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Two Weeks: Studio Equipment

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ACL Mini MIDI USB MIDI To CV Converter Module
Cat: 776679 Rel: 06 Aug 20
 
MIDI to CV converter module
Notes: The ACL MINI MIDI is a USB MIDI to CV convertor module in a small module.

It uses MIDI CLOCK, START/STOP, one selectable MIDI Controller and a monophonic MIDI Note to be converted to Eurorack compatible CV, GATE and clock signals.

It can be used as USB MIDI to CV interface by connecting to your computer via the USB B port. A Class Compliant USB MIDI device can be connected to the USB A port.
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MRP:$351.53 SAVE 21%
 2 in stock $276.60
Doepfer A-130-8 Octal Linear VCA Module
Cat: 765896 Rel: 28 Jul 20
 
linear VCA module
Notes: Module A-130-8 contains eight linear voltage controlled amplifiers (VCAs). Each VCA features a control voltage input (CV), a signal input (In) and a signal output (Out). In addition three mixers are included: the socket labelled "1-4" outputs the sum of the VCAs 1-4, the socket labelled "5-8" outputs the sum of the VCAs 5-8, the socket labelled "1-8" outputs the sum of all eight VCAs.

The signal inputs are able to process levels up to 10Vpp without clipping. Each CV input is equipped with a trimming potentiometer that is used to adjust the sensitivity of the CV input in question. In the factory the module is adjusted for the CV range 1...+5V but can be re-adjusted by the user for other control voltage ranges (e.g. 0...+10V).

The amplification range for each single VCA is 0...1. The signals of the sum outputs have a lower amplification to avoid distortion.

The VCAs and mixers are fully DC coupled, i.e. the module can be used for the processing of both audio and control voltage signals. The control voltage and signal inputs can be normalled by means of small solder pads (e.g. 1 > 2 > 3 > 4 and so on, or 1 > 5, 2 > 6, 3 > 7, 4 > 8 for the stereo application mentioned below).

Typical applications:
any kind of VCA application (e.g. voltage controlled attenuation of audio or control voltage signals)
two voltage controlled mixers with four channels each
voltage controlled stereo mixer with four channels each, for this the control voltage inputs have to be correspondingly patched or internally normalled: CV1=CV5 /CV 2=CV6 / CV3=CV7 / CV4=CV8
voltage controlled mixer with eight channels
add-on for the planned Joystick module A-174-4

HP : 6
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MRP:$105.85 SAVE 12%
 8 in stock $93.01
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Doepfer A-133-2 Dual Voltage Controlled VCA/Polarizer/Inverter/Ring Modulator Module
Cat: 765897 Rel: 28 Jul 20
 
VCA/polarizer/inverter/ring modulator module
Notes: A-133-2 is the slim version of the A-133 but has some additional features and improvements available compared to the A-133.

Module A-133-2 can be used for a lot of applications: as a simple VCA, or a voltage controlled polarizer/attuverter, or a voltage controlled inverter up to a DC coupled ring modulator. In principle the module contains two special voltage controlled amplifiers (VCAs) that allow both positive and negative amplification.

The overall amplification is definded by the sum of the voltage generated by the Man control, the external control voltage CV and the position of the CV control which works as an attenuator for the external control voltage. Without external CV the amplification is +1 when the Man control is fully CW. In the center position the amplification is zero and fully CCW it's -1 (i.e. the incoming signal is inverted). By means of the external control voltage CV the manually adjusted amplification can be modulated. CV can be both positive or negative (i.e. bipolar) to obtain positive or negative amplification values controlled by the external CV.

In addition the CV signal can be modulated via the modulation control input Mod by means of another control voltage. The Mod socket is normalled to +5V, i.e. a constant positive voltage is used as modulation CV provided that no plug is inserted into the Mod socket.

The current amplification is displayed by a dual color LED (note: it's not a signal display but indicates the amplification, probably yellow = positive amplification, red = negative amplification)
Application examples:
voltage controlled amplifier (VCA) with pure positive overall amplification (Man + CV)
voltage controlled inverter with pure negative overall amplification (Man + CV)
voltage controlled polarizer/attuverter overall amplification changing between positive and negative (Man + CV)
DC coupled ring modulator with offset feature, the "classical" ring modulator corresponds to Man=0 and symmetrical audio signals for In and CV
additional effects by means of the modulation feature of the CV signal (using the Mod input)
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Doepfer A-183-4 Quad Level Shifter Module
Cat: 765895 Rel: 28 Jul 20
 
Level shifter module
Notes: Module A-183-4 is a fourfold level shifter. A level shifter is required if the level of a digital control signal has to be increased or decreased. A typical application is the conversion of a gate, trigger or clock signal with +5V voltage level (tolerance range +2...+5V) to +12 voltage level. The output voltage level can be set by means of a jumper to +12V or +5V. The factory setting is +12V. But it can be changed to convert also a higher to a lower level (e.g. +12V to +5V). But this application is required rarely. The output level setting by means of the jumper is global, i.e. it is valid for all four units and cannot be set individually for each unit. The four output signals are displayed by means of LEDs.

The outputs and inputs of the four sub-units are normalled via the switching contacts of the input sockets, i.e. the output signal of the upper unit is used as input signal of the unit below provided that no patch cable is inserted into the input socket of the lower unit. That way the module can be used also as clock/trigger/gate buffer or buffered multiple for digital signals. For this the signal that has to be buffered is connected to input 1. The buffered (and possible level shifted) signal appears then at all four outputs.
Voltage thresholds for the input voltages:
voltages below +0,8 V are treated as "low"
voltages above +3 V are treated as "high"

Typical applications:

Converting the levels of digital control signals (e.g. gate, trigger, clock) to another voltage level (+12V or +5V)
buffering and duplicating digital control signals (e.g. gate, trigger, clock)

Important note: the module cannot be used for analog signals.
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MRP:$70.57 SAVE 16%
 4 in stock $59.34
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Earth Quaker Devices Afterneath V3 Enhanced Otherworldly Reverberator Pedal
Notes: The Afterneath sounds a lot like it looks - a wizard bursting forth from ethereal cave and ready for the ambient battle.

Once inside the cave, a reflection of light from an unknown source catches your eye, and you notice a bizarre sheen on the walls of the cave. You timidly inch closer to the walls of the cave. Placing your hand gently on the cavern wall, you feel the rock move. The cave is alive! Alarmed, you emit a loud gasp, which reverberates throughout the subterranean landscape. Upon further listening, it appears as though the reverberations of your voice are in fact a swarm of short digital delays which may be used to create wild and cavernous reverbs, or scattered, short, rhythmic delays with bizarre characteristics.

Take a moment to consider your Intelligence and Wisdom scores, as well as your spell inventory before proceeding further. You have seven spells at your disposal.

Will you cast "Length," which controls the decay length of the reverb?
What about "Diffuse," which adjusts the spread of the reverb? With your wand (or just the knob) turned counterclockwise, the reverb is sharper with more attack, resulting in a stuttering sputter of individual early reflections. Clockwise casts a washy, more ambient-sounding hex.

Overwhelmed by fear, you hastily cast "Dampen!" As you shout the incantation, you notice that a counterclockwise variation of this spell results in brighter tones, while as you rotate your wand clockwise; you hear darker tones with a mellower top-end. It's almost as if your magic changes the hardness of the cavern walls, and thus the tonal characteristics of the reverb!

Elsewhere in your book of magic is "Drag," which separates the individual digital delay lines, literally dragging them through the very fabric of time and space towards an unknown event horizon from which they may never return. Clockwise "Drag" positions will gather the delay lines close together for a more reverb-like effect. Turn the "Drag" counterclockwise, and the delay lines will begin to pull apart for a scattered ping-pong delay effect.

The Drag can be put under voltage or expression control using the "EXP" jack located on the side and operates in 9 different modes which are selected by the small "Mode" control. These modes are: Unquantized, Unquantized with slew, Unquantized volt/octave,
Chromatic scale, Major scale, Minor scale, Pentatonic scale, Octaves & fifths and Octaves. These modes drastically change the way the Drag control functions, especially while using an expression control or CV.

The "Reflect" alters the depth of the cave, and with it the regeneration of the reverb. This acts as a feedback control and will self-oscillate if cast by a high-level user. Turn clockwise for more wash and echoes, counterclockwise for less.

Finally, the "Mix" alters the alchemical balance between the input signal and the effect. The Afterneath does not go fully wet but does lower the level of the input signal as you raise this control to create the appearance of a fully wet reverb.

Modes
The Modes control changes the way the Drag control functions. The LED will change colors indicating which mode you are in.

1. Unquantized: Smooth, unquantized response over the operating range

2. Unquantized with Slew: Smooth, unquantized response over the entire operating range, but with a musical slew that is reminiscent of turning the varispeed knob on a vintage British tape delay. The "Drag" will lag behind the knob or cv changes, but then quickly catch up.

3. Unquantized Volt/Octave: Smooth and unquantized, yet scaled to align with the 1v/octave curve to allow melodic modulation of audio in the buffer, or control the frequency of self-oscillation like a voltage controlled oscillator.?

4. Chromatic Scale: Quantized 1v/octave to the chromatic scale?

5. Minor Scale: Quantized 1v/octave to the minor scale?

6. Major Scale (Lydian): Quantized 1v/octave to the major scale (Lydian)?

7. Pentatonic Scale: Quantized 1v/octave to the pentatonic scale?

8. Octaves & Fifths: Quantized 1v/octave to omit all but octaves and fifths?

9. Octaves: Quantized 1v/octave to omit all but octaves

Specifications:

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs

Current Draw: 100 mA

Input Impedance: 1 MO

Output Impedance: 500 O
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MRP:$260.05 SAVE 17%
 2 in stock $216.71
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Earth Quaker Devices Avalanche Run V2 Stereo Reverb & Delay with Tap Tempo Pedal
Cat: 781595 Rel: 28 Jul 20
 
Stereo reverb & delay pedal
Notes: The Avalanche Run is a dreamy stereosonic exploratory multi-tool that includes up to 2 seconds of delay time, reverse delay, tap tempo with subdivision control, switchable true bypass or buffered bypass with 5 different tail lengths (including a sound-on-sound style lo-fi looping mode) and an assignable expression control that maps the expression jack to a control of your choice, including the toggle! The delay section allows tweaking from tape emulation to bucket brigade styles with a twist of the wide-range Tone control. The cavernous, plate-style reverb has just a touch of modulation similar to the one found in our precious Dispatch Master only more lush with an adjustable Decay. Otherworldly reverse delay and dynamic swelling reverb settings are accessible through a 3-way toggle switch. And that's just the beginning...

