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Celebrating the classic, shimmering flanger sounds of Andy Summers, the EHX Walking on the Moon is a tribute to the tones Andy employed while carving his niche in the early days of playing with the Police. Liquid flange effects that hint toward chorus with extra depth and nuance make Andy’s sound one of the most coveted in all of the guitar universe.

“This beautiful shimmering which sort of made the sound more bigger and more glamourous…became a sort of characteristic of my guitar sound…A big part of my guitar sound at that time in The Police was the flange sound which we have here today in this great new pedal.” – Andy Summers

The Andy Summers Walking on the Moon is an analog flanger with a simple but powerful control set of RATE, RANGE, and COLOR. RATE sets the speed of modulation which ranges from slow, smooth filter sweeps to jittering vibrato. RANGE controls how narrow or wide the effect sweeps into the bass frequency range. The COLOR control effects the intensity of the flanger effect from subtle chorusing effects to classic jet woosh sounds. These three controls interact to create a wide breath of modulation effects.

Additionally, the Walking on the Moon includes a FILTER MATRIX which disengages the LFO from the flanger circuit, freezing the flanger giving a fixed filter effect which can add chime or metallic overtones to your sound without the movement of a traditional modulation pedal. A DRY output allows you to split your dry signal from the effected signal.

Special Artist Edition graphics featuring Andy’s signature adorn the chassis and a tribute Walking on the Moon poster with art by Laura Josephson is included with each pedal.

• Analog Flanger / Filter Matrix sounds of Andy Summers
• RATE sets modulation speed
• RANGE adjusts lower limit of flanger sweep
• COLOR controls intensity of flanger effect
• Dedicated DRY output
• Special Artist Edition GraphicsIncludes Walking on the Moon poster design by Laura Josephson
• True Bypass
• 9V Power Supply included (optional 9V battery not included)

The late 1970s rarity Electro-Harmonix Slap-Back Echo pedal is reissued with modern updates and a Pico footprint!

The 50s era gave birth to an iconic sound in which a single, short delay was utilized to add depth and rhythmic effect on countless recordings. The newly reissued all-analog design of the EHX Slap-Back Echo delivers this beloved classic sound and more in a Pico-sized pedalboard-friendly package. With three delay time settings and up to +20dB of boost, the Slap-Back Echo can achieve subtle doubling effects to intense bathroom reflections all with the distinct flavor of bucket-brigade (BBD) circuitry.

Housed in EHX’s Pico-sized chassis, the Slap-Back Echo features Gain and Blend knobs as well as a Time switch. The Gain knob controls the input signal before the echo circuit and also adjusts the overall volume at the output with a boost of up to +20dB. The Blend knob mixes the dry signal and the echo signal from 100% dry to 100% echo. The Time switch selects between three different delay times: 45ms, 65ms, and 100ms.

• Independent gain and blend knobs
• Time switch with 45ms, 65ms, and 100ms delay times
• Up to 20dB of boost
• True-Bypass
• Small, pico-sized chassis
• 9V power supply included

After producing the world's most renown series of compressors, the task of producing a new compressor worthy of our reputation would be daunting for most engineers. Not for dbx®. Our engineers know audio like no one else in the world. Now the fruits of their talents are available to you in the form of the 1066 Stereo Compressor/Limiter/Gate.

Want to instantly add that classic dbx response to your mix? It's there at the touch of the "Auto" button. Or use the independent Attack and Release controls to tailor the 1066 to your specific needs. Unwanted frequencies or mic bleed in the signal path? Frequency dependent gain control is a snap to set up and execute with our Side Chain External button (SC Ext). Use the Side Chain Monitor button (SC Mon) and your favorite EQ to dial in the specific frequencies you want to trigger the device. As has become our standard, the contour switch allows entire mixes to be easily smoothed with soft compression while keeping low frequencies from punching holes in the overall mix. Selectable input and output metering allow you to make sure that everything is matched up level-wise, maximizing your signal-to-noise ratio.

For overall speaker protection, our new PeakStopPlus™ does all previous circuits one better. With a new design, the PeakStopPlus represses those unwanted transients from blowing your drivers while minimizing the distortion common to many other "hard" limiters. Selectable Hard-Knee or OverEasy® characteristics make the 1066 ideal for your gain control needs, whether you're looking for "heavy" almost-special-effects compression or soft, smooth gain leveling. New lightpipe technology replaces standard LED's found on most other units, making the 1066 both very easy to read and much easier to operate.

In the studio, broadcast facility or on the road with a P.A. system, the 1066 is designed for perfectly simple operation. The 1066 allows you to eliminate unwanted signals, flexibly control overall signal gain and guard your overall mix in dual mono or stereo operation.

At the heart of the 1066 is our new dbx V2 VCA. Developed especially for the 1066, 1046 and other 10 series products to come, this revolutionary VCA boasts superb dynamic range characteristics while maintaining very low distortion and almost immeasurable noise characteristics. The bottom line is this: a new VCA working in conjunction with world class design makes the dbx 1066 perform better than compressors selling for hundreds more.

State-of-the-technology VCA's, meticulous component selection, and scrupulous testing procedures are just a few more reasons that the new dbx 1066 is the latest in a long line of pedigreed dbx signal processors.

Recommended for: Portable, Tour, Studio.

Features * Selectable auto (classic dbx®) or manual (variable Attack and Release) compression * Contour switch removes unwanted low frequency information from detector circuit * Selectable Overeasy® or Hard Knee compression modes * PeakStopPlus™ limiting for setting maximum allowable level with minimal distortion * SC Ext and SC Mon for setting up and monitoring external devices for gating function * True differentially balanced gold-plated XLR and 1/4" inputs and outputs * True RMS level detection * Precision metering of input level, output level, and gain reduction * True stereo or dual mono operation * Switchable +4dBu or -10dBV operation per channel

This week, we’re dropping a brand new, limited release pedal, and it may have the craziest backstory of any pedal in the JHS lineup– a lineup, to remind you, that includes unicorns, penguins, panthers, rats, bears and cheeseballs.

Naturally, we’re talking about the Solo Boost.

Now, this story goes all the way back to 2018. It was a different world. Donald Trump was president. They’d just released the second half of that nine-hour Marvel movie where the Avengers end the world. Drake dropped a really hot track called “God's Plan.” Oh, and JHS was preparing to release the Solo Boost. At the time, we were planning to do an initial release of 1,000 units, but four years later we’ve only got 817 pedals. I’m not sure what happened to those other 183 pedals. Maybe they were sucked into another dimension, Stranger Things style. Maybe we threw them away in a fit of Marie Kondo-induced spring cleaning.

Honestly, your guess is as good as mine. But we have to move forward with the story.

The Solo Boost release got pushed back to Spring 2020, A.K.A., when the world shut down. To accommodate the national quarantine, we moved JHS out of the office and into our homes for a good period of time. Because the market was in a major state of uncertainty, we had to pivot. Instead of releasing the Solo Boost, we fast-tracked another project called the Legends of Fuzz, which we felt was more exciting and would be easier to build at home. Thus, we quite literally shelved the Solo Boost for two more years.

In that time, we released the 3 Series and the PackRat, but we’ve decided the time has come to let the Solo Boost fly…well, solo.

Now let’s take a look at the pedal and how it functions. It really only has two controls:

1. The big, giant red knob is the volume or gain of the boost. If you turn it up, the pedal gets louder. As you turn this up, it simply takes your guitar, makes it louder without adding any distortion. But because it's so loud and clean, you can use that to distort the amp, which makes it very useful.

2. The tiny switch on the side of the pedal allows you to switch between two boost circuits: a FET boost (or field effect transistor boost, which was made famous by the Keeley Katana) and a classic op amp style boost (much like you’d find in the MXR Micro Amp or how many people like to use the Klon nowadays - gain off and just using the volume for boosting your signal).

Limited edition means limited, folks, so snag your Solo Boost while you can!

This week, we’re dropping a brand new, limited release pedal, and it may have the craziest backstory of any pedal in the JHS lineup– a lineup, to remind you, that includes unicorns, penguins, panthers, rats, bears and cheeseballs.

Naturally, we’re talking about the Solo Boost.

Now, this story goes all the way back to 2018. It was a different world. Donald Trump was president. They’d just released the second half of that nine-hour Marvel movie where the Avengers end the world. Drake dropped a really hot track called “God's Plan.” Oh, and JHS was preparing to release the Solo Boost. At the time, we were planning to do an initial release of 1,000 units, but four years later we’ve only got 817 pedals. I’m not sure what happened to those other 183 pedals. Maybe they were sucked into another dimension, Stranger Things style. Maybe we threw them away in a fit of Marie Kondo-induced spring cleaning.

Honestly, your guess is as good as mine. But we have to move forward with the story.

The Solo Boost release got pushed back to Spring 2020, A.K.A., when the world shut down. To accommodate the national quarantine, we moved JHS out of the office and into our homes for a good period of time. Because the market was in a major state of uncertainty, we had to pivot. Instead of releasing the Solo Boost, we fast-tracked another project called the Legends of Fuzz, which we felt was more exciting and would be easier to build at home. Thus, we quite literally shelved the Solo Boost for two more years.

In that time, we released the 3 Series and the PackRat, but we’ve decided the time has come to let the Solo Boost fly…well, solo.

Now let’s take a look at the pedal and how it functions. It really only has two controls:

1. The big, giant red knob is the volume or gain of the boost. If you turn it up, the pedal gets louder. As you turn this up, it simply takes your guitar, makes it louder without adding any distortion. But because it's so loud and clean, you can use that to distort the amp, which makes it very useful.

2. The tiny switch on the side of the pedal allows you to switch between two boost circuits: a FET boost (or field effect transistor boost, which was made famous by the Keeley Katana) and a classic op amp style boost (much like you’d find in the MXR Micro Amp or how many people like to use the Klon nowadays - gain off and just using the volume for boosting your signal).

Limited edition means limited, folks, so snag your Solo Boost while you can!

This week, we’re dropping a brand new, limited release pedal, and it may have the craziest backstory of any pedal in the JHS lineup– a lineup, to remind you, that includes unicorns, penguins, panthers, rats, bears and cheeseballs.

Naturally, we’re talking about the Solo Boost.

Now, this story goes all the way back to 2018. It was a different world. Donald Trump was president. They’d just released the second half of that nine-hour Marvel movie where the Avengers end the world. Drake dropped a really hot track called “God's Plan.” Oh, and JHS was preparing to release the Solo Boost. At the time, we were planning to do an initial release of 1,000 units, but four years later we’ve only got 817 pedals. I’m not sure what happened to those other 183 pedals. Maybe they were sucked into another dimension, Stranger Things style. Maybe we threw them away in a fit of Marie Kondo-induced spring cleaning.

Honestly, your guess is as good as mine. But we have to move forward with the story.

The Solo Boost release got pushed back to Spring 2020, A.K.A., when the world shut down. To accommodate the national quarantine, we moved JHS out of the office and into our homes for a good period of time. Because the market was in a major state of uncertainty, we had to pivot. Instead of releasing the Solo Boost, we fast-tracked another project called the Legends of Fuzz, which we felt was more exciting and would be easier to build at home. Thus, we quite literally shelved the Solo Boost for two more years.

In that time, we released the 3 Series and the PackRat, but we’ve decided the time has come to let the Solo Boost fly…well, solo.

Now let’s take a look at the pedal and how it functions. It really only has two controls:

1. The big, giant red knob is the volume or gain of the boost. If you turn it up, the pedal gets louder. As you turn this up, it simply takes your guitar, makes it louder without adding any distortion. But because it's so loud and clean, you can use that to distort the amp, which makes it very useful.

2. The tiny switch on the side of the pedal allows you to switch between two boost circuits: a FET boost (or field effect transistor boost, which was made famous by the Keeley Katana) and a classic op amp style boost (much like you’d find in the MXR Micro Amp or how many people like to use the Klon nowadays - gain off and just using the volume for boosting your signal).

Limited edition means limited, folks, so snag your Solo Boost while you can!

The J Mascis Ram’s Head Big Muff Pi fuzz pedal pays homage to the sonic center of the alt-rock legend’s iconic tone of equal parts thickness and clarity in a special edition white and violet finish.

“That’s my sound. The Muff is always on,” J says. “All distorted sounds begin with the Muff. That’s what I grew up playing so it’s kind of amazing to have my own signature one.”

Based on the highly coveted 1973 Electro-Harmonix V2 Violet Ram’s Head Big Muff, J’s signature Big Muff produces the indulgent fuzz and exceptional sustain used as his sonic center for decades.

The fuzz is sonically more articulate than other Big Muffs with excellent string separation and dynamics, which make it one of the most versatile Big Muffs. The pedal’s response feels smooth and aggressive making your leads scream and chords thunder.

Feel the fuzz of a guitar giant: the J Mascis Ram’s Head Big Muff Pi fuzz pedal from Electro-Harmonix.

• Authentic V2 Violet Ram’s Head Big Muff in a nano-sized chassis
• Special-edition artist graphics
• True bypass
• 9V battery included

MORE CHANNELS, MORE EFFECTS, MORE DJ CAPABILITY.

The DXM09 offers the cleanest audio signal and the most creative options available in a tabletop mixer. The 100% digital circuitry on the Numark DXM09 provides the lowest noise floor available, and the unit's built–in, look–ahead peak limiting prevents clipping, to ensure an ultra–clear output signal at all times.

The mixer's on–board effects section gives the DJ on–the–fly control over multiple parameters such as rate, beat sync, and mix intensity. The DXM09 is equipped with a premium crossfader designed for performance and reliability. Cuts and fades are completely–customizable, with full slope control.

18K Green Gold Flute. The last of my ‘Vanguard’ leaf & vine flutes. This flute includes beautiful touches like ladybugs, spiders and other surprises.