eyeseeofficial's Activity

This is a huge keyboard that combines an SK-1 type sampler with a standard Casio home keyboard. We have modified it with an array of switches that produce incredible glitches and unpredictable soundscapes.

Familiar to Millions

For over 25 years, Noel Gallagher has been at the forefront of British music and has established himself as one of the world’s most prolific songwriters. Since first making an appearance in the promo video for the classic Oasis track “Little By Little,” the Gibson J-150 has not left Noel’s side and has been seen by audiences around the globe. Gibson is proud to launch a limited run of 200 pieces of Noel’s go-to acoustic with features including AA maple back and sides and premium Sitka spruce top all complemented by a hand-rubbed Historic Thin finish. Along with a custom case, signed label, and reproduced hand-written lyric sheet, this guitar will also include an authorized adidas Trefoil Decal resulting in a guitar that’s truly Familiar to Millions.

6 String Acoustic/Electric - DISCONTINUED

Extrordinary acoustic performance in a stage and studio ready acoustic/electric instrument. The Supernatural TAN45C NEX is handcrafted in our pro series facility that has been building precision quality instruments over five decades. The underlying theme of the Supernatural series is understated elegance. The gloss finish provides durability and lasting beauty. The look is accented by a genuine abalone rosette and fretboard dot inlays. Gold tuning machines with amber pearl buttons further add to the premium look of the instrument. All Supernatural series tonewoods are hand-selected, premium grade timbres. The solid red cedar top, supported by scalloped X bracing, is voiced to be deep and mellow and responds well to a light touch. An excellent choice for solo or duo performers or singer/songwriters. A solid Indian Rosewood back aids in projection and expands the bandwidth of the cedar top. A pinless bridge makes string changing a breeze. Includes Takamine’s Palathetic™ pickup, known in the industry as one of the most accurate and natural sounding acoustic/electric pickups. The electronic performance package is beyond state of the art with the Cool Tube® Preamp – the first and only tube preamp in an acoustic guitar.

This is the latest addition to the Class A range of Hiwatt amplifiers. Designed specifically for home and studio work, the build quality and components are all of the same high standard as the rest of the range; the usual Hiwatt tone but without the danger of an asbo. A single EL84 at the output stage, and 2xECC83s at the pre-amp, Hi/Lo inputs, treble and bass, master volume and a pull/boost control on the gain ensures the Custom 7 is every bit as versatile as its bigger brothers.

[http://web.archive.org/web/20130312122016/http://www.hiwatt.co.uk/prod_details.aspx?pid=12&cid=10]

This is the latest addition to the Class A Range of Hiwatt amplifiers. Designed specifically for home and studio work, the build quality and components are all of the same high standard as the rest of the range; the usual Hiwatt tone but without the danger of an asbo. A single EL84 at the output stage, and 2xECC83s at the pre-amp, Hi/Lo inputs, treble and bass, master volume and a pull/boost control on the gain ensures the Custom 7 is every bit as versatile as its bigger brothers.

The Custom 7 amplifier with a 10” Fane speaker in the usual rugged enclosure. The Rolls Royce of practice amplifiers.

This is the latest addition to the Class A Range of Hiwatt amplifiers. Designed specifically for home and studio work, the build quality and components are all of the same high standard as the rest of the range; the usual Hiwatt tone but without the danger of an asbo. A single EL84 at the output stage, and 2xECC83s at the pre-amp, Hi/Lo inputs, treble and bass, master volume and a pull/boost control on the gain ensures the Custom 7 is every bit as versatile as its bigger brothers.

The Custom 7 amplifier with a 10” Fane speaker in the usual rugged enclosure. The Rolls Royce of practice amplifiers.

[http://web.archive.org/web/20130312122005/http://www.hiwatt.co.uk/prod_details.aspx?pid=100062&cid=10]

This is the latest addition to the Class A Range of Hiwatt amplifiers. Designed specifically for home and studio work, the build quality and components are all of the same high standard as the rest of the range; the usual Hiwatt tone but without the danger of an asbo. A single EL84 at the output stage, and 2xECC83s at the pre-amp, Hi/Lo inputs, treble and bass, master volume and a pull/boost control on the gain ensures the Custom 7 is every bit as versatile as its bigger brothers.

