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edited Rane RE 27 Realtime Equalizer

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The Rane RE 27 Realtime Equalizer is a single-channel, one-third octave equalizer and a single channel one-third octave realtime analyzer. Housed in a two rack-space unit, the RE 27 features long throw slide controls on each filter band ensuring good resolution over its boost/cut range of +12dB to -15dB.

The built-in realtime analyzer provides a visual indication of the amplitude characteristics of each one-third octave band and is designed to be used to flatten the response of a sound system with great ease.

After:
The Rane RE 27 Realtime Equalizer is a single-channel, one-third octave equalizer and a single channel one-third octave realtime analyzer. Housed in a two rack-space unit, the RE 27 features long throw slide controls on each filter band ensuring good resolution over its boost/cut range of +12dB to -15dB.

The built-in realtime analyzer provides a visual indication of the amplitude characteristics of each one-third octave band and is designed to be used to flatten the response of a sound system with great ease.

Specifications

(27 Channels) 1/3-octave Constant-Q derived filters on IS0 centers from 40 Hz to 16 kHz Center Frequency Accuracy;. ±3% maximum. Filter Type: Constant-Q, state variable derived (no inductors or gyrators).

Sliders: 45 mm full-throw, positive center detent (grounded). Range: Boost: 12 dB, +2/-l dB; Cut: 15 dB, +2/+1 dB. Signal/Noise Ratios, re +4dBm, unweighted, 20 kHz bandwidth Sliders centered, unity gain: 92dB Sliders centered, max gain: 90dB Sliders max. unity gain: 73dB Sliders max, max gain: 69dB Frequency Response: 20Hz to 50kHz, +0/-3dB. THD + Noise: less than .009%, 20-20kHz with +4dBm output. IM Distortion: less than .02%, 60/7kHz, 4:l. Maximum Gain: +6dB (+3/-0dB) with sliders centered. Input Impedance: 20k ohms. Output Impedance: 100 ohms. Maximum Input Level: +22dBm (9.7 VRMS), level control below unity gain. +19dBm (7.0 VRMS), level control at unity gain. +14dBm (4.0 VRMS), level control maximum Maximum Output Level (600 ohms): +20dBm (7.8 VRMS), level control max. +18dBm (6.2 VRMS), level control at unity gain Subsonic Filter: fixed at 20Hz, 18dB/octave. Ultrasonic Filter: fixed at 50kHz, 12dB/octave. Overload Indicator: Red LED, lights at 4dB below clipping. Signal Present Indicator: Green LED, lights above -20dBm input. RE 14 Channel Separation: better than 75dB, 20-20kHz. RFI Input Filters. Bypass Switch: Passive (hard-wire type), red LED indicated (bypass=on). Output Relay: Turn on/off transient control Display Range: +1 dB or ±3dB “green” window, selectable. Measurement Level Range: 70dB to 120dB SPL, calibrated. Curve Selection: Normal: flat from 40-16kHz, ±.5dB. House: +3dB boost between 400 Hz & 1.6kHz. Display Attack Time: Peak Instantaneous. Frequency Accuracy: ±5% maximum. Analyzer Filters: ANSI Class II Pink Noise: Pseudo-random NMOS digitally-synthesized, 23-bit word length, 1 min. repetition rate Output level adjustable to +4dBm. Response: 16Hz to 20kHz, +1 dB; crest factor 4.0

Chassis and Front Panel: Cold rolled steel Size: 19"W x 3.5"H x 8.5" rack depth Weight: 11 lbs

Sep 11, 2021

edited Rane RE 27 Realtime Equalizer

Added item description.

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After:
The Rane RE 27 Realtime Equalizer is a single-channel, one-third octave equalizer and a single channel one-third octave realtime analyzer. Housed in a two rack-space unit, the RE 27 features long throw slide controls on each filter band ensuring good resolution over its boost/cut range of +12dB to -15dB.

The built-in realtime analyzer provides a visual indication of the amplitude characteristics of each one-third octave band and is designed to be used to flatten the response of a sound system with great ease.

Sep 11, 2021

edited Panasonic RP-966 Dolby Noise Reduction Unit

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The Panasonic RP-966 Dolby Noise Reduction Unit has a calibration tone for setting your VU meters on your tape deck. This unit also doubles as a line buffer to bring up low levels. This unit uses all discrete circuitry; a must for any decks that don't have dolby.

Sep 11, 2021

edited DBX 118 Dynamic Range Enhancer

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Late 70s DBX 118 Dynamic Range Enhancer stereo compressor. Perfect for getting analog sounds on your digital tracks. Track through it, use it as a buss compressor or send your whole mix out through it.

Sep 11, 2021

edited a deleted item

Correcting product name.

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Maestro Fuzz-Tone FZ1-B
After:
Maestro Fuzz-Tone FZ-1B

Sep 11, 2021

edited DigiTech RDS 3600 Digital Delay System

Correcting manufacturer’s spelling.

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Digitech RDS 3600 Digital Delay System
After:
DigiTech RDS 3600 Digital Delay System

Sep 11, 2021

edited Electro-Harmonix EH-7451 DRM 15 Digital Rhythm Matrix (Version 2)

Adding description for this unit.

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This is Version 2 of the DRM 15 that has a Clock Output jack.

Sep 10, 2021

edited Stromer Mutroniks Syntom II

Correcting company name.

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Stromer Syntom II
After:
Stromer Mutroniks Syntom II

Sep 10, 2021

edited Hughes & Kettner Replex

Correcting grammar for description.

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Before:
The Hughes & Kettner Replex is a delay unit that combines digital processing and valve analogue circuitry in order to emulate the sound of a vintage echo unit, without having to change tapes or clean heads. It offers a choice of three basic effect types: reverb, single‑tap delay and dual‑tap delay. Powered by an external mains adaptor, the Replex is a very solidly built pedal with a metal case, traditional‑style recessed rotary controls and four momentary‑action footswitches. The leftmost switch acts as a Bypass, while the other three switches engage the three different effect modes — only one process can be used at a time. Audio connections to the unit are simple, given that this is a mono unit, with Input and Output jacks, the former having a high impedance for use with electric guitar.

