to an iceberg dragging the ocean floor, some sceptics began to understand the true source of the sound. Julia, the water demigoddess. Crying from the deep in a chorus of melancholy hymns, she remains to be uncaught but the pursuit for her is unceasing. Walrus has captured a fraction of her powers in the Julia Analog Chorus/Vibrato.

9V DC, 30mA
121 x 66 x 41 mm, 0.27 kg
Made in Oklahoma, USA

Dimensions and power consumption:

6,6 x 12,2 x 4,1 cm (W x D x H)
100 mA

In the box:

Walrus Audio Julia V2
Manual
Sticker
Guitar pick
Pouch

Notes: *** Onyx Edition ***

Building off of the lush, tonal landscapes that the Julia Analog Chorus/Vibrato created, Julianna is an all analogue, digital LFO, stereo chorus/vibrato with new expanded features. Julianna is able to produce mild smooth chorus, to seasick vibrato, to everywhere in between.

Familiar controls like Lag, Dry-Chorus-Vibrato Blend, and selectable LFO wave shapes are all still here, but Julianna employs some new tricks: The Secondary LFO speed, modulation drift, tap/expression control and momentary features will have you commanding all new kinds of sounds not found in traditional chorus pedals.

Unlike most other chorus pedals, the Julianna and Julia have a special feature called Lag control. The Lag knob lets you set the centre delay time that the LFO modulates. From smooth and tight modulation at lower settings, to a warbling detune at maximum, the Lag knob adds a new dimension to the traditional chorus/vibrato landscape.

D-C-V KNOB

The DCV knob sets the ratio of dry to wet signal through the mono channel of the Julianna. Traditional mono chorus sounds can be heard with the knob set around noon. Pitch vibrato is found in the full clockwise position. The ground in between offers unique blends of chorus and vibrato not commonly found on other chorus pedals.

When both outputs are connected, set the DCV knob to full counterclockwise to send your dry signal to the mono output and vibrato signal to the stereo output for a traditional stereo chorus sound. Explore other variations by turning the DCV knob up slightly to add some vibrato signal to the dry output changing the stereo image.
Dimensions and power consumption:

6,6 x 12,2 x 5,6 cm (W x D x H)
100 mA

In the box:

Walrus Audio Julianna
Manual
Sticker
Guitar pick
Pouch