The Custom 7 amplifier with a 10” Fane speaker in the usual rugged enclosure. The Rolls Royce of practice amplifiers.

Learn the secrets behind creating powerful, high quality techno with this new course from Producertech tutor Paul Maddox. As one half of production and DJing duo Spektre, Paul has released a slew of hit records over the years, and these tutorials walk you through one of Spektre’s latest releases - ‘Catacomb’.

Since forming Spektre, alongside Filthy Rich, Paul has seen worldwide success. Their uncompromising and dark take on techno has won them admirers including the likes of Carl Cox, Richie Hawtin and James Zabiela. As well as releasing music via their own Respect Recordings label, the duo have also put out records on the likes of Phobiq and Unity Records.

On the course, Paul provides a clear and in depth guide to the track ‘Catacomb’. He starts off by dissecting the drums and low frequency bass elements, explaining everything from choice of samples and MIDI programming to effects and processing. Paul then proceeds to guide you through the rest of the track, taking a look at the uplifting chords, trance-inspired breakdowns and atmospheric vocals that make ‘Catacomb’ such a dancefloor weapon. Throughout the modules there are a host of useful production tips and tricks, making this course a must for any budding techno producer looking to make professional sounding tracks.

The course is available to stream 24/7/365 after purchase. For more information, be sure to check out the sample module and module descriptions below.

Sample Module:

Module 1 - Intro and Kick

The course begins with a listen through of the completed track, before Paul takes a look at the kick drum, explaining his choice of sample and processing using a selection of Live devices and 3rd party plugins.

Module 2 - Percussion Part 1

This module focuses on the hats and drum synth clap, with Paul explaining his choice of programming to create an interesting groove.

Module 3 - Percussion Part 2

The remaining percussive elements are discussed including the ride, automated snare fill and crash.

Module 4 - Drums Group Processing

This video takes a look at the effects rack used to process the drums, a combination of parallel saturation and compression that glues the elements together.

Module 5 - Bass Elements

In this tutorial, Paul focuses on some of the low frequency elements, including a rumbling effect and a filtered kick drum acting as the bassline.

Module 6 - The Main Lead

Paul deconstructs the main rave-inspired chord part, made with Bazille. The tutorial also shows the in-depth automation that provides interest and variation throughout the track.

Module 7 - Lead Doubling and Group Processing

This video features a useful trick, involving doubling the lead part with a short, percussive sound to add more punch. The group processing on the lead part is also explained.

Module 8 - Orbital Style Lead

Paul walks through the creation of a trance lead inspired by Orbital, with clever use of Ableton’s chord effect to thicken up the sound. He also discussed the processing, making use of Native Instruments and UAD plugins.

Module 9 - Stretched Lead Pad

This module shows the creation of a pad, using a time stretching plugin to manipulate the original Orbital style riff.

Module 10 - Vocals and FX

This video discusses the vocal part, with Paul offering some useful tips on using Mixed in Key to select the right vocals for a track. He then talks through the choice of FX, including risers and splashes which thicken out the track.

Module 11 - Arrangement

The course concludes with the final arrangement, and the processing on the master channel.

Learn the secrets behind creating powerful, high quality techno with this new course from Producertech tutor Paul Maddox. As one half of production and DJing duo Spektre, Paul has released a slew of hit records over the years, and these tutorials walk you through one of Spektre’s latest releases - ‘Catacomb’.

Since forming Spektre, alongside Filthy Rich, Paul has seen worldwide success. Their uncompromising and dark take on techno has won them admirers including the likes of Carl Cox, Richie Hawtin and James Zabiela. As well as releasing music via their own Respect Recordings label, the duo have also put out records on the likes of Phobiq and Unity Records.

On the course, Paul provides a clear and in depth guide to the track ‘Catacomb’. He starts off by dissecting the drums and low frequency bass elements, explaining everything from choice of samples and MIDI programming to effects and processing. Paul then proceeds to guide you through the rest of the track, taking a look at the uplifting chords, trance-inspired breakdowns and atmospheric vocals that make ‘Catacomb’ such a dancefloor weapon. Throughout the modules there are a host of useful production tips and tricks, making this course a must for any budding techno producer looking to make professional sounding tracks.