In addition to the main Output level control, there are knobs for Reverb Volume, Delay Volume and Second Head Volume, which allow the user to tweak the exact mix between dry, delayed and reverberant sounds reaching the output. Two controls set the delay times for the two heads: Single Head Time sets the delay time for the single‑head tape‑echo effect and Dual Head Time sets the time for the dual‑head effect, though the relative spacing between the two 'virtual' tape heads is preset in this mode at a proportion of the overall delay time. The maximum delay time seems to be around three quarters of a second, which should suit most conventional applications. The number of The number of repeats is set using the Delay Feedback knob. The Drive control can be used to add a little valve overdrive at the input, if you want to dirty things up a little. A final control in the Delay section is called 'Vintage', and affects the signal that's fed back to create regenerating echoes. Turning it clockwise introduces subtle modulations, distortions and high‑frequency filtering effects, to simulate the to simulate the non‑linearities of a tape‑based system. On the whole, it does this rather well — although I think there's still a way to go before modelled delay boxes sound exactly like their tape‑loop counterparts, the *Replex * gets pretty close, with individual repeats getting successively more distant and more grungy, making it easy to approximate those old '60s guitar sounds. As for the reverb, that sounds very much like the spring from a typical guitar combo, but without the 'sproing' when you knock it, of course.

In many ways, the Replex is no more complicated than the vintage boxes is seeks to emulate — given that so many vintage effects units had three or even four replay heads, I'm a little surprised that Hughes & Kettner didn't provide this option too. It's also disappointing that you can't use both reverb and delay at once. However, the overall sound quality is good and generally convincing, though the small knobs are rather too coarse for making precise settings — a tap tempo switch would have been useful for setting delay times because of this. Ultimately, the Replex is a bit of a one‑trick box, but it does that trick better than most — both the reverb and delay are creditably close to their vintage forebears. In addition, it's more reliable, more affordable, and built to last.

After:
The Hughes & Kettner Replex is a delay unit that combines digital processing and valve analogue circuitry in order to emulate the sound of a vintage echo unit, without having to change tapes or clean heads. It offers a choice of three basic effect types: reverb, single‑tap delay and dual‑tap delay. Powered by an external mains adaptor, the Replex is a very solidly built pedal with a metal case, traditional‑style recessed rotary controls and four momentary‑action footswitches. The leftmost switch acts as a Bypass, while the other three switches engage the three different effect modes — only one process can be used at a time. Audio connections to the unit are simple, given that this is a mono unit, with Input and Output jacks, the former having a high impedance for use with electric guitar.

In addition to the main Output level control, there are knobs for Reverb Volume, Delay Volume and Second Head Volume, which allow the user to tweak the exact mix between dry, delayed and reverberant sounds reaching the output. Two controls set the delay times for the two heads: Single Head Time sets the delay time for the single‑head tape‑echo effect and Dual Head Time sets the time for the dual‑head effect, though the relative spacing between the two 'virtual' tape heads is preset in this mode at a proportion of the overall delay time. The maximum delay time seems to be around three quarters of a second, which should suit most conventional applications. The number of The number of repeats is set using the Delay Feedback knob. The Drive control can be used to add a little valve overdrive at the input, if you want to dirty things up a little. A final control in the Delay section is called 'Vintage', and affects the signal that's fed back to create regenerating echoes. Turning it clockwise introduces subtle modulations, distortions and high‑frequency filtering effects, to simulate the to simulate the non‑linearities of a tape‑based system. On the whole, it does this rather well — although I think there's still a way to go before modelled delay boxes sound exactly like their tape‑loop counterparts, the Replex gets pretty close, with individual repeats getting successively more distant and more grungy, making it easy to approximate those old '60s guitar sounds. As for the reverb, that sounds very much like the spring from a typical guitar combo, but without the 'sproing' when you knock it, of course.

In many ways, the Replex is no more complicated than the vintage boxes is seeks to emulate — given that so many vintage effects units had three or even four replay heads, I'm a little surprised that Hughes & Kettner didn't provide this option too. It's also disappointing that you can't use both reverb and delay at once. However, the overall sound quality is good and generally convincing, though the small knobs are rather too coarse for making precise settings — a tap tempo switch would have been useful for setting delay times because of this. Ultimately, the Replex is a bit of a one‑trick box, but it does that trick better than most — both the reverb and delay are creditably close to their vintage forebears. In addition, it's more reliable, more affordable, and built to last.

Sep 10, 2021

edited Hughes & Kettner Replex

Correcting grammar for description.

Revised item description. Show revisions
Before:
The Hughes & Kettner Replex is a delay unit that combines digital processing and valve analogue circuitry in order to emulate the sound of a vintage echo unit, without having to change tapes or clean heads. It offers a choice of three basic effect types: reverb, single‑tap delay and dual‑tap delay. Powered by an external mains adaptor, the Replex is a very solidly built pedal with a metal case, traditional‑style recessed rotary controls and four momentary‑action footswitches. The leftmost switch acts as a Bypass, while the other three switches engage the three different effect modes — only one process can be used at a time. Audio connections to the unit are simple, given that this isa mono unit, with Input and Output jacks, the former having a high impedance for use with electric guitar.