1. Time: This controls the delay time and goes from 0ms to just under 2000ms.

2. Repeats: Controls the regeneration of the delay, from zero repeats to near infinite.

3. Tone: Controls the tone for the delay line only. Roll off highs to the left, roll off lows to the right and get a flat response in the middle.

4. Mix: The is the volume control for the delay line. This blends in the wet with dry until 1 o'clock, 1 o'clock to 3 o'clock boosts the wet signal over the dry and 3 o'clock up brings down dry until it is fully wet when all the way up.

5. Expression Jack Assign Switch: Use this switch to map the expression jack to one of the assigned controls.

Decay: Controls the reverb decay length

R Mix: Controls the reverb mix

Time: This takes over for the delay time control and is DRASTICALLY different than the interface control. Using the expression pedal to control the time will give you all kinds of wild effects that can not be achieved by turning the knob.

Repeats: Controls the delay repeats

D Mix: Controls the delay mix

Toggle: This takes over for the toggle switch and will cross fade from forward delay in heel down position to reverse delay in toe down position.

6. Ratio Selector Switch: Selects delay subdivisions when time is set by the "Tap" switch.

1/1: Quarter Note

3/4: Dotted 8th

2/3: Quarter Note Triplet

1/2: 8th Note

1/3: 8th Note Triplet

1/4: 16th Note

7. Decay: Controls the decay length of the reverb, short decay counterclockwise, long cavernous decay clockwise.

8. Toggle Switch (Mode Selector)

Normal: This is the standard delay and reverb mode

Reverse: This is reverse delay mode with standard reverb

Swell: This is the volume swell mode

9. Mix: This is the volume control for the reverb. Blends in the wet with dry until 1 O'clock, 1 O'clock to 3 O'clock boosts the wet signal over the dry and 3 O'clock up brings down dry until it is fully wet when all the way up.

The expression jack is located on the west side of the pedal. It is a TRS jack with the tip acting as the wiper.

Using a Moog expression pedal, with the output adjustment knob all the way up, is recommended. Any other expression pedal is not guaranteed to work with the Avalanche Run.

This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

For best results, please use the included 9v center-negative 1-amp DC power supply.

Dimensions: 4.65 x 4.15 x 2.25 in. (118 x 105 x 57 mm) with knobs
Current Draw: 410 mA
Input Impedance: 1 MO
Output Impedance: 100 O
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MRP:$424.71 SAVE 24%
 1 in stock $324.52
Earth Quaker Devices Cloven Hoof V2 Fuzz Grinder Pedal
Cat: 781610 Rel: 28 Jul 20
 
Fuzz grinder pedal
Notes: The Cloven Hoof is the Hoof's evil twin. It looks a lot like the Hoof, only more, um . . . Cloven.

The tightness and clarity you loved about the Hoof has been kept, along with the wide range of fuzz sounds, and the rest was thrown away. NOS Germanium transistors? Nope! In their place, a set of four specially selected Silicon transistors were installed for cleaner cleans, higher gain, improved temperature stability, and a grittier, grindier, nastier fuzz tone with over 4x the gain of the original Hoof. The key resistors were replaced with with NOS Carbon Comp components to sprinkle a little bit of vintage flavor into the Cloven Hoof's searing fuzz fury. It's like they always say, "In with the old, out with the new".

The Tone and Shift controls remain intact, only now they're re-voiced for a smoother sweep, and more precise control over the Cloven Hoof's beefy low-end. Speaking of low-end, have you heard this thing on bass? Wow. Try the Cloven Hoof on a bass guitar. Seriously- you can still cut or boost the mids, and there's still a metric ton of output on tap, just do us a favor, and for the love of all that's Cloven, play this pedal with a bass guitar.

Controls:
1. Shift: This adjusts the mid content. Clockwise for scooped mids,
counterclockwise for boosted.

2. Tone: Bass to the left. Treble to the right

3. Level: Use this control to make the Cloven Hoof louder or quieter.

4. Fuzz: Clockwise for heavy, counterclockwise for light.

Tech Specs:

This device is true bypass and uses electronic relay-based switching. Audio will not pass without power.

This device can be powered by a 9v battery or a standard 9-volt DC power supply with a 2.1mm negative center barrel. Pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies are always recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 14 mA
Input Impedance: 150 kO
Output Impedance: <10 kO
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MRP:$228.69 SAVE 23%
 1 in stock $176.13
Earth Quaker Devices Data Corrupter Modulated Monophonic Harmonizing PLL Pedal
Cat: 781617 Rel: 28 Jul 20
 
Harmonizing pedal
Notes: The Data Corrupter is a monophonic analog harmonizing PLL with modulation. It takes your input signal and brutally amplifies it into a crushing square wave fuzz tone that is then multiplied, divided and modulated to create a wild, yet repeatable, three-voice guitar synthesizer.

The Master Oscillator is the central nervous system at the heart of the Data Corrupter's cyberpunk hive mind. It feeds your input to the signal harvester in its original octave (Unison), one octave down (-1) or two octaves down (-2) for maximum compatibility with your preferred instrument and frequency register. Once you've chosen your input octave, then the Data Corrupter will perform its calculations and spit out an analog synthesized frequency, which can be pitch-bent for portamento or vibrato sounds by the Frequency Modulator! From there, you can blend in one of eight Subharmonic intervals up to three octaves below the input and mix in a square wave fuzz tone for maximum data corruption.

The Master Oscillator (1) is the central nervous system at the heart of the Data Corrupter's cyberpunk hive mind. The three-position switch on the Master Oscillator control panel labeled Root (2) feeds your input to the signal harvester in its original octave (Unison), one octave down (-1) or two octaves down (-2). Use the Master Oscillator's Root Switch to fine tune the Data Corrupter's tracking response for maximum compatibility with your preferred instrument and frequency register. Once you've chosen your input octave, the Data Corrupter will perform its calculations and spit out a synthesized frequency, the octave and/or interval of which may be selected via the Master Oscillator's eight-position rotary switch.

The Voice Mixer's Oscillator Control (3) adjusts the Master Oscillator blend.

The Frequency Modulator (4) applies pitch-bend modulation to the Master Oscillator. In Glide mode, you'll hear a smooth portamento as each note slides into the next. In Vibrato mode the pitch modulates up and down for a retro sci-fi laser effect.

The Subharmonic (5) assimilates the input signal into one of eight lower octave programs between one and three octaves below the original. For a more stable lower octave, set the Subharmonic's Root Switch to the Unison position, which divides the Square Wave input signal, and removes the Frequency Modulator from the Subharmonic signal path.

To unleash the cracked machine lurking within the mainframe, set the Subharmonic Root Switch to Oscillator and try not to look away as the sonic malware you just installed mangles your input signal into the sum and difference of both the Master Oscillator and Subharmonic with the Frequency Modulator applied to the upper and lower octaves.

If you think you're brave enough, set the Subharmonic Root Switch to Oscillator and try experimenting with different Master Oscillator and Subharmonic programs to wind up the doomsday clock and inch ever closer to the Singularity. Adjust the Voice Mixer's Subharmonic Control to set the lower octave volume.

Finally, (or is it?) the Square (6) control located top-left on the Voice Mixer blends in a fuzzed-out square-wave take of your input in its original octave.

The heart of this pedal is based around a CMOS Phase Locked Loop (PLL) IC. In a nutshell, the PLL takes your input signal and compares its phase and frequency against an oscillator, generates an output proportional to their difference then feeds it back to the oscillator. This then causes the oscillator to lock onto the input signal and generate a synthesized frequency. Pretty cool, right? This synthesized frequency is referred to as the Master Oscillator on the Data Corrupter.

This device takes its inspiration from the Electrax Synthax and the "Basic Frequency Synthesizer" by Ray Marston. Neither of these were really intended to be guitar effect pedals and a lot of work went into creating the Data Corrupter to provide excellent tracking and long sustain. We think you'll find it more expressive and accurate than pretty much any other PLL based effect pedal around.

This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

Dimensions: 5.65 x 4.75 x 2.25 in. (144 x 121 x 57 mm) with knobs
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MRP:$299.26 SAVE 21%
 1 in stock $236.31
Earth Quaker Devices Disaster Transport SR Advanced Modulated Delay & Reverb Machine Pedal
Cat: 781635 Rel: 28 Jul 20
 
Reverb & modulation delay pedal
Notes: The Disaster Transport SR is a dual delay with reverb and modulation. It was designed from the ground up to create an intense wash of lo-fi swirling tape styled echo. While it may look intimidating at first glance, it's actually pretty easy to navigate. The top row of controls are for delay A and the bottom row of controls are for delay B. Delay A is a 600ms delay with modulation and delay B is a 300ms delay with reverb. Both delays can be run separately, in parallel, in series or in series/parallel. To take it one step further, there are also expression controls for the repeats on delay A as well as bleeding delay A into delay B. The switching was designed so each delay can be used individually or in tandem with both true bypass or trails.

In addition to being used as a straight delay, straight reverb, rhythmic delay, modulated delay and old school tape-style echo, the Disaster Transport SR can also be used to create a wide variety of wild sounds ranging from warped records, clanging flange, smooth chorus, echoed out squalls and various other-worldly effects that will blow your mind, man. If you are a fan of old school tape delay and crazy lo-fi sounds, you will get hours of enjoyment every time you plug into the Disaster Transport SR.

The controls for delay A and B are separated by row. The top row is for delay A and the bottom row is for delay B.

Time: Controls the delay time from about 30ms up to 600ms.

Repeats: Controls how many regenerations of the signal there are. This ranges from one single repeat through an endless wash into self oscillation. This can also be controlled via an expression pedal. The Moog EP-2 is recommended.

Mix: Level control for the wet signal. Unity is around center, anything above is boosted. Boosting this works great when using a distorted signal. Please keep in mind this is a gain control, a bit of hiss is normal when it's above unity.

Depth: Controls the intensity of the modulation, from no modulation to all out seasick pitch bends.

Rate: Controls the rate of the modulation. The LED for delay A flashes in time with the modulation to visually show where the rate is set.

Bleed: This feeds delay A into delay B, post reverb (see block diagram for visual explanation). Use this control for series or series/parallel operation to create rhythmic repeats, extra long delay time or an all out echo wash. This can also be controlled via an expression pedal. The Moog EP-2 is recommended. When using the bleed, experiment with the repeat controls on each delay line. Try using them in different settings, both together and individually, for different timing and textures.