The course is available to stream 24/7/365 after purchase. For more information, be sure to check out the sample module and module descriptions below.

Sample Module:

Module 1 - Intro and Kick

The course begins with a listen through of the completed track, before Paul takes a look at the kick drum, explaining his choice of sample and processing using a selection of Live devices and 3rd party plugins.

Module 2 - Percussion Part 1

This module focuses on the hats and drum synth clap, with Paul explaining his choice of programming to create an interesting groove.

Module 3 - Percussion Part 2

The remaining percussive elements are discussed including the ride, automated snare fill and crash.

Module 4 - Drums Group Processing

This video takes a look at the effects rack used to process the drums, a combination of parallel saturation and compression that glues the elements together.

Module 5 - Bass Elements

In this tutorial, Paul focuses on some of the low frequency elements, including a rumbling effect and a filtered kick drum acting as the bassline.

Module 6 - The Main Lead

Paul deconstructs the main rave-inspired chord part, made with Bazille. The tutorial also shows the in-depth automation that provides interest and variation throughout the track.

Module 7 - Lead Doubling and Group Processing

This video features a useful trick, involving doubling the lead part with a short, percussive sound to add more punch. The group processing on the lead part is also explained.

Module 8 - Orbital Style Lead

Paul walks through the creation of a trance lead inspired by Orbital, with clever use of Ableton’s chord effect to thicken up the sound. He also discussed the processing, making use of Native Instruments and UAD plugins.

Module 9 - Stretched Lead Pad

This module shows the creation of a pad, using a time stretching plugin to manipulate the original Orbital style riff.

Module 10 - Vocals and FX

This video discusses the vocal part, with Paul offering some useful tips on using Mixed in Key to select the right vocals for a track. He then talks through the choice of FX, including risers and splashes which thicken out the track.

Module 11 - Arrangement

The course concludes with the final arrangement, and the processing on the master channel.

LENGTH 4.42” X WIDTH 2.38” X HEIGHT 1.22

The JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS Pedals 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point.

The 3-Series Screamer is the beloved JHS Tube Screamer “Strong Mod”, but in a brand-new $99 pedal. This pedal represents years of Josh playing around with the legendary Tube Screamer circuit and wanting to offer those changes in an affordable package. You will find more clean headroom, better usability as a boost, more versatile drive and tone controls as well as a more pleasing frequency response. This may be the most well-balanced Tube Screamer on earth, but that’s for you to decide. The 3 Series Screamer runs on 9V DC negative center power and consumes 12mA.

Check out the other pedals in the 3 Series line!

• Chorus
• Compressor
• Delay
• Distortion
• Flanger
• Fuzz
• Hall Reverb
• Overdrive
• Phaser
• Reverb

The History

The Vox (or later Jen) V809 Repeat Percussion was a distinctly different tremolo effect which was first produced some time in the mid 60s. It was originally a notoriously fragile little module that plugged directly into your amp input, which was then connected to your guitar. The unit was then built into some of the higher end Vox guitars such as the Starstream and Grand Prix. Later the circuit surfaced in a more conventional pedal (combined with the Vox Top Boost) format before wandering off into obscurity for nearly two decades. The original plug in modules now go for considerable sums, with the later pedal versions being even more scarce.

The Repeat Percussion

Built from the original factory schematic, this will give you the orginal's thumping trem in a handy pedal package without the expense and fragility of the bakelite housed originals. The best quality materials have been used throughout (all hand-wired, with Neutrik jacks, Alpha pots, heavy duty die-cast housing). Like the originals there's no tacky LEDs (you'll know when this is on) and features true bypass switching so it won't sap your tone when not engaged. Unlike the originals it can be powered using a Boss-type 2.1mm centre -ve DC power jack. A fresh Zinc-Carbon battery is also included, which should last a very long time should you not be equipped with a suitable power supply.

The Sound

At heart the Repeat Percussion is a very simple tremolo device, with a single rate control that goes from a slow pulse to a fast helicopter chop (depth is fixed at about 75-80% of the input signal). What's special about it is whereas most tremolo units have a triangle or square waveform, this has a unique reverse sawtooth waveform. What this means is that you get a very pronounced attack, then gradual decay of a note which mimics your pick attack and decay. This gives a kind of "repeat" illusion; the "percussion" part of the name comes from the thumping quality of the attack that to my ears sounds not unlike the prehistoric drum machines used by Suicide.