In addition to the main Output level control, there are knobs for Reverb Volume, Delay Volume and Second Head Volume, which allow the user to tweak the exact mix between dry, delayed and reverberant sounds reaching the output. Two controls set the delay times for the two heads: Single Head Time sets the delay time for the single‑head tape‑echo effect and Dual Head Time sets the time for the dual‑head effect, though the relative spacing between the two 'virtual' tape heads is preset in this mode at a proportion of the overall delay time. The maximum delay time seems to be around three quarters of a second, which should suit most conventional applications. The number of The number of repeats is set using the Delay Feedback knob. The Drive control can be used to add a little valve overdrive at the input, if you want to dirty things up a little. A final control in the Delay section is called 'Vintage', and affects the signal that's fed back to create regenerating echoes. Turning it clockwise introduces subtle modulations, distortions and high‑frequency filtering effects, to simulate the to simulate the non‑linearities of a tape‑based system. On the whole, it does this rather well — although I think there's still a way to go before modelled delay boxes sound exactly like their tape‑loop counterparts, the **Replex **gets pretty close, with individual repeats getting successively more distant and more grungy, making it easy to approximate those old '60s guitar sounds. As for the reverb, that sounds very much like the spring from a typical guitar combo, but without the 'sproing' when you knock it, of course.

In many ways, the Replex is no more complicated than the vintage boxes is seeks to emulate — given that so many vintage effects units had three or even four replay heads, I'm a little surprised that Hughes & Kettner didn't provide this option too. It's also disappointing that you can't use both reverb and delay at once. However, the overall sound quality is good and generally convincing, though the small knobs are rather too coarse for making precise settings — a tap tempo switch would have been useful for setting delay times because of this. Ultimately, the Replex is a bit of a one‑trick box, but it does that trick better than most — both the reverb and delay are creditably close to their vintage forebears. In addition, it's more reliable, more affordable, and built to last.

After:
The Hughes & Kettner Replex is a delay unit that combines digital processing and valve analogue circuitry in order to emulate the sound of a vintage echo unit, without having to change tapes or clean heads. It offers a choice of three basic effect types: reverb, single‑tap delay and dual‑tap delay. Powered by an external mains adaptor, the Replex is a very solidly built pedal with a metal case, traditional‑style recessed rotary controls and four momentary‑action footswitches. The leftmost switch acts as a Bypass, while the other three switches engage the three different effect modes — only one process can be used at a time. Audio connections to the unit are simple, given that this is a mono unit, with Input and Output jacks, the former having a high impedance for use with electric guitar.

In addition to the main Output level control, there are knobs for Reverb Volume, Delay Volume and Second Head Volume, which allow the user to tweak the exact mix between dry, delayed and reverberant sounds reaching the output. Two controls set the delay times for the two heads: Single Head Time sets the delay time for the single‑head tape‑echo effect and Dual Head Time sets the time for the dual‑head effect, though the relative spacing between the two 'virtual' tape heads is preset in this mode at a proportion of the overall delay time. The maximum delay time seems to be around three quarters of a second, which should suit most conventional applications. The number of The number of repeats is set using the Delay Feedback knob. The Drive control can be used to add a little valve overdrive at the input, if you want to dirty things up a little. A final control in the Delay section is called 'Vintage', and affects the signal that's fed back to create regenerating echoes. Turning it clockwise introduces subtle modulations, distortions and high‑frequency filtering effects, to simulate the to simulate the non‑linearities of a tape‑based system. On the whole, it does this rather well — although I think there's still a way to go before modelled delay boxes sound exactly like their tape‑loop counterparts, the *Replex * gets pretty close, with individual repeats getting successively more distant and more grungy, making it easy to approximate those old '60s guitar sounds. As for the reverb, that sounds very much like the spring from a typical guitar combo, but without the 'sproing' when you knock it, of course.

In many ways, the Replex is no more complicated than the vintage boxes is seeks to emulate — given that so many vintage effects units had three or even four replay heads, I'm a little surprised that Hughes & Kettner didn't provide this option too. It's also disappointing that you can't use both reverb and delay at once. However, the overall sound quality is good and generally convincing, though the small knobs are rather too coarse for making precise settings — a tap tempo switch would have been useful for setting delay times because of this. Ultimately, the Replex is a bit of a one‑trick box, but it does that trick better than most — both the reverb and delay are creditably close to their vintage forebears. In addition, it's more reliable, more affordable, and built to last.

Sep 10, 2021

edited Hughes & Kettner Replex

Adding description for this unit.

Revised item description. Show revisions
Before:
After:
The Hughes & Kettner Replex is a delay unit that combines digital processing and valve analogue circuitry in order to emulate the sound of a vintage echo unit, without having to change tapes or clean heads. It offers a choice of three basic effect types: reverb, single‑tap delay and dual‑tap delay. Powered by an external mains adaptor, the Replex is a very solidly built pedal with a metal case, traditional‑style recessed rotary controls and four momentary‑action footswitches. The leftmost switch acts as a Bypass, while the other three switches engage the three different effect modes — only one process can be used at a time. Audio connections to the unit are simple, given that this isa mono unit, with Input and Output jacks, the former having a high impedance for use with electric guitar.

In addition to the main Output level control, there are knobs for Reverb Volume, Delay Volume and Second Head Volume, which allow the user to tweak the exact mix between dry, delayed and reverberant sounds reaching the output. Two controls set the delay times for the two heads: Single Head Time sets the delay time for the single‑head tape‑echo effect and Dual Head Time sets the time for the dual‑head effect, though the relative spacing between the two 'virtual' tape heads is preset in this mode at a proportion of the overall delay time. The maximum delay time seems to be around three quarters of a second, which should suit most conventional applications. The number of The number of repeats is set using the Delay Feedback knob. The Drive control can be used to add a little valve overdrive at the input, if you want to dirty things up a little. A final control in the Delay section is called 'Vintage', and affects the signal that's fed back to create regenerating echoes. Turning it clockwise introduces subtle modulations, distortions and high‑frequency filtering effects, to simulate the to simulate the non‑linearities of a tape‑based system. On the whole, it does this rather well — although I think there's still a way to go before modelled delay boxes sound exactly like their tape‑loop counterparts, the **Replex **gets pretty close, with individual repeats getting successively more distant and more grungy, making it easy to approximate those old '60s guitar sounds. As for the reverb, that sounds very much like the spring from a typical guitar combo, but without the 'sproing' when you knock it, of course.

In many ways, the Replex is no more complicated than the vintage boxes is seeks to emulate — given that so many vintage effects units had three or even four replay heads, I'm a little surprised that Hughes & Kettner didn't provide this option too. It's also disappointing that you can't use both reverb and delay at once. However, the overall sound quality is good and generally convincing, though the small knobs are rather too coarse for making precise settings — a tap tempo switch would have been useful for setting delay times because of this. Ultimately, the Replex is a bit of a one‑trick box, but it does that trick better than most — both the reverb and delay are creditably close to their vintage forebears. In addition, it's more reliable, more affordable, and built to last.

Sep 10, 2021

edited Smitty Pedals Compadre

Correcting grammar for description.

Revised item description. Show revisions
Before:
The Smitty Pedals Compadre fuzz is based on the Shin-ei FY-2 Companion Fuzz Box with the addition of a separate switchable Boost stage and some other improvements.

Features the correct C536 transistors as used in the original FY-2.

The original FY-2 uses a fixed mid-range filter which scoops the mids. The Compadre features a Mids control which makes the filter adjustable so you can dial the mids back in for much more sound flexibility and to help you sound cut through the mix. Use this in combination with the other controls to dial in your sound. Also adds volume when you dial the mids back in.

If you are familiar with the Companion fuzz you are most likely aware that the original FY-2 doesn't have a lot of output (less than unity) volume in its stock form. This is due to the fact that there is no output stage in the circuit to recover the gain lost in the tone stage which is at the end of the circuit. The COMPADRE has been modded with a transparent footswitchable boost stage at the end of the circuit for plenty of volume. The boost also fattens up the sound a bit when you dial up the mids. It can be switched out of circuit if you want to use your own or no boost or run it into an equalizer like Dan Auerbach of the Black Keys does.

It now features a “phat switch” that makes the fuzz sound fatter and less nasely. Of course you can still get the stock FY-2 CompanionFuzz sound with the phat switch off, boost off, and the mids knob turned all the way down.

Hand-wired, point-to-point. True Bypass Switching Alpha Pots and switches

Uses standard 9V Boss style adapter or battery for power. Battery included

After:
The Smitty Pedals Compadre fuzz is based on the Shin-ei FY-2 Companion Fuzz Box with the addition of a separate switchable Boost stage and some other improvements.

Features the correct C536 transistors as used in the original FY-2.

The original FY-2 uses a fixed mid-range filter which scoops the mids. The Compadre features a Mids control which makes the filter adjustable so you can dial the mids back in for much more sound flexibility and to help you sound cut through the mix. Use this in combination with the other controls to dial in your sound. Also adds volume when you dial the mids back in.

If you are familiar with the Companion fuzz you are most likely aware that the original FY-2 doesn't have a lot of output (less than unity) volume in its stock form. This is due to the fact that there is no output stage in the circuit to recover the gain lost in the tone stage which is at the end of the circuit. The COMPADRE has been modded with a transparent footswitchable boost stage at the end of the circuit for plenty of volume. The boost also fattens up the sound a bit when you dial up the mids. It can be switched out of circuit if you want to use your own or no boost or run it into an equalizer like Dan Auerbach of the Black Keys does.

It now features a “phat switch” that makes the fuzz sound fatter and less nasely. Of course you can still get the stock FY-2 Companion Fuzz sound with the phat switch off, boost off, and the mids knob turned all the way down.

Hand-wired, point-to-point. True Bypass Switching Alpha Pots and switches

Uses standard 9V Boss style adapter or battery for power. Battery included

Sep 10, 2021

edited Smitty Pedals Compadre

Correcting grammar for description.

Revised item description. Show revisions
Before:
The Smitty Pedals Compadre fuzz is based on the Shin-ei FY-2 Companion Fuzz Box with the addition of a separate switchable Boost stage and some other improvements.

Features the correct C536 transistors as used in the original FY-2.

The original FY-2 uses a fixed mid-range filter which scoops the mids. The Compadre features a Mids control which makes the filter adjustable so you can dial the mids back in for much more sound flexibility and to help you sound cut through the mix. Use this in combination with the other controls to dial in your sound. Also adds volume when you dial the mids back in.

If you are familiar with the Companion fuzz you are most likely aware that the original FY-2 doesn't have a lot of output (less than unity) volume in its stock form. This is due to the fact that there is no output stage in the circuit to recover the gain lost in the tone stage which is at the end of the circuit. The COMPADRE has been modded with a transparent footswitchable boost stage at the end of the circuit for plenty of volume. The boost also fattens up the sound a bit when you dial up the mids. It can be switched out of circuit if you want to use your own or no boost or run it into an equalizer like Dan Auerbach of the Black Keys does.

It now features a “phat switch” that makes the fuzz sound fatter and less nasely. Of course you can still get the stock FY-2 Companion Fuzz sound with the phat switch off, boost off, and the mids knob turned all the way down.

Hand-wired, point-to-point. True Bypass Switching Alpha Pots and switches

Uses standard 9V Boss style adapter or battery for power. Battery included

After:
The Smitty Pedals Compadre fuzz is based on the Shin-ei FY-2 Companion Fuzz Box with the addition of a separate switchable Boost stage and some other improvements.

Features the correct C536 transistors as used in the original FY-2.

The original FY-2 uses a fixed mid-range filter which scoops the mids. The Compadre features a Mids control which makes the filter adjustable so you can dial the mids back in for much more sound flexibility and to help you sound cut through the mix. Use this in combination with the other controls to dial in your sound. Also adds volume when you dial the mids back in.

If you are familiar with the Companion fuzz you are most likely aware that the original FY-2 doesn't have a lot of output (less than unity) volume in its stock form. This is due to the fact that there is no output stage in the circuit to recover the gain lost in the tone stage which is at the end of the circuit. The COMPADRE has been modded with a transparent footswitchable boost stage at the end of the circuit for plenty of volume. The boost also fattens up the sound a bit when you dial up the mids. It can be switched out of circuit if you want to use your own or no boost or run it into an equalizer like Dan Auerbach of the Black Keys does.

It now features a “phat switch” that makes the fuzz sound fatter and less nasely. Of course you can still get the stock FY-2 CompanionFuzz sound with the phat switch off, boost off, and the mids knob turned all the way down.

Hand-wired, point-to-point. True Bypass Switching Alpha Pots and switches

Uses standard 9V Boss style adapter or battery for power. Battery included

Sep 10, 2021

edited Systech 4000A Flanger

Correcting grammar for description.

Revised item description. Show revisions
Before:
The Systech 4000A is a solidly built flange unit with great control over the effect. The controls include: Input Gain Equalization points, selectable at Flat, 700Hz, and 2kHz. Emphasis Flange Rate (infinitely variable between .05Hz and 5Hz. Manual Delay (infinitely variable between) .5ms and 5ms. Mix between Flange Rate and Delay, In/Out switch, and Power Switch. The two pedal inputs allow you to control the Flange Rate and Manual Delay hands free. The third remote control option is the In/Out switch.

After:
The Systech 4000A is a solidly built flange unit with great control over the effect. The controls include: Input Gain Equalization points, selectable at; Flat, 700Hz, and 2kHz. Emphasis Flange Rate (infinitely variable between) .05Hz and 5Hz. Manual Delay (infinitely variable between) .5ms and 5ms. Mix between Flange Rate and Delay, In/Out switch, and Power Switch. The two pedal inputs allow you to control the Flange Rate and Manual Delay hands free. The third remote control option is the In/Out switch.

Sep 10, 2021

edited Systech 4000A Flanger

Correcting grammar for description.

Revised item description. Show revisions
Before:
The Systech 4000A is a solidly built flange unit with great control over the effect. The controls include: Input Gain Equalization points, selectable at Flat, 700Hz, and 2kHz. Emphasis Flange Rate (infinitely variable between .05Hz and 5Hz. Manual Delay (infinitely variable between .5ms and 5ms. Mix between Flange Rate and Delay In/Out switch and Power Switch. The two pedal inputs allow you to control the Flange Rate and Manual Delay hands free. The third remote control option is the In/Out switch.

After:
The Systech 4000A is a solidly built flange unit with great control over the effect. The controls include: Input Gain Equalization points, selectable at Flat, 700Hz, and 2kHz. Emphasis Flange Rate (infinitely variable between .05Hz and 5Hz. Manual Delay (infinitely variable between) .5ms and 5ms. Mix between Flange Rate and Delay, In/Out switch, and Power Switch. The two pedal inputs allow you to control the Flange Rate and Manual Delay hands free. The third remote control option is the In/Out switch.

Sep 10, 2021

edited Systech 4000A Flanger

Correcting grammar for description.

Revised item description. Show revisions
Before:
The Systech 4000A is a solidly built unit with great control over the effect. The controls include: Input Gain Equalization points, selectable at Flat, 700Hz, and 2kHz Emphasis Flange Rate (infinitely variable between .05Hz and 5Hz Manual Delay (infinitely variable between .5ms and 5ms Mix between Flange Rate and Delay In/Out switch and Power Switch. The two pedal inputs allow you to control the Flange Rate and Manual Delay hands free. The third remote control option is the In/Out switch.

After:
The Systech 4000A is a solidly built flange unit with great control over the effect. The controls include: Input Gain Equalization points, selectable at Flat, 700Hz, and 2kHz. Emphasis Flange Rate (infinitely variable between .05Hz and 5Hz. Manual Delay (infinitely variable between .5ms and 5ms. Mix between Flange Rate and Delay In/Out switch and Power Switch. The two pedal inputs allow you to control the Flange Rate and Manual Delay hands free. The third remote control option is the In/Out switch.

Sep 10, 2021

edited Systech 4000A Flanger

Adding description for this unit.

Revised item description. Show revisions
Before:
After:
The Systech 4000A is a solidly built unit with great control over the effect. The controls include: Input Gain Equalization points, selectable at Flat, 700Hz, and 2kHz Emphasis Flange Rate (infinitely variable between .05Hz and 5Hz Manual Delay (infinitely variable between .5ms and 5ms Mix between Flange Rate and Delay In/Out switch and Power Switch. The two pedal inputs allow you to control the Flange Rate and Manual Delay hands free. The third remote control option is the In/Out switch.

Sep 10, 2021

edited Sky Soundlab Voice Spectra Vocoder 300

Correcting grammar for description.

Revised item description. Show revisions
Before:
The Voice Spectra is a high quality studio vocoder, appreciated by the staff at music studios, professional musicians, etc. in Japan. The articulation of the output signal is extremely good, being distinguished by remarkable clarity and distinctiveness. This quality of articulation, among other things, is what distinguishes SKY Soundlab from other less sophisticated vocoders like the MAM VF11. The Voice Spectra comes with a inbuilt power supply as well.

The Voice Spectra has a very clear sound for an analogue vocoder. A big part of why it makes voices so intelligible is the syllable function which inserts noise bursts into the signal for “s” and “sh” syllables. This is a pretty rare feature on an analogue vocoder, and it really helps with intelligiblity. The syllable function is also really cool for creating rhythms.

The Voice Spectra has a good reputation in Japan for clear extent, high timbre, and for Speech Tracking Function (STF). STF is basically a pitch- to-voltage converter which functions by reading the glottal pulses of the speech signal. The control voltages from the output of the pitch extractor are fed to the VCO, so that this follow the cadences of the speech signaI. STF is an interesting additional facilities only to be found on more expensive vocoders like EMS.

Everyone familiar with vocoding will appreciate the Voice Spectra’s compressor and Voiced/Unvoiced Detector.

Technical Specifications:

Mic-line inputs: MIC -40dBm / 47K Line: 0dBm / 20K

Synthesis/Instrument Input: 0dBm / 100K Output: +0dBm

Filterbank:12 Analysing filters and 12 Synthesizing filters

#01 90 - 130 (Hz) #02 130 - 190 #03 190 - 280 #04 280 - 410 #05 410 - 610 #06 610 - 900 #07 900 - 1340 #08 1340 - 1950 #09 1950 - 2800 #10 2800 - 4100 #11 4100 - 6070 #12 6070 - 8900

Internal excitation sources: white noise generator and sawtooth oscillator (20-900Hz). Both may be gated by The Voiced/Invoiced Detector. Oscillator frequency fixed or tracking mode.

Metering: LED for speech and excitation levels"

After:
The Voice Spectra is a high quality studio vocoder, appreciated by the staff at music studios, professional musicians, etc. in Japan. The articulation of the output signal is extremely good, being distinguished by remarkable clarity and distinctiveness. This quality of articulation, among other things, is what distinguishes SKY Soundlab from other less sophisticated vocoders like the MAM VF11. The Voice Spectra comes with a inbuilt power supply as well.

The Voice Spectra has a very clear sound for an analogue vocoder. A big part of why it makes voices so intelligible is the syllable function which inserts noise bursts into the signal for “s” and “sh” syllables. This is a pretty rare feature on an analogue vocoder, and it really helps with intelligiblity. The syllable function is also really cool for creating rhythms.

The Voice Spectra has a good reputation in Japan for clear extent, high timbre, and for Speech Tracking Function (STF). STF is basically a pitch- to-voltage converter which functions by reading the glottal pulses of the speech signal. The control voltages from the output of the pitch extractor are fed to the VCO, so that this follow the cadences of the speech signaI. STF is an interesting additional facilities only to be found on more expensive vocoders like EMS.

Everyone familiar with vocoding will appreciate the Voice Spectra’s compressor and Voiced/Unvoiced Detector.

Technical Specifications:

Mic-line inputs: MIC -40dBm / 47K Line: 0dBm / 20K

Synthesis/Instrument Input: 0dBm / 100K Output: +0dBm

Filterbank:12 Analysing filters and 12 Synthesizing filters

#01 90 - 130 (Hz) #02 130 - 190 #03 190 - 280 #04 280 - 410 #05 410 - 610 #06 610 - 900 #07 900 - 1340 #08 1340 - 1950 #09 1950 - 2800 #10 2800 - 4100 #11 4100 - 6070 #12 6070 - 8900

Internal excitation sources: white noise generator and sawtooth oscillator (20-900Hz). Both may be gated by The Voiced/Invoiced Detector. Oscillator frequency fixed or tracking mode.

Metering: LED for speech and excitation levels

Sep 10, 2021

edited Sky Soundlab Voice Spectra Vocoder 300

Correcting grammar in description.

Revised item description. Show revisions
Before:
The Voice Spectra is a high quality studio-vocoder, appreciated by the staff at music studios, professional musicians, etc. in Japan. The articulation of the output signal is extremely good, being distinguished by remarkable clarity and distinctiveness. This quality of articulation, among other things, is what distinguishes SKY Soundlab from other less sophisticated vocoders like the MAM VF11. The Voice Spectracomes with a inbuilt power supply as well.

The Voice Spectra has a very clear sound for an analogue vocoder. A big part of why it makes voices so intelligible is the syllable function which inserts noise bursts into the signal for “s” and “sh” syllables. This is a pretty rare feature on an analogue vocoder, and it really helps with intelligiblity. The syllable function is also really cool for creating rhythms.

The Voice Spectra has a good reputation in Japan for clear extent, high timbre, and for Speech Tracking Function (STF). STF is basically a pitch- to-voltage converter which functions by reading the glottal pulses of the speech signal. The control voltages from the output of the pitch extractor are fed to the VCO, so that this follow the cadences of the speech signaI. STF is an interesting additional facilities only to be found on more expensive vocoders like EMS.

Everyone familiar with vocoding will appreciate the Voice Spectra’s compressor and Voiced/Unvoiced Detector.

Technical Specifications:

Mic-line inputs: MIC -40dBm / 47K Line: 0dBm / 20K

Synthesis/Instrument Input: 0dBm / 100K Output: +0dBm

Filterbank:12 Analysing filters and 12 Synthesizing filters

#01 90 - 130 (Hz) #02 130 - 190 #03 190 - 280 #04 280 - 410 #05 410 - 610 #06 610 - 900 #07 900 - 1340 #08 1340 - 1950 #09 1950 - 2800 #10 2800 - 4100 #11 4100 - 6070 #12 6070 - 8900

Internal excitation sources: white noise generator and sawtooth oscillator (20-900Hz). Both may be gated by The Voiced/Invoiced Detector. Oscillator frequency fixed or tracking mode.

Metering: LED for speech and excitation levels"

After:
The Voice Spectra is a high quality studio vocoder, appreciated by the staff at music studios, professional musicians, etc. in Japan. The articulation of the output signal is extremely good, being distinguished by remarkable clarity and distinctiveness. This quality of articulation, among other things, is what distinguishes SKY Soundlab from other less sophisticated vocoders like the MAM VF11. The Voice Spectra comes with a inbuilt power supply as well.

The Voice Spectra has a very clear sound for an analogue vocoder. A big part of why it makes voices so intelligible is the syllable function which inserts noise bursts into the signal for “s” and “sh” syllables. This is a pretty rare feature on an analogue vocoder, and it really helps with intelligiblity. The syllable function is also really cool for creating rhythms.

The Voice Spectra has a good reputation in Japan for clear extent, high timbre, and for Speech Tracking Function (STF). STF is basically a pitch- to-voltage converter which functions by reading the glottal pulses of the speech signal. The control voltages from the output of the pitch extractor are fed to the VCO, so that this follow the cadences of the speech signaI. STF is an interesting additional facilities only to be found on more expensive vocoders like EMS.

Everyone familiar with vocoding will appreciate the Voice Spectra’s compressor and Voiced/Unvoiced Detector.

Technical Specifications:

Mic-line inputs: MIC -40dBm / 47K Line: 0dBm / 20K

Synthesis/Instrument Input: 0dBm / 100K Output: +0dBm

Filterbank:12 Analysing filters and 12 Synthesizing filters

#01 90 - 130 (Hz) #02 130 - 190 #03 190 - 280 #04 280 - 410 #05 410 - 610 #06 610 - 900 #07 900 - 1340 #08 1340 - 1950 #09 1950 - 2800 #10 2800 - 4100 #11 4100 - 6070 #12 6070 - 8900

Internal excitation sources: white noise generator and sawtooth oscillator (20-900Hz). Both may be gated by The Voiced/Invoiced Detector. Oscillator frequency fixed or tracking mode.

Metering: LED for speech and excitation levels"

Sep 10, 2021

edited Sky Soundlab Voice Spectra Vocoder 300

Adding description for this unit.

Revised item description. Show revisions
Before:
After:
The Voice Spectra is a high quality studio-vocoder, appreciated by the staff at music studios, professional musicians, etc. in Japan. The articulation of the output signal is extremely good, being distinguished by remarkable clarity and distinctiveness. This quality of articulation, among other things, is what distinguishes SKY Soundlab from other less sophisticated vocoders like the MAM VF11. The Voice Spectracomes with a inbuilt power supply as well.

The Voice Spectra has a very clear sound for an analogue vocoder. A big part of why it makes voices so intelligible is the syllable function which inserts noise bursts into the signal for “s” and “sh” syllables. This is a pretty rare feature on an analogue vocoder, and it really helps with intelligiblity. The syllable function is also really cool for creating rhythms.

The Voice Spectra has a good reputation in Japan for clear extent, high timbre, and for Speech Tracking Function (STF). STF is basically a pitch- to-voltage converter which functions by reading the glottal pulses of the speech signal. The control voltages from the output of the pitch extractor are fed to the VCO, so that this follow the cadences of the speech signaI. STF is an interesting additional facilities only to be found on more expensive vocoders like EMS.

Everyone familiar with vocoding will appreciate the Voice Spectra’s compressor and Voiced/Unvoiced Detector.

Technical Specifications:

Mic-line inputs: MIC -40dBm / 47K Line: 0dBm / 20K

Synthesis/Instrument Input: 0dBm / 100K Output: +0dBm

Filterbank:12 Analysing filters and 12 Synthesizing filters

#01 90 - 130 (Hz) #02 130 - 190 #03 190 - 280 #04 280 - 410 #05 410 - 610 #06 610 - 900 #07 900 - 1340 #08 1340 - 1950 #09 1950 - 2800 #10 2800 - 4100 #11 4100 - 6070 #12 6070 - 8900

Internal excitation sources: white noise generator and sawtooth oscillator (20-900Hz). Both may be gated by The Voiced/Invoiced Detector. Oscillator frequency fixed or tracking mode.

Metering: LED for speech and excitation levels"

Sep 10, 2021

edited Stromer Mutroniks Syntom II

Adding description for this device.

Revised item description. Show revisions
Before:
After:
Built from instructions contained in an article by Electronics And Music Maker magazine, April 1983.

The Syntom II can be triggered by an external trigger pulse or by hitting the internal pad. Powered by standard, center negative 9V supply (not included).

Sep 10, 2021

edited Smitty Pedals Compadre

Correcting punctuation in description.

Revised item description. Show revisions
Before:
The Smitty Pedals Compadre fuzz is based on the Shin-ei FY-2 Companion Fuzz Box with the addition of a separate switchable Boost stage and some other improvements.

Features the correct C536 transistors as used in the original FY-2.

The original FY-2 uses a fixed mid-range filter which scoops the mids. The Compadre features a Mids control which makes the filter adjustable so you can dial the mids back in for much more sound flexibility and to help you sound cut through the mix. Use this in combination with the other controls to dial in your sound. Also adds volume when you dial the mids back in.

.If you are familiar with the Companion fuzz you are most likely aware that the original FY-2 doesn't have a lot of output (less than unity) volume in its stock form. This is due to the fact that there is no output stage in the circuit to recover the gain lost in the tone stage which is at the end of the circuit. The COMPADRE has been modded with a transparent footswitchable boost stage at the end of the circuit for plenty of volume. The boost also fattens up the sound a bit when you dial up the mids. It can be switched out of circuit if you want to use your own or no boost or run it into an equalizer like Dan Auerbach of the Black Keys does.

It now features what I call a phat switch that makes the fuzz sound fatter and less nasely. Of course you can still get the stock FY-2 Companion Fuzz sound with the phat switch off, boost off, and the mids knob turned all the way down.

Hand-wired, point-to-point. True Bypass Switching Alpha Pots and switches

Uses standard 9V Boss style adapter or battery for power. Battery included

After:
The Smitty Pedals Compadre fuzz is based on the Shin-ei FY-2 Companion Fuzz Box with the addition of a separate switchable Boost stage and some other improvements.

Features the correct C536 transistors as used in the original FY-2.

The original FY-2 uses a fixed mid-range filter which scoops the mids. The Compadre features a Mids control which makes the filter adjustable so you can dial the mids back in for much more sound flexibility and to help you sound cut through the mix. Use this in combination with the other controls to dial in your sound. Also adds volume when you dial the mids back in.

If you are familiar with the Companion fuzz you are most likely aware that the original FY-2 doesn't have a lot of output (less than unity) volume in its stock form. This is due to the fact that there is no output stage in the circuit to recover the gain lost in the tone stage which is at the end of the circuit. The COMPADRE has been modded with a transparent footswitchable boost stage at the end of the circuit for plenty of volume. The boost also fattens up the sound a bit when you dial up the mids. It can be switched out of circuit if you want to use your own or no boost or run it into an equalizer like Dan Auerbach of the Black Keys does.

It now features a “phat switch” that makes the fuzz sound fatter and less nasely. Of course you can still get the stock FY-2 Companion Fuzz sound with the phat switch off, boost off, and the mids knob turned all the way down.

Hand-wired, point-to-point. True Bypass Switching Alpha Pots and switches

Uses standard 9V Boss style adapter or battery for power. Battery included

Sep 9, 2021

edited Smitty Pedals Compadre

Correcting punctuation in the description.

Revised item description. Show revisions
Before:
The Smitty Pedals Compadre fuzz is based on the Shin-ei FY-2 Companion Fuzz Box with the addition of a separate switchable Boost stage and some other improvements.

Photos are of the actual pedal you will receive.

Features the correct C536 transistors as used in the original FY-2.

The original FY-2 uses a fixed mid-range filter which scoops the mids. The Compadre features a Mids control which makes the filter adjustable so you can dial the mids back in for much more sound flexibility and to help you sound cut through the mix. Use this in combination with the other controls to dial in your sound. Also adds volume when you dial the mids back in.

.If you are familiar with the Companion fuzz you are most likely aware that the original FY-2 doesn't have a lot of output (less than unity) volume in its stock form. This is due to the fact that there is no output stage in the circuit to recover the gain lost in the tone stage which is at the end of the circuit. The COMPADRE has been modded with a transparent footswitchable boost stage at the end of the circuit for plenty of volume. The boost also fattens up the sound a bit when you dial up the mids. It can be switched out of circuit if you want to use your own or no boost or run it into an equalizer like Dan Auerbach of the Black Keys does.

It now features what I call a phat switch that makes the fuzz sound fatter and less nasely. Of course you can still get the stock FY-2 Companion Fuzz sound with the phat switch off, boost off, and the mids knob turned all the way down.

Hand-wired, point-to-point. True Bypass Switching Alpha Pots and switches

Uses standard 9V Boss style adapter or battery for power. Battery included

After:
The Smitty Pedals Compadre fuzz is based on the Shin-ei FY-2 Companion Fuzz Box with the addition of a separate switchable Boost stage and some other improvements.

Features the correct C536 transistors as used in the original FY-2.

The original FY-2 uses a fixed mid-range filter which scoops the mids. The Compadre features a Mids control which makes the filter adjustable so you can dial the mids back in for much more sound flexibility and to help you sound cut through the mix. Use this in combination with the other controls to dial in your sound. Also adds volume when you dial the mids back in.

.If you are familiar with the Companion fuzz you are most likely aware that the original FY-2 doesn't have a lot of output (less than unity) volume in its stock form. This is due to the fact that there is no output stage in the circuit to recover the gain lost in the tone stage which is at the end of the circuit. The COMPADRE has been modded with a transparent footswitchable boost stage at the end of the circuit for plenty of volume. The boost also fattens up the sound a bit when you dial up the mids. It can be switched out of circuit if you want to use your own or no boost or run it into an equalizer like Dan Auerbach of the Black Keys does.

It now features what I call a phat switch that makes the fuzz sound fatter and less nasely. Of course you can still get the stock FY-2 Companion Fuzz sound with the phat switch off, boost off, and the mids knob turned all the way down.

Hand-wired, point-to-point. True Bypass Switching Alpha Pots and switches

Uses standard 9V Boss style adapter or battery for power. Battery included

Sep 9, 2021

edited Smitty Pedals Compadre

Adding description for this unit.

Revised item description. Show revisions
Before:
After:
The Smitty Pedals Compadre fuzz is based on the Shin-ei FY-2 Companion Fuzz Box with the addition of a separate switchable Boost stage and some other improvements.

Photos are of the actual pedal you will receive.

Features the correct C536 transistors as used in the original FY-2.

The original FY-2 uses a fixed mid-range filter which scoops the mids. The Compadre features a Mids control which makes the filter adjustable so you can dial the mids back in for much more sound flexibility and to help you sound cut through the mix. Use this in combination with the other controls to dial in your sound. Also adds volume when you dial the mids back in.

.If you are familiar with the Companion fuzz you are most likely aware that the original FY-2 doesn't have a lot of output (less than unity) volume in its stock form. This is due to the fact that there is no output stage in the circuit to recover the gain lost in the tone stage which is at the end of the circuit. The COMPADRE has been modded with a transparent footswitchable boost stage at the end of the circuit for plenty of volume. The boost also fattens up the sound a bit when you dial up the mids. It can be switched out of circuit if you want to use your own or no boost or run it into an equalizer like Dan Auerbach of the Black Keys does.

It now features what I call a phat switch that makes the fuzz sound fatter and less nasely. Of course you can still get the stock FY-2 Companion Fuzz sound with the phat switch off, boost off, and the mids knob turned all the way down.

Hand-wired, point-to-point. True Bypass Switching Alpha Pots and switches

Uses standard 9V Boss style adapter or battery for power. Battery included

Sep 9, 2021

edited Boss RX-100 Reverb Box

Adding description for this unit.

Revised item description. Show revisions
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After:
The Boss RX-100 Reverb Box (1981) is a spring reverb unit with a limiter and optional stereo mode. It features controls for Channel A and B Volume, Reverb Volume, and Pan Left and Right.

Sep 9, 2021