Delay B Controls
Reverb: Controls the amount of reverb added to the input of delay B.

Mix: Level control for the wet signal. Unity is around center, anything above is boosted. Boosting this works great when using a distorted signal. Please keep in mind this is a gain control, a bit of hiss is normal when it's above unity.

Repeats: Controls how many regenerations of the signal there are. This ranges from one single repeat through an endless wash into self oscillation.

Time: Controls the delay time from about 30ms up to 300ms.

The switches for both delays switch the inputs only. The outputs are always connected. This allows you to have trails by always leaving the bypass switch engaged or to use the bypass switch as the master on/off for true bypass. Additionally, you can feed delay A in to delay B with the bleed control without having delay B switched on for a cleaner rhythmic delay.

Tech Specs:

This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. We always recommend pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 5.65 x 2.25 in. (121 x 144 x 57 mm) with knobs
Current Draw: 107 mA
Input Impedance: 500 kO
Output Impedance: <1 kO
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MRP:$416.87 SAVE 25%
 1 in stock $313.62
Earth Quaker Devices Dunes V2 Mini Mega Ultimate Overdrive Pedal
Cat: 781639 Rel: 28 Jul 20
 
Overdrive pedal
Notes: Dunes is a condensed take on our highly popular Palisades "808-style" overdrive. All the glitz and glamour of the original Palisades has been stripped away, leaving only the bare essentials required for a rippin' mid-boosting transparent overdrive. It has all the great tone of the grown-up Palisades but with a simplified interface and a smaller footprint!

The Dunes features the same Gain, Tone and Level controls as the Palisades, along with Earth Quaker's favoured voice and bandwidth settings, as well as the Normal/Bright toggle. The selectable clipping Voices are: MOSFET for a tight crunchy sound (Palisades' Setting 3); Silicon Asymmetrical clipping for tighter light gain OD closest to the classic 808 sound (Palisades' Setting 4), and None, which goes from clean boost to gritty, pure op-amp distortion with a massive volume boost (Palisades' Setting 1). The two Bandwidth settings are Stock for the classic tone (Palisades' Setting 3) and Full Range for more low end (Palisades' Setting 5).

Controls:
1. Tone: Brighter clockwise, warmer counterclockwise

2. Voice: MF- MOSFET diode clipping, N- No diode clipping, Si- Silicon diode clipping

3. Gain: Adjusts the drive, dirtier clockwise, cleaner counterclockwise

4. Normal/Bright: Normal is a warm full tone, Bright is livelier tone with more chime

5. Volume: Sets the output level

6. Bandwidth: Left is brighter with more emphasis on the mids, right is full range for more low end

Tech Specs:

This device is true bypass and uses electronic relay-based switching. Audio will not pass without power.

This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. Pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies, are a;ways recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 16 mA
Input Impedance: 500 kO
Output Impedance: <1 kO
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MRP:$254.83 SAVE 22%
 1 in stock $199.00
Earth Quaker Devices Grand Orbiter V3 Phase Machine Pedal
Cat: 781668 Rel: 28 Jul 20
 
Phase machine pedal
Notes: Grand Orbiter is a 4 stage OTA-based phaser with a diverse feature set that can go from stationary and resonant to slow and mellow and on through fast and swirly. It has three way toggle switch to select between the ranges of modulation. The master Rate control fine tunes the speed of the LFO in each of these modes and the flashing red LED acts as a visual indicator, even when the effect is in bypass mode. The Depth control blends the shifted signal in with the dry signal and controls the intensity of the effect. The Sweep control governs the peak frequency of the phased signal's tone, turned full clockwise the sweep is lively and intense, whereas turning counter clockwise yields a darker, more laid back peak. The Resonance provides a wide range of control over regeneration and at higher settings adds a more pronounced and resonant tone. You can also use the Grand Orbiter as a true pitch vibrato with the "Phase/Vibrato" switch. When in "Vibrato" mode, the dry signal is removed and the Depth controls acts as a volume control. This pedal is 100% analog, true bypass and built by entirely by hand in beachy Akron, Ohio.

1. Sweep: Controls the frequency peak of the sweep. Higher peak clockwise, lower peak counter clockwise.

2. Rate 1,2,3: Changes the range of the speed control. Rate 1 is slow mode, Rate 2 is LFO kill to use the Orbiter as a fixed resonant filter, Rate 3 is fast mode.

3. Rate: Controls the speed of the LFO. Faster clockwise, slower counterclockwise.

4. Depth: Controls the amount of phase effect mixed with dry signal. Clockwise for more intense phasing, counterclockwise for less. In "Vibrato" mode, this acts as a volume control.

5. Phase/Vibrato: Cuts the dry signal to create a vibe/vibrato effect depending on the setting of the other controls. Vibrato is created by turning the resonance down low.

6. Resonance: Controls the regeneration of the phased signal. More resonant clockwise, more subtle counterclockwise.

Tech Specs:

This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. Pedal-specific transformer-isolated wall-wart power supplies, or multiple isolated-output supplies, are always recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 15 mA
Input Impedance: 1 MO
Output Impedance: <1 kO
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MRP:$260.05 SAVE 17%
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quote 781668
Earth Quaker Devices Night Wire V2 Harmonic Tremolo Pedal
Cat: 781691 Rel: 28 Jul 20
 
Tremolo pedal
Notes: Really clever and creative approach to tremolo effects here: the signal is split into high and low frequencies, then the signals are modulated with low-frequency oscillators for funky, organic movement.

Supplier notes:
The Night Wire is a feature-rich harmonic tremolo. What is harmonic tremolo? In short, the signal is split into high pass and low pass filters, then modulated with an LFO that is split 180 degrees. The Night Wire takes the traditional harmonic tremolo a few steps further by allowing the center point of both filters to be adjusted for different tones. The filter frequency has three modes: Manual, LFO and Attack. In Manual mode, the center point can be set to a fixed position with the frequency control. In LFO mode, the filters are continuously swept and the frequency control adjusts the speed. In Attack mode, the filters are dynamically swept according to pick attack and the frequency control acts as a range control, much like a standard envelope filter. The tremolo section has two modes, Manual and Attack. In Manual mode, the speed of the tremolo is governed by where the rate control is set. In Attack mode the speed is controlled by pick attack and the rate controls the sensitivity; the harder you pick, the faster the rate and vice-versa. The tremolo can be subtle and shimmery or full-on throbbing depending on where the depth control is set. With the depth set to zero, the Night Wire will act like a fixed filter, phase shifter or envelope-controlled filter depending on which mode the filter frequency is in. It also features a cut/boost volume control to get your levels just right.

Controls:
1. Depth: Adjusts the depth of the tremolo. More clockwise, less counterclockwise. When fully counterclockwise, the amplitude modulation will be removed and the Night Wire will function as a fixed filter, envelope controlled filter or phaser depending on where the Frequency toggle is set.

2. Rate Toggle: This toggle lets you select between two ways to control the speed of the tremolo. Attack lets you adjust the speed by pick attack. In this mode, the Rate knob controls the sensitivity of the dynamic tremolo. The higher the rate and harder you pick, the faster the speed will rise and vice versa. In Manual mode, the Rate control adjusts the speed like a common tremolo.

3. Rate: In Manual mode, this controls the speed of the tremolo. Faster speed clockwise and slower speed counterclockwise. In Attack mode, this controls the sensitivity of the dynamic tremolo. The higher the Rate and harder you pick, the faster the speed will rise and vice versa.

4. Level: Sets the output level, unity is around noon.

5. Frequency Toggle: This toggle lets you select one of 3 different ways to control the center frequency of the filter section. In LFO mode, the frequency is continuously swept by an LFO. In this mode, the Frequency knobs adjusts the speed of the LFO. In Manual mode, the frequency is determined by where the Frequency knob is set. In Attack mode, the center frequency is dynamically controlled by pick attack and the Frequency knob adjusts the sensitivity.

6. Frequency: Controls the center frequency of the filters in Manual mode: higher clockwise, lower counterclockwise. In LFO mode this controls the rate of the sweep: faster clockwise and slower counterclockwise. In Attack mode this controls the sensitivity of the envelope: lower Frequency gives slower rise and lower peak, higher Frequency gives faster rise and higher peak. Simple, right?

Tech Specs:
Flexi-Switchr Technology
This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

Power
This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. Pedal-specific, transformer-isolated wall-wart power supplies, or multiple isolated-output supplies, are always recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 65 mA
Input Impedance: 1 MO
Output Impedance: <1 kO
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quote 781691
Earth Quaker Devices Plumes	 Small Signal Shredder Overdrive Pedal
Cat: 781709 Rel: 28 Jul 20
 
Overdrive pedal
Notes: Plumesr is a unique, all-analog approach to a classic tube-like overdrive circuit offering 3 different clipping voices, loads of headroom and almost three-dimensional clarity that will push your amp over the edge. The reimagined tone control is finely tuned to sculpt low end, clear top end, and focus midrange with blooming sustain.

Controls:
1. Level: This controls the output volume.

2. Gain: This controls the amount of drive.

3. Tone: More bass to the left, more middles in the middle and more treble to the right.

4. Clipping Modes (3-Way Toggle):

1. Symmetrical LED clipping - More Crunch and Compression.

2. No clipping - Wide open OpAmp drive for clean boost.

3. Asymmetrical silicon diode clipping - More transparency with a loose feel.

Tech Specs:
Flexi-Switchr Technology
This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

Power
This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. Pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies are always recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 25 mA
Input Impedance: 10 MO
Output Impedance: 100 O
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Earth Quaker Devices Space Spiral V2 Modulated Delay Device Pedal
Cat: 781722 Rel: 28 Jul 20
 
Delay pedal
Notes: The Space Spiral is a dark and dreamy modulated delay designed to take you across the highways of fantasy. While the delay may be designed around a "dawn of digital" echo processor, the sound is out of this world, man. If you are a fan of the dreary echoes produced by old oil can delays or the ethereal sound of a well-loved tape delay, the Space Spiral is totally going to tickle your tone bone.

The Space Spiral's delay time ranges from a tight 30ms to a fast and loose 600ms. Can you imagine having 600ms of delay time at your fingertips? Out of this world! With all of this adjustable delay time you create anything from a classic slapback to a rhythmic wash of cosmic proportions. You want to take it even further? Maybe to an astral plane? Crank up the repeats and let the infinite oscillation of the Space Spiral take you to the other side.

Space Spiral- It'll get you through the night.

Controls:
1. Time: Delay time goes from 30ms to 600ms; Clockwise for long and counterclockwise for short.

2. Repeats: Controls the regeneration of the delay signal. Repeats increase clockwise and gradually begin to build into self-oscillation around 3 o'clock. This oscillation will infinitely continue until the Repeats control is brought back down below the 3 o'clock threshold. These oscillations will last even when the pedal is in bypass mode.

3. Mix: Blends the delay signal in with the dry; Clockwise for more and counterclockwise for less.

4. Depth: Controls the desired amount of modulation; Clockwise for more and counterclockwise for less.

5. Shape: Morphs the wave shape from a soothing triangle shape to a choppy square shape as you turn clockwise.

6. Rate: Controls the speed of the modulation; Clockwise for fast and counterclockwise for short.

Tech Specs:
Flexi-Switchr Technology
This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

Power
This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. Pedal-specific, transformer-isolated wall-wart power supplies, or multiple isolated-output supplies, are always recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 38 mA
Input Impedance: 1 MO
Output Impedance: <1 kO
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Earth Quaker Devices Spatial Delivery V2  Envelope Filter With Sample & Hold Pedal
Cat: 781724 Rel: 28 Jul 20
 
Envelope filter pedal with sample & hold module
Notes: The Spatial Delivery is an oddball, a voltage controlled envelope filter that allows you to step outside the universe of funk while reinforcing your secret love affair with auto-wah. It has 3 modes: Up Sweep, Down Sweep and Sample and Hold.

With Range, Resonance and Filter controls you can get super emphasized filter sweeps in the Up and Down modes. The Range, in combination with pick attack, controls the sensitivity and reaction time of the envelope and thus the width of the frequency sweep. The higher the Range and harder the attack equals a faster reaction time and higher frequency sweep and vice versa. Reign in the controls a bit, add your favorite overdrive/fuzz after the Spatial Delivery and you've got a real nice resonant, cut-through-the-mix lead tone. Crank the controls back up and you're a neo-bedroom rock god. In the Sample and Hold mode the filter is controlled by random voltage and the Range controls the speed. Add a sub octave into the mix (before or after) and you've just created a deep fried space droid computer freak-out. The filter can be cross faded between high pass (counterclockwise), band pass (center) and low pass (clockwise) for a wide variety of voices. The Resonance control goes from zero to the brink of oscillation and adds more body and ring to the filter voice.

Controls:
1. Range: Adjusts the sensitivity of the envelope in Up and Down mode. In Sample and Hold mode, this controls the speed.

2. Mode Toggle: This toggles between Upward Sweep, Downward Sweep or Sample and Hold.

3. Resonance: This is the filter feedback control, it adds more body and ring to the filter voice.

4. Filter: This crossfades between high pass and low pass filters and allows you to get everything in between. High pass is fully counterclockwise, low pass is full clockwise and center is band pass. This is much more useful than a simple switch because it allows you to blend the filters for different sounds!

Suggested Placement
We recommend placing the Spatial Delivery first in your signal chain. However, due to its envelope control, experimenting with pairing and signal chain placement can take the potential of the Spatial Delivery even further.

Tech Specs:
Flexi-Switchr Technology
This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

Power
This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. Pedal-specific, transformer-isolated wall-wart power supplies, or multiple isolated-output supplies, are always recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 68 mA
Input Impedance: 500 kO
Output Impedance: <1 kO
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quote 781724
Earth Quaker Devices The Depths V2 Analog Optical Vibe Machine Pedal
Cat: 781628 Rel: 28 Jul 20
 
Optical vibe machine pedal
Notes: The Depths is Earth Quaker Devices' take on the classic optical vibe circuit. Now you can swab the decks with the same lush, pulsating, three-dimensional swirling sound you know and love, with some modern accouterments for all you land-lubbers out there.

The Depths is optimized for use with all kinds of instruments, pickups, and to play well with dirt, so nobody's left waiting on shore. If it's got a 1/4" output, plug it in and get deep!

Controls:
1. Intensity: This controls how subtle or intense the overall effect is. Counterclockwise from noon are the more subtle, classic sounds. Clockwise from noon are the more drastic and intense sounds.

2. Voice: Dials in the overall sound. Turn it clockwise for a fuller sound with more lows, bring it back for a thinner, more midrange focused tone.

3. Rate: Controls the speed of the effect. Counterclockwise for slow, clockwise for fast.

4. Level: Controls the volume of the effect. Unity is around 1 o'clock, everything above that is boost.

5. Throb: This controls the low end pulse. It may not be immediately evident on the bridge pickup, but switch to the neck or add some dirt and it comes alive. All the way up for more throb, dial it back for less. Works best when the Voice is set to a warmer tone.

Tech Specs:
Flexi-Switchr Technology
This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

Power
This device takes a standard 9-18 volt DC power supply with a 2.1mm negative center barrel. Pedals will make extra noise if there is ripple or unclean power. Pedal-specific, transformer-isolated wall-wart power supplies, or multiple isolated-output supplies, are always recommended. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 21 mA
Input Impedance: 1 MO
Output Impedance: <1 kO
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Earth Quaker Devices The Warden V2 Optical Compressor Pedal
Cat: 781755 Rel: 28 Jul 20
 
Comrpessor pedal
Notes: Hey boss, thanks for taking a visit from The Warden! The Warden is an optical compressor with a feature set usually reserved for studio grade units. Built with high grade components and internally powered by 18v, The Warden has loads of gain and sustain on tap. With complete control over attack, release, sustain and ratio, The Warden will allow everything from a heavy squash with fast attack and release to "barely there" subtle compression. Optical compression has a reputation for having more character than a VCA or FET-based compression and The Warden is no exception.

Controls:
1. Tone: This pedal was designed to slightly color your tone, and the coloration can be dialed-in to your taste. Counterclockwise is treble cut, clockwise is treble boost. The tone is nearly flat around 11 o'clock.

2. Attack: This controls how quickly the compressor reacts and starts leveling the signal. All the way counterclockwise is a fast, nearly immediate reaction. Turning the attack clockwise slows the reaction time.

3. Release: This controls how long it takes the signal to raise back up to the level determined by the Sustain and Ratio settings. All the way counterclockwise is a fast release and the release time slows as you turn it clockwise.

4. Level: This controls the overall output and is affected by the Sustain and Ratio settings. There is no specific unity setting; adjust to taste when you find your perfect compression setting.

5. Ratio: This determines how much the gain reduction affects the signal. All the way up is full compression and the compression is reduced as you turn this counterclockwise which allows more of the boosted, less-compressed signal to come through. There are no defined ratios here.

6. Sustain: This is the heart of The Warden. It controls how hot the signal is, which changes the dynamics of the compression. The Warden is a feedback-style compressor; the hotter the signal, the more active the compression. Very little Sustain= very little compression, less active Attack and Release and a cooler signal. Max Sustain= heavy compression, longer sustain, hotter signal and more lively Attack and Release.

Tech Specs:
Switching
This device is true bypass and uses electronic relay-based switching. Audio will not pass without power.

Power
This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. Pedal-specific, transformer-isolated wall-wart power supplies, or multiple isolated-output supplies, are always recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 31 mA
Input Impedance: 1 MO
Output Impedance: <1 kO
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quote 781755
Electro Harmonix 1440 Fourteen-Fourty Stereo Looper Pedal
Cat: 785073 Rel: 30 Jul 20
 
Looper pedal
Notes: The EHX 1440 Stereo Looper is a compact powerhouse that provides 1440 seconds of high-quality, uncompressed, stereo recording time plus the ability to store 20 different loops. It can even tempo sync to an external MIDI device and is packed with features you'll want. Unlimited overdubbing means you can lay down as many parts as you like while variable tempo playback plus Reverse and Octave speed effects really enhance creative control.

A 1 Shot function is also included, adjustable fadeout times and optional external footswitch control for selecting loops and Undo/Redo. The affordable 1440 Stereo Looper puts a ton of looping power on your pedalboard.
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Electrosmith Patch Pal 12 Inch Standard Eurorack Patch Cable (black, single)
Cat: 786087 Rel: 07 Aug 20
 
Eurorack patch cable
Notes: Heavy duty 3.5mm Eurorack patch cables built with an extra thick 4mm PVC jacket, and internal shielding. These are built to last, and feature an ergonomic grip on the connector for comfortable patching and repatching. Available in standard configurations and a multitude of colours and lengths, these cables are sure to become your new favourite patching pals.
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MRP:$2.61 SAVE 27%
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Electrosmith Patch Pal 12 Inch Standard Eurorack Patch Cable (blue, single)
Cat: 786063 Rel: 07 Aug 20
 
Eurorack patch cable
Notes: Heavy duty 3.5mm Eurorack patch cables built with an extra thick 4mm PVC jacket, and internal shielding. These are built to last, and feature an ergonomic grip on the connector for comfortable patching and repatching. Available in standard configurations and a multitude of colors and lengths, these cables are sure to become your new favorite patching pals.
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MRP:$2.61 SAVE 27%
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Electrosmith Patch Pal 12 Inch Standard Eurorack Patch Cable (green, single)
Cat: 786054 Rel: 07 Aug 20
 
Eurorack patch cable
Notes: Heavy duty 3.5mm Eurorack patch cables built with an extra thick 4mm PVC jacket, and internal shielding. These are built to last, and feature an ergonomic grip on the connector for comfortable patching and repatching. Available in standard configurations and a multitude of colours and lengths, these cables are sure to become your new favourite patching pals.
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MRP:$2.61 SAVE 27%
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Electrosmith Patch Pal 12 Inch Standard Eurorack Patch Cable (pink, single)
Cat: 786051 Rel: 07 Aug 20
 
Eurorack patch cable
Notes: Heavy duty 3.5mm Eurorack patch cables built with an extra thick 4mm PVC jacket, and internal shielding. These are built to last, and feature an ergonomic grip on the connector for comfortable patching and repatching. Available in standard configurations and a multitude of colours and lengths, these cables are sure to become your new favourite patching pals.
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MRP:$2.61 SAVE 27%
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Electrosmith Patch Pal 12 Inch Standard Eurorack Patch Cable (purple, single)
Cat: 786064 Rel: 07 Aug 20
 
Eurorack patch cable
Notes: Heavy duty 3.5mm Eurorack patch cables built with an extra thick 4mm PVC jacket, and internal shielding. These are built to last, and feature an ergonomic grip on the connector for comfortable patching and repatching. Available in standard configurations and a multitude of colours and lengths, these cables are sure to become your new favourite patching pals.
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MRP:$2.61 SAVE 27%
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Electrosmith Patch Pal 12 Inch Standard Eurorack Patch Cable (red, single)
Cat: 786067 Rel: 07 Aug 20
 
Eurorack patch cable
Notes: Heavy duty 3.5mm Eurorack patch cables built with an extra thick 4mm PVC jacket, and internal shielding. These are built to last, and feature an ergonomic grip on the connector for comfortable patching and repatching. Available in standard configurations and a multitude of colours and lengths, these cables are sure to become your new favourite patching pals.
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MRP:$2.61 SAVE 27%
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Electrosmith Patch Pal 12 Inch Standard Eurorack Patch Cable (white, single)
Cat: 786066 Rel: 07 Aug 20
 
Eurorack patch cable
Notes: Heavy duty 3.5mm Eurorack patch cables built with an extra thick 4mm PVC jacket, and internal shielding. These are built to last, and feature an ergonomic grip on the connector for comfortable patching and repatching. Available in standard configurations and a multitude of colours and lengths, these cables are sure to become your new favourite patching pals.
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MRP:$2.61 SAVE 27%
 2 in stock $1.91
Electrosmith Patch Pal 36 Inch Standard Eurorack Patch Cable (black, single)
Cat: 786091 Rel: 06 Aug 20
 
Eurorack patch cable
Notes: Heavy duty 3.5mm Eurorack patch cables built with an extra thick 4mm PVC jacket, and internal shielding. These are built to last, and feature an ergonomic grip on the connector for comfortable patching and repatching. Available in standard configurations and a multitude of colours and lengths, these cables are sure to become your new favourite patching pals.
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MRP:$5.23 SAVE 31%
 2 in stock $3.59
Electrosmith Patch Pal 36 Inch Standard Eurorack Patch Cable (blue, single)
Cat: 786088 Rel: 06 Aug 20
 
Eurorack patch cable
Notes: Heavy duty 3.5mm Eurorack patch cables built with an extra thick 4mm PVC jacket, and internal shielding. These are built to last, and feature an ergonomic grip on the connector for comfortable patching and repatching. Available in standard configurations and a multitude of colours and lengths, these cables are sure to become your new favourite patching pals.
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MRP:$5.23 SAVE 31%
 2 in stock $3.59
Electrosmith Patch Pal 36 Inch Standard Eurorack Patch Cable (green, single)
Cat: 786086 Rel: 06 Aug 20
 
Eurorack patch cable
Notes: Heavy duty 3.5mm Eurorack patch cables built with an extra thick 4mm PVC jacket, and internal shielding. These are built to last, and feature an ergonomic grip on the connector for comfortable patching and repatching. Available in standard configurations and a multitude of colours and lengths, these cables are sure to become your new favourite patching pals.
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MRP:$5.23 SAVE 31%
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Electrosmith Patch Pal 36 Inch Standard Eurorack Patch Cable (pink, single)
Cat: 786085 Rel: 06 Aug 20
 
Eurorack patch cable
Notes: Heavy duty 3.5mm Eurorack patch cables built with an extra thick 4mm PVC jacket, and internal shielding. These are built to last, and feature an ergonomic grip on the connector for comfortable patching and repatching. Available in standard configurations and a multitude of colours and lengths, these cables are sure to become your new favourite patching pals.
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MRP:$5.23 SAVE 31%
 2 in stock $3.59
Electrosmith Patch Pal 36 Inch Standard Eurorack Patch Cable (purple, single)
Cat: 786089 Rel: 06 Aug 20
 
Eurorack patch cable
Notes: Heavy duty 3.5mm Eurorack patch cables built with an extra thick 4mm PVC jacket, and internal shielding. These are built to last, and feature an ergonomic grip on the connector for comfortable patching and repatching. Available in standard configurations and a multitude of colours and lengths, these cables are sure to become your new favourite patching pals.
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MRP:$5.23 SAVE 31%
 2 in stock $3.59
Erica Synths VCA Waveshaper Ringmodulator Fusion Series Module
Cat: 780895 Rel: 27 Jul 20
 
Fusion series module
Notes: The Fusion VCA/Waveshaper/Ringmodulator is a complex sound processor that combines VCA, waveshaper and ringmodulator. It's not a regular VCA; it can operate as one, but most of the power of the module is in advanced modulations - with two CVs applied simultaneously to different stages of the VCA, audio rate modulations, using ringmodulator as a waveshaper - your imagination is the limit!

Low power consumption due to miniature vacuum tubes.

Technical specifications:

Audio Input level: 10Vptp
CV input level (full swing): -10V - +10V
Panel width: 14HP
Module depth: 36mm
Power consumption: 48mA@+12V, 69mA@-12V
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MRP:$403.80 SAVE 19%
 1 in stock $326.69
Genelec 8020D Compact 2 Way Active Monitor (raw aluminium, single)
Cat: 781489 Rel: 28 Jul 20
 
2 way active monitor
Notes: The ever-popular 8020D gets an industrial makeover with this raw aluminium finish. Same clear and revealing sound, same compact design but a striking new look.

Supplier notes:
When it comes to performance versus size, the 8020 has set the benchmark in nearfield monitoring for over 15 years.

Active Crossovers

Directivity Control Waveguide (DCW) Technology

SPL

100 dB

Frequency Response

56 Hz - 25 kHz (-6dB)

Dimensions

H 242 x W 148 x D 142 mm, with Iso-Pod (view in inches)

Classic design
The 8020D is the latest revision of this enduring studio classic, boasting an even higher SPL yet lower energy consumption than previous versions. Designed to adapt to the broadest possible range of listening environments, the 8020D thrives when space is at a premium.

Transparent and truthful
Engineers love the transparent and truthful reproduction of the 8020D, and with its wide uncoloured sweet spot you are always in a position to make accurate, reliable mix decisions. Additionally, our Intelligent Signal Sensing (ISS™) circuitry detects when your monitor is no longer in use, placing it into an environmentally friendly, power-saving standby mode.

Key Technologies

Active Crossovers

Directivity Control Waveguide (DCW) Technology

Intelligent Signal Sensing (ISS) Technology

Iso-Pod Stand

Minimum Diffraction Enclosure (MDE) Technology

Optimized Amplifiers

Protection Circuitry

Reflex Port Design

Room Response Compensation

Versatile Mountings

Package contains:
1 x 8020D monitor
1 x mains cable 1,8m
1 x user manual

Technical Specifications

SPL
100 dB

Amplifier Power
50 W Bass (Class D) + 50 W Treble (Class D)

Frequency Response
56 Hz - 25 kHz ("-6 dB")

Accuracy of Frequency Response
i 2.5 dB (62 Hz - 20 kHz)

Driver Dimensions
105 mm Bass + 19 mm Treble

Dimensions
H 242 x W 148 x D 142 mm, with Iso-Pod

Weight
3.2 kg / 7.1 lb

Connections
1 x XLR Analog Input
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MRP:$560.62 SAVE 25%
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quote 781489
Genelec 8030C Compact 2 Way Active Monitor (raw aluminium, single)
Cat: 781491 Rel: 28 Jul 20
 
2 way active monitor
Notes: If you love the compact format of the 8010 and 8020 models but demand higher SPL and more bass extension, meet the 8030C.

Active Crossovers:

Directivity Control Waveguide (DCW) Technology

SPL:

104 dB

Frequency Response:

47 Hz - 25 kHz (-6dB)

Dimensions:

H 299 x W 189 x D 178 mm, with Iso-Pod (view in inches)

Welcome to the sweet spot
A consistent best-seller, the 8030C sits in the perfect sweet spot of big monitor performance and small footprint. It offers precise imaging and staggering detail, but can go louder and lower than its smaller siblings - making it the perfect choice for slightly larger spaces.

The trademark rounded cabinet design of the 8030C delivers uncoloured reference performance both on and off axis, and rear panel room compensation switches let you optimise the 8030C for your individual room acoustics. All this helps you produce mixes that translate beautifully to other rooms and systems.

Key Technologies

Active Crossovers

Directivity Control Waveguide (DCW) Technology

Intelligent Signal Sensing (ISS) Technology

Iso-Pod Stand

Miimum Diffraction Enclosure (MDE) Technology

Optimized Amplifiers

Protection Circuitry

Reflex Port Design

Room Response Compensation

Versatile Mountings

Package contains:
1 x 8030C monitor
1 x mains cable 1,8m
1 x user manual

Technical Specifications

SPL
104 dB

Amplifier Power
50 W Bass (Class D) + 50 W Treble (Class D)

Frequency Response
47 Hz - 25 kHz ("-6 dB")

Accuracy of Frequency Response
i 2 dB (54 Hz - 20 kHz)

Driver Dimensions
130 mm Bass + 19 mm Treble (view in inches)

Dimensions
H 299 x W 189 x D 178 mm, with Iso-Pod™ (view in inches)

Weight
5 kg / 11.0 lb

Connections
1 x XLR Analog Input
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MRP:$769.71 SAVE 17%
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Joue Drums Pad For Board Play & Pro Modular MIDI Controller
Cat: 781933 Rel: 31 Jul 20
 
4x4 matrix of sensitive drum pads
Notes: A 4×4 matrix of sensitive pads to play drums, percussion, melodies or to launch clips. Each pad is sensitive to velocity, vibrato and aftertouch and can be configured individually or in group.
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MRP:$22.22
 1 in stock $20.88
Keeley Aria Compressor Overdrive Pedal
Cat: 782289 Rel: 04 Aug 20
 
Overdrive pedal
Notes: The Keeley Aria Compressor Drive, The Ultimate Compressor and Overdrive Experience.

Compression and Overdrive are the foundation of Keeley's engineering. These two Keeley tones have inspired countless musicians, now they sit in one extremely versatile, sonic tool.

The Aria Compressor Drive not only offers out most flexible overdrive to date, it has all the tone and blend features of the Compressor Plus. Players also have the ability to swap the order of the compressor and drive for two very useful drive experiences.

Two-Mode Overdrive: Soft clipping and a transparent boost to midrange frequencies, perfect for defining your own voice.
Dual Mode - Clean and Transparent or Heavy Saturation!
Clean and Bold in Low Mode - Focused and Sustaining in High Mode.

Compressor with Clean Blend and Tone Control - Blend in any amount of clean signal for punchy chord work and use the Tone Control to brighten the highs.
Plus Features: Tone and Blend - Perfect for Humbuckers and Single Coils!
Blend for Manhattan style compressor and Tone for treble boosting.

Design for Pro Boards, Effects Order Switching, and Effect Insert
Pedal Switcher Ready! Simply connect to and pedal switcher with TRS cables and control each side of the Aria independetly
Switch the Order of the Compressor and Drive for instant change to feel and response of your combo
Use TRS insert cables to place effects between the Compressor and Drive like phasers, wahs, or other dirt boxes!

Tone Foundation:
Compressors and Overdrive are a fundamental part of the guitar recording process. They are also essentials for live guitar performance. You have two ways you can combine the beautiful midrange of overdrive and the benefits of compression and sustain. Most people run compression before overdrive in order to reduce the potential for idle, static noise. There are times when you want added sustain and therefore might need the compressor after overdrives, because using compressors after overdrives offers players a very warm and rounded, smooth and even tone with tons of sustain. And then you may need to return to the conventional routing, because compression before drives gives you a consistent gain level. Problem solved! Each half of the flexibly routed Keeley Aria Compressor Drive provides tons of volume for boosting and pushing your amp, with each half offering essential tone shaping controls to perfectly sculpt the core of your guitar's sound.

The Aria Compressor Drive comes with TRS insert jacks to allow you to divide the pedal into two units. Insert effects between the two sides! Compressor into delay into overdrive, anyone? Maybe swap that for overdrive into delay into compression.
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MRP:$260.05 SAVE 18%
 1 in stock $212.34
Keeley Aurora Digital Reverb Lush Spatial Studio Quality Reverb Pedal
Cat: 782299 Rel: 04 Aug 20
 
Reverb pedal
Notes: Turn down the lights, turn up the spectrum.

Join Keeley Electronics' grand entrance into the hallowed halls of psycho-acoustic processing - the Aurora Reverb. Few effects complement a guitar better than reverb; from spring reverb coils in a tank to the distant echo of cathedrals to 600 pound sheet-metal plate vibrations. Reverb captures our imaginations and plunges us deeply into our musical psyches. Reverb IS the key to the highway.

At Keeley Electronics, the Aurora Reverb had to meet certain specific criteria. It had to be affordable with no compromise to audio quality. It had to be easy for guitarists to use and be inspiring. And it had to offer the essentials for tailoring your tone without a dozen knobs to learn. Now achieved, we are proud to offer a true bypass, 100% dry analog path, low noise, 24 bit, high-fidelity reverb processor.

AND IT SOUNDS GREAT!

The following controls offer everything from pristine, fast reflections to ethereal spaces to deep, dark and endless caverns.

The Toggle Switch
The three most popular reverb styles that don't come built into your amplifier are Room, Plate and Hall. In the smallest footprint possible, we offer what used to take up a recording studio room or an entire city block. You can achieve cathedral resonance, enormous surface areas of sheet-metal plate sounds or convincing room decays. Room sizes range from something like a broom closet to that of a barn. (Also, careful adjustments to the Room settings yield a signal bordering on the verge of spring reverb, so if your amp doesn't already have a tank, the Aurora pedal has you covered.)

Decay
Decay controls the amount of time it takes for the reverberated sound to disappear. The Aurora pedal provides a range from a realistic, close-quarters reverberated dimension to a "walk-away-and-come- back in a while" signal of complex, still-ringing musical reflections.

Slapback
Otherwise known as "pre-delay". Pre-delay creates distance. How soon or late you hear the first reflection is crucial to crafting the reverberated space. Sometimes you do not want any delay between your note and the reverb. And sometimes, for clarity's sake, you want the reverb to wait a moment before joining the dry signal. Such a setting enables short, staccato, single-syllable type expressions to finish articulating before being suffused AND joined by the tail-end of previously reverberated sounds. The Slapback setting adjusts from zero to 100 milliseconds. When the illusion of infinite space is required, set your Slapback to zero and you'll streak vividly away like Dr. David Bowman breaking free of Jupiter's gravitational pull.

Warmth
Dial up the warmth. Unlike most tone controls, ours is a dampening control and increases the warmth, as it is rolled up. Its brightest setting is when completely dialed down.

Blend
Blend will take your 100% analog dry signal and blend in the reverb, from just the slightest mix of wet to much more. It is recommended that you place it at the end of your pedal chain and use the Blend Knob to tailor your sound.

The Keeley Aurora Reverb provides the essentials guitarists are looking for when they need reverb on their pedal boards. Like that ethereal glow to the mighty Earth herself, Aurora creates a natural halo of sound in the atmosphere of your magnificent core tone.
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 1 in stock $170.46
Keeley Bassist Limiting Amplifier Pedal (For Bass)
Cat: 782303 Rel: 04 Aug 20
 
Compresssion & limiting pedal
Notes: The Keeley Bassist Compressor provides true high-fidelity compression and limiting. Be heard and felt using performance compression by Keeley Engineering.

The Bassist Compressor is built around the exotic and extremely high fidelity THAT Corp. 4320. Think of it as very affordable studio-grade compressor in stomp box format! It uses high performance Voltage Controlled Amplifiers, on board true-RMS detector, and ultra high performance op-amps to bring you the very best quality. VCA compressors give you precise control. Therefore they are directly suited to bass guitars. The Keeley Bassist Compressor is both musical and very transparent. Where our older compressors were based on the CA3080 or the LM13700 and are perfect for single coil guitars, the new Keeley Bassist Compressor has no problems with active pre-amps and line level input signals! Not only can the Keeley Bassist handle astonishingly large signals, it has an incredible bandwidth of over 20 KHz and incredibly low noise. No detail in your bass guitar's tone will be lost. The Keeley Bassist will be a sound investment in your tone, you now have rack-mount quality at your feet.

Compression and Threshold

When bass players use the Keeley Bassist Compressor they will be greeted with a sound that is more easily amplified and heard. Using the effect as a limiting amplifier saves your speakers from clipping and distortion. Set the Threshold to look for peaks in your signal and limit distortion from your amplifier or damage to your speakers. Simply watch the Threshold Indicator light to see what type of playing you want to limit, it's that easy! Next set the Compression Ratio Control to determine how much squash you want when the signal is above Threshold. Set Compression all of the way down for no (1:1) compression and use the Gain control as a boost! Set Compression all of the way up for an above-Threshold hard-knee limiter.

A typical soft compressor setting would be 2:1 above threshold. A good starting ratio for the Compression control may be 4:1 as it generally sounds good with bass guitar. A ratio of 5:1 or 6:1 will sound great for slap or funk-style playing. For synth-bass try 10:1 Compression.

Attack and Release

There is a certain figure that just sounds good as far as compression goes; and that's 125 dB/second. With feed forward compressors that use this type of true-RMS detector you use a single time constant parameter. The timing capacitor gives you attack and release times that are adaptive to your playing level or the signal input to the compressor. Bottom line: Attack and Release times vary on program content. Attack times are generally speaking, about 100 times faster than release times.

Attack Time: typically 15ms for 10dB, 5ms for 20dB, 3ms for 30dB

Release Time: typically 8ms for 1dB, 40ms for 5dB, 80ms for 10dB, 160ms for 20dB, 240ms for 30dB

Specs:

Voltage Input: 9V

Current Draw: 50mA

Input Impedance 1 Meg ohm

Output Impedance: 100 ohm

Output Voltage Gain: +30dB Boost

Bandwidth > 20kHz

Total Harmonic Distortion: 0.1%

Noise: -95dBV

Threshold Indicator: Dual LED
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 1 in stock $194.94
Keeley Bubble Tron	Dynamic Flanger/Phaser Pedal
Cat: 782324 Rel: 04 Aug 20
 
Flanger/phaser pedal
Notes: The Keeley Bubble Tron Dynamic Flanger.Phaser pedal explores some of the famous, but very hard to find sounds of the past. Keeley Engineering has created another batch of Neo-Vintage effects that never were. This time Keeley has made the Flanger and Phaser in dynamic with your pick attack and strength. Then add the Random Stepped Filter with the new "M-Style Synth" bandpass shaping feature, and you have a lead guitarist's dream tool. Shut up and play your effect pedal! Yeah, you play this thing like an extension of your mind and fingers.

The Keeley Bubble Tron Dynamic Flanger Phaser and Random Synth Filter has three modes of operation.

The Flanger section of the pedal draws on inspiration from the MicMix DynaFlanger. This incredible piece of gear was used by FZ to create many of the sounds in the late 70s to mid 80s where a dynamic flanger was used to get envelope based flanging in his solos. A dynamic flanger is one that starts and stops based on your pick attack or envelope. The word envelope is used because if you were to measure the "weight" of your guitar signal and put it in a storage container (the "envelope" is an imaginary capacitor) it can then be used to control another part of the circuit. The Bubble Tron uses your playing to start and stop the flanger. Most flangers just cycle around and around and you can hear that swooshing in the background. Not in this case, it only cycles as you play. Many flangers offer only positive or negative feedback. This one allows you to try either with the FDBK Control. The negative feedback sounds more vocal like and hollow to my ears while the positive feedback is more conventional and has a thicker, smoother sound. The Sensitivity Control allows you to set how delicately you want to play and have the flanger go fully crazy on you. You can set for crazy silverback gorilla flange or easy flangin' on Sunday morning. The Depth Control is just that, how deep you want the flanging to be.

The DynaMoPhase section of the Bubble Tron is actually two phasers. One has an LFO that you set the speed of with the Rate Control (while it's depth is dynamically controlled) and the other is a true Dynamic Phaser. It starts and stops based on your pick attack. Again, you can set the Depth and and Sensitivity of this phaser to give you a very watery sound that is all based on your guitar's signal. You can turn off the standard phaser and just run it DynaPhase by turning the Rate Control off.

The White Zone is for Loading and Unloading Only.

The only effect that isn't dynamic is the Filter Section of the Bubble Tron Dynamic Flanger Phaser. With the Filter you can control the different ramps or random nature of the pedal with the Shape Control. The very exciting part of this pedal is the Sensitivity Control which is actual like a vintage synth style bandpass filter control. It shapes the bandpass filter on the filter and gives you some incredible keyboard like sounds.

One very nice side effect of dynamic based effects is that they don't produce the constant, swooshing sound of LFO based effects.

If you're a lead guitar player that likes to explore and has never had the kind of expression or dynamics from your sound effects that you have in your mind, this is for you. If you are a sound-experimentalist, this is for you! The sounds are nearly endless in that your input shapes what the effect will do.
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 1 in stock $189.49
Keeley Caverns Delay/Reverb V2 Delay Pedal
Cat: 782331 Rel: 04 Aug 20
 
Delay/reverb pedal
Notes: The Caverns Delay Reverb V2 dual-effect pedal combines delay and reverb for the perfect end to any pedal board. It features Keeley's analog-style tape delay with modulation options. The 650ms of warm delay combine with Spring, Shimmer or Modulated Reverb. Caverns now comes with a True-Bypass or Trails option. Because of its small and compact design, the New Caverns is a perfect fit for any fly-rig or small board where you have tight space requirements. The New V2 features Keeley's most popular time-based effects, blended perfectly via a design fine-tuned for over 2 years. Simply put, it will be an amazing addition to any board.

The Reverb side of the pedal features 3 cavernous sounds:

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

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

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

Top-Mounted Jacks allow for a compact pedalboard layout.

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

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

Use 2 TRS Breakout cables for effects patching or to use the Caverns with a pro switching system.
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 2 in stock $170.97
Keeley Compressor Plus Classic Compressor Pedal With Added Tone And Blend Control
Notes: The Keeley Compressor is the most popular boutique compressor in the world.

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

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

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

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

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

This compressor isn't just for heavy funk or chicken pickin' anymore.The new Compressor Plus is for players wanting a smooth, subtle wash from their guitar. Remove just the right amount of peaks for an ambient layer and then blend in the right amount of treble for a nice shimmer to your guitar. Use with your favorite fuzz to create a wall of tone like you've only heard on records. Looping has never been easier than with this compressor. Consider it an essential tool when creating loops that sound well-balanced. Forget it all and use the Compressor Plus for the best amp boost you've heard. Nothing pushes an amp better than the Keeley Compressor Plus.
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Keeley Compressor Pro Full Featured Studio Quality Compressor Pedal
Cat: 782376 Rel: 04 Aug 20
 
Compressor pedal
Notes: Keeley Compressor Pro. The stomp-box sized compressor/limiter is made in Oklahoma, USA and engineered to be an indispensable tool for your musical endeavors. It is in no way limited to be used with only guitar. It has been designed to work as a studio compressor accepting any range of inputs and a frequency response and noise level matching the finest compressors made.

Compression LED Display:
Segment LED display for fast and accurate metering of compression and gain reduction. Gain Reduction Levels of -1dB to -20dB are indicated.

Threshold LED Indicator:
Bi-Color LED to indicate when compression is initiated and released.

Exact RMS Analysis (ERA):
Senses the true RMS value of the input program material such as your guitar, bass or drum machine.

Hard/Soft Knee Compression - Hard Compression for limiting or adding sustain, soft knee or Komfort Kompression for gentle compression, keeping performances lively and natural sounding without potential phase issues in parallel, or blending style compression.
Auto Mode - Program dependent Attack and Release times. Set to Auto ON for worry-free performance and automatic Attack and Release times.
True-Bypass - No tone or signal loss when OFF

The Keeley Compressor Pro is designed to be used at home or in the studio for creating full sounding recordings of any instrument. In live situations, the Compressor Pro can be used to achieve full sounding, polished performances as well as protect amplifiers and speakers from overload. The Comp Pro is designed to work with any instrument from voice and guitar to keyboard, bass, or drums. Use it when creating a podcast or YouTube videos to maintain professional performance levels. Use it around the home to create tons of sustain while at low volumes or low gain settings!
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MRP:$390.73 SAVE 17%
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Keeley D&M Drive & Boost Pedal
Cat: 782395 Rel: 04 Aug 20
 
Drive & boost pedal
Notes: The D&M Drive is the perfect storm of Drive and Boost. The D&M offers a gorgeous sounding high-voltage Boost side which is designed to impart the perfect tone on any amp that needs to be pushed. No longer will you wonder what the perfect clean boost should be. As you roll things up, the drive morphs your tone into singing gold. A sexy and smoothly saturated midrange voice appears which breathes confidence. The Drive side offers everything you would want in a powerful gain stage. From flat honest overdrive that is perfect for any set of chords to searing hot lead work with tons of sustain. The Drive is the perfect counterpoint to the Boost. Not only does each side of the pedal provide rewarding guitar tones, they can be used to stack together for an out-of-this-world experience. The pro switching system developed for the D&M Drive allows you to select which side of the pedal comes first. What's more, you can configure the pedal to work in a pro switching system like the G2 for independent Boost/Drive use!

That Boost
Are you looking for something in between a clean boost, such as the high voltage Keeley Katana, and a germanium modded professional overdrive? If so, the D&M is the answer. To get things started, the D&M Drive delivers insane amounts of headroom. Then, a distinct midrange voice can be dialed in to give you the lead voicing you dream of. When dialed in, it can give you the punch and clarity of a horn yet be subtle and smooth in saturation in order to give you a warm overdrive filled with tons of sustain. Expect it to work well with any amp or rig.

That Drive
Multiple Gain Stages is where it's at. This drive delivers. From its lowest settings, where you feel like you've discovered the perfect pro sounding overdrive, to the roar of a high-end amp, the multiple gain stage Drive delivers a heavily saturated punch. And the headroom here is no slouch. Use it to find that delicate balance between drive and amp saturation for the core of your tone. Turn up the Drive to give yourself a dynamic and searing tube-like gain that excels in sustain. The D&M is designed for quick attack with plenty of high and low end. Rich harmonic gain and sustain with dynamics is what this side offers.

That Switching
Daniel Steinhardt from TheGigRig insisted that this was a versatile dual-gain box that wasn't limited in any way with its two simple stomp switches. You select the order! A simple toggle allows you to configure the pedal so that when both the Drive and Boost are on, you decide which is first. If you want to have a smooth and round tone to go into a richly driven amp-like gain stage - or if you want a highly driven tone with edge and harmonics to be then boosted with clarity and refinement, it's your choice. Not only that, but Daniel had the engineers incorporate his idea for TRS insert cables so that this pedal would easily integrate into a professional switching system like the G2. Now pedalboard designers can configure the D&M Drive to act as two independent pedals, switching between either side of the pedal as it were its own stand alone effect.
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Keeley Dark Side Modern Fuzz Pedal With Rotary, Vibrato & Delay
Cat: 782380 Rel: 04 Aug 20
 
Fuzz pedal
Notes: We should all be so lucky as to be identified by the sound of a single note. Some players are so well defined that their entire musical journey can be heard in a single note they play. Tone is in the fingers. Tone is in the mind. Effects can be a great way of expressing emotions or creating textures. The Dark Side is about creating sounds and adding new tones to your symphony. It's the things you can't create with your fingers or mind. It's metasymphonic. The Dark Side provides all the textures that define an essence, in one pedal.

The individual pieces that make up the Dark Side workstation are Fuzz, Delay and Modulation. The Fuzz side of the Dark Side is a big fuzz style distortion based on a 1977 op-amp style, which was also used for Keeley's Psi Fuzz. This one is completely and radically different. Many changes have been made to extract the nuances of earlier transistor based fuzzes. This pedal lets your guitar sing with sustain, yet retains the essence of you guitar whether single coil or humbucker based.

The next core element in the Dark Side pedal is the Delay and Modulation side. You can select between a multi-head tape delay effect or between a combination of 4 different modulation sounds. The Dark Side delay has 12 different syncopated delays. They are rhythmic and have the tonal quality of the old spinning drum tape delays. The Dark Side has many subtle filters to get the tape delay setting to have the feel and warmth of the original machines, yet gives you range of control to have modern features like expression pedal control for the number of repeats. You can use it for creating a feedback oscillation delay. Extremely subtle modulations in the delay make it very musical.

The next atom in this workstation is the modulation effect. There are four parts to this effect. Flanger, Rotary Speaker Cabinet, U-Vibe, and Phaser. You can blend between the "Electric Lady" Flanger and a Les-Rotary cabinet, creating new sounds. You can find that perfect blend between a vintage sounding opto-coupler based U-Vibe and the little orange phaser.

There is also an Expression Pedal port on the pedal. It is highly recommended to have an expression pedal handy. You can make many adjustments on the fly that just increase the fun and functionality of the pedal while you're creating music. It has to be a TRS style expression pedal- it is recommended to use something like the M-Audio or Moog expression pedals.
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MRP:$390.73 SAVE 22%
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Keeley DDR Custom Drive Pedal With Delay Or Reverb
Cat: 782386 Rel: 04 Aug 20
 
Delay/reverb pedal
Notes: The DDR combines the most common guitar effects- DRIVE and WET- into one pedal. Choose between two classic overdrive tones and then pour on some delay or reverb. One pedal, any gig.

The DRIVE section gives you two styles of overdrive to choose from: Crunch or Lead. The Crunch Style gives you a gritty British tube-amp combo sound. The Lead Style gives you a warm and dark, mid-pushed overdrive. The WET side of the pedal gives you Delays and Reverbs. A Vintage/Modern Switch allows you to toggle between Spring & Plate reverb or Analog & Digital delay. Use the built-in effects loop to insert effects between Drive and Wet, or run it by itself as the only pedal you'll need!

DRIVE Channel:
A pair of modified super-drives to choose from. Volume, Tone, and Drive for days!

STYLE Switch:
Tube-amp Crunch or Lead-channel Sustain

WET Channel:
three knob delay or reverb with Blend, Decay, and Time

Delay/Reverb Switch:
Center toggle, WET Mode Select

Top-mounted jacks for effect pedal insert or split

TRS Insert Switch:
side mounted selector

True-Bypass or Trails Switch:
side mounted selector

9VDC, 100 mA, no battery option
Designed and Made in the USA
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 1 in stock $173.15
Keeley Eccos Neo Vintage Tape Delay & Looper Pedal
Cat: 782403 Rel: 04 Aug 20
 
Tape delay & looper pedal
Notes: ECCOS is Keeley Electronics' first venture into high-powered Digital Signal Processing and after spending almost 4 years customizing and meticulously refining their Dream DSP platform, they've managed to create nothing short of a delay and looper masterpiece.

Sporting up to 1.5 seconds of beautiful tape-flanged and vibrato-modulated stereo tape delays, ECCOS will create everything from classic vintage slapbacks to worlds of modulated ping-ponging dreamscapes.

But that's not all. ECCOS can also be used as a full-blown stereo looper with creative features such as Reverse, Half-Speed and One-Shot, making this compact pedal a true performance powerhouse.

And with expression control, remote bypass, 3 presets, analog-dry-through, kill-dry and a ridiculously low power-draw at only 115mA, this pedal is sure to add immense flexibility and gorgeous sounds to any rig.

Studio quality delay with tape flanged modulation

3 memory presets, subdivisions, trails, runaway feedback

Huge array of tone and time-based controls with the Alt Hold feature

Full-featured Looper with reverse and half-speed loop effects

2 minutes of looping in mono, 60 seconds in stereo, endless layers of recording!

True-Bypass and Tap Tempo on-board or remotely with any style pedal-switcher

Expression pedal assignment over any parameter and in any direction

Pro Rig designed, remote control thru 1/4? jacks for live use with pedal switcher systems

100% analog dry signal, audiophile designed input to output

Stereo True-Bypass/Trails, switchable on the fly

9 Volt DC, 115 mA low-current design

Made in Edmond, USA
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Keeley El Rey Dorado Overdrive Pedal
Cat: 782412 Rel: 04 Aug 20
 
Overdrive pedal
Notes: The El Rey Dorado is your go-to box for that Plexi tone. Yes, there is a wide range of 1960s Plexi Amp Tone in terms of power, which tubes are installed, which speakers and/or cabinet is used, but the El Rey Dorado hits the core tone bullseye! One of the many reference points for the tone was the JTM 45/100r full stack. (It's a dead-on reissue Marshallr did with crazy cool custom-made vintage-recreation speakers and dual transformers to transfer the load of the 4 EL-84s!)

The El Rey covers a lot of classic British amp tones by featuring two gain modes with the Power Toggle. With the Power Toggle switch you have control over the compression and harmonics. Low Power mode is louder, has more girth, and has fewer harmonics for a more old-school tone. The High Power mode has more compression, more harmonics, and a tighter, more defined tone. Old-school crunch in Low Power mode, super lead tones in the High Power mode.

Simple as grabbing an open E Chord!
Volume, Gain, Tone, Power Toggle: Yes

Keeley Engineered: Yes

Ripe Tide Gain: Yes

9 volt battery: 9V compatible (battery not included)
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Keeley Filaments High Gain Distortion Pedal
Cat: 782417 Rel: 04 Aug 20
 
Distortion pedal
Notes: Keeley Electronics, the leading manufacturer of pedals built in the U.S., announces the release of their most potent and aggressive metal stompbox to date: the Filaments High Gain Distortion Pedal. The Filaments accurately replicates high-gain tube amps by layering 3 stages of gain while providing 7 ultra-flexible ways to EQ the tone.

The Filaments has more flexibility in tone-shaping than any other Keeley stompbox. Level and Gain set the stage for rich layers of high gain tube-amp saturation. Bass and Body give you the punch and authority of a gain monster no matter what size amp you are playing. Even if you're running a 10-inch speaker the bass and body controls will give you the low end bass response you need. Running through a 4×12 already? Just dial back the body control to keep the sound tight and focused. Have an amp that's hard to push? The Boost and Crunch switches give you two different levels of gain and compression to get your edge just right for your tone. The Presence control works with the Bright control to give any guitar or pickup combination the authority to stand up and shout. Lastly, the Treble control gives you that added range of highs to make your amp sing.

Metal is more nuanced and subdivided that nearly any other style of music outside the classical stuff. The Keeley Filaments High Gain Distortion pedal feels your pain, brother. So of course its amazing 7 layer toneshaping lets you chameleon into any of these types of metal: Christian or Death Metal, Black Metal or Folk Metal, both types of Core, Grind and Metal. Crust Punk or Glam Metal? Progressive Jazz Metal or just good old Stoner Metal? The Filaments pedal has got you covered. Get a Keeley Filaments High Gain Distortion pedal and pound it out !! Get creative! Create your own Metal.

Keeley is well-known for high-end tone and durability. His attention to detail in stompbox tone, tube amp building experience and "tough as nails" build quality ensures his new Filaments pedal will dominate the high-gain pedalboard. Isn't it time you had a high gain pedal that gives you everything you need for the road?

Tech Specs:

9-18 VDC - Louder and More Powerful at 18 Volts!

Ultra Low Current = 10mA

Center Negative Tip

Power Supply Required - No Battery Operation

True-Bypass
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MRP:$246.99 SAVE 21%
 1 in stock $194.94
Keeley Fuzz Bender	 Fuzz Pedal With Active EQ And Gate Controls
Cat: 782420 Rel: 04 Aug 20
 
Fuzz pedal
Notes: The Keeley Fuzz Bender is a 5 knob-3 transistor modern fuzz using a combination of high-gain silicon and silky smooth germanium. What makes fuzz better? Active EQ. Using two gyrators as an active EQ gives you the ability to create massive fuzz tones not possible with typical square-wave boxes. Pummel your amp with over 20dB of boost/cut at 100Hz and 10K Hz. The Fuzz Bender is built around vintage Japanese germanium to create its monumental fuzz tones. With the all new Bias Control, you control the attack and decay of your notes. Anything from Fat Square Waves to Angular Fuzz to glitchy-Velcro attacks are possible with the Bias Control. The Fuzz Bender's five knobs confirm size matters when creating a new and epic world of fuzz.
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MRP:$194.71 SAVE 18%
 1 in stock $159.53
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quote 782420
Keeley GC-2 Limiting Amplifier Pedal (For Guitar & Other Instruments)
Cat: 782422 Rel: 04 Aug 20
 
Compressor/limiting amplifier
Notes: The Keeley Compressor GC-2 Limiting Amplifier. The same great professional compression/limiting technology available in our Bassist Limiting Amplifier, for musicians and compressor fans of all kinds!

The Keeley Compressor GC-2 Limiting Amplifier is built around the exotic and extremely high-fidelity THAT Corp. 4320. Think of it as very musical studio-grade compressor in stomp box format! It uses high performance Voltage Controlled Amplifiers, on board true-RMS detector, and ultra-high performance op-amps to bring you the very best quality. This type of compressor gives you precise control and very musical results. This along with a full frequency range means that the GC-2 Limiting Amplifier compressor is well suited for guitar, keyboards, drum machines and, really, anything you can throw at it. The Keeley GC-2 Limiting Amplifier is both musical and transparent. Where our older compressors were based on the CA3080 or the LM13700 and are perfect for that "Compressor Effect" and are still in use by tens of thousands of players, the new Keeley GC-2 is a different style compressor, aimed at being the ultimate in low noise and transparency. Not only can it handle astonishingly large signals, but it has an incredible bandwidth of over 20 KHz. No detail in your guitar's tone will be lost. The Keeley GC-2 will be a sound investment in your tone-you now have genuine rack-mount quality at your feet.

When musicians use the new Keeley Compressor GC-2, they will be greeted with a sound that is more easily amplified and heard. Using the effect as a limiting amplifier saves your speakers from clipping and distortion. Set the Threshold to look for peaks in your signal and limit distortion from your amplifier or damage to your speakers. Simply watch the Threshold Indicator light to see what type of playing you want to limit; it's that easy! Next, set the Compression Ratio Control to determine how much squash you want when the signal is above Threshold. Set Compression all of the way down (1:1) for no compression and use the Gain control as a boost. Set Compression all of the way up for an above-Threshold, hard-knee limiter.

There is a certain figure that just sounds good as far as compression goes, and that's 125 dB/second. With feed-forward compressors that use this type of true-RMS detector you use a single time-constant parameter. The timing capacitor gives you attack and release times that are adaptive to your playing level or the signal input to the compressor. Bottom line: Attack and Release times vary on program content. Attack times are, generally speaking, about 100 times faster than release times.

Attack Time: typically 15ms for 10dB, 5ms for 20dB, 3ms for 30dB

Release Time: typically 8ms for 1dB, 40ms for 5dB, 80ms for 10dB, 160ms for 20dB, 240ms for 30dB



Specs:

Voltage Input: 9V

Current Draw: 50mA

Input Impedance 1 Meg ohm

Output Impedance: 100 ohm

Output Voltage Gain: +30dB Boost

Bandwidth > 20kHz

Total Harmonic Distortion: 0.1%

Noise: -95dBV

Threshold Indicator: Dual LED
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MRP:$260.05 SAVE 17%
 1 in stock $216.71
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quote 782422
Keeley Hooke Reverb Spring/Octave Reverb Pedal With Tremolo
Cat: 782425 Rel: 04 Aug 20
 
Reverb/tremolo pedal
Notes: The new Hooke Spring Reverb from Keeley brings vintage tube-amp spring reverb and tremolo into one package. Bring your Blackface reverb and tremolo on the road with you without lugging around your prized possession! Choose from Classic Spring, Blackface Trem-n-Verb, or an organ-like Fugue-Verb.

The Hooke Spring Reverb begins with a Spring Reverb mode. The main features of this mode include the Tone and Spring controls. The Tone control allows you to work within the range of bright and spanky to dark and thick. The Spring control is the amount "looseness" or "Sproing!" in the reverb pan. Loose springs seem to generate a lot of reflections, and you can hear the reverb "bounce." With the Hooke, you can simulate a specific reverb pan of a vintage amp, two-springs, three-springs, short, medium, long decay ... it's all in there. What's more, combinations of these two controls allow you to fine-tune the tone and the character of the springs and tubes in order to dial in your favorite vintage reverb response. The depth and warmth of the Hooke reverb is simply remarkable. It's one of our finest creations.

Trem-n-verb is designed to give you the ultimate Fullerton, CA black panel Vibrato channel reverb. Everyone knows that it's not really (pitch) vibrato, it's tremolo. Keeley have EQ'd and filtered the sound to not only be tube-like, also crafted a tonal modification that makes for a deep, throbbing tremolo. By adjusting the bias of the output tubes for the volume tremolo, you also dip the volume of the reverb. A special recipe has been created in which the reverb washes over the tremolo texture just a little thickened in order to craft a tone that is truly magical.

The Hooke Reverb needed something crazy, something that just didn't exist. Ah, yes, all wet. All wet is where magic can happen. No original signal, all wet spring reverb with octave up and down. Church Organ, Organ Reverb, Fugue It! Get Hooked and Go Fugue!

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MRP:$233.92 SAVE 22%
 1 in stock $181.87
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