Where can you hear it on recordings? In short - Spacemen 3. First showing up briefly on The Perfect Prescription (1987), then smeared all over Playing With Fire (1988), then finally dominating the live album Dreamweapon (1990). Pete Kember seemed to be almost religiously obsessed with this little box for several years - indeed, he owned a Starstream with the effect built in and most likely the plug in module and foot pedal versions. Sounds great with a good 60s style fuzz in front, or with some slow phasing or even slow wah-ing. Team it up with a delay pedal (or, even better, tape delay) and you're in a hall of mirrors heaven.

Down to business... (all clips recorded with '75 Fender Music Master, Laney LC15 valve amp, Line 6 Backtrack)

• Clean, rate min, rate 50%, rate 100%, rate 50% + Big Muff
• Spacemen 3 style drone (Guitar->Germanium Fuzz Face clone->Dunlop CryBaby->Repeat percussion rate ~ 75%)
• Couldn't resist playing some Spacemen 3. Verse part from Honey - rate just past 9 o'clock
• Another drone. This time using a nice bass-heavy Fuzz Face to create some synthy tones (Fuzz Face + wah, rate~50%)
• Guitar->R-P->wah->delay (with some oscillation fun at the end)

Copyright notice: All trademarks are the property of their respective owners and are used for reference only.

The History

The Vox (or later Jen) V809 Repeat Percussion was a distinctly different tremolo effect which was first produced some time in the mid 60s. It was originally a notoriously fragile little module that plugged directly into your amp input, which was then connected to your guitar. The unit was then built into some of the higher end Vox guitars such as the Starstream and Grand Prix. Later the circuit surfaced in a more conventional pedal (combined with the Vox Top Boost) format before wandering off into obscurity for nearly two decades. The original plug in modules now go for considerable sums, with the later pedal versions being even more scarce.

The Repeat Percussion

Built from the original factory schematic, this will give you the orginal's thumping trem in a handy pedal package without the expense and fragility of the bakelite housed originals. The best quality materials have been used throughout (all hand-wired, with Neutrik jacks, Alpha pots, heavy duty die-cast housing). Like the originals there's no tacky LEDs (you'll know when this is on) and features true bypass switching so it won't sap your tone when not engaged. Unlike the originals it can be powered using a Boss-type 2.1mm centre -ve DC power jack. A fresh Zinc-Carbon battery is also included, which should last a very long time should you not be equipped with a suitable power supply.

The Sound

At heart the Repeat Percussion is a very simple tremolo device, with a single rate control that goes from a slow pulse to a fast helicopter chop (depth is fixed at about 75-80% of the input signal). What's special about it is whereas most tremolo units have a triangle or square waveform, this has a unique reverse sawtooth waveform. What this means is that you get a very pronounced attack, then gradual decay of a note which mimics your pick attack and decay. This gives a kind of "repeat" illusion; the "percussion" part of the name comes from the thumping quality of the attack that to my ears sounds not unlike the prehistoric drum machines used by Suicide.

Where can you hear it on recordings? In short - Spacemen 3. First showing up briefly on The Perfect Prescription (1987), then smeared all over Playing With Fire (1988), then finally dominating the live album Dreamweapon (1990). Pete Kember seemed to be almost religiously obsessed with this little box for several years - indeed, he owned a Starstream with the effect built in and most likely the plug in module and foot pedal versions. Sounds great with a good 60s style fuzz in front, or with some slow phasing or even slow wah-ing. Team it up with a delay pedal (or, even better, tape delay) and you're in a hall of mirrors heaven.

Down to business... (all clips recorded with '75 Fender Music Master, Laney LC15 valve amp, Line 6 Backtrack)

• Clean, rate min, rate 50%, rate 100%, rate 50% + Big Muff [http://north-effects.co.uk/GeFuzz/repeat_percussion.mp3]
• Spacemen 3 style drone (Guitar->Germanium Fuzz Face clone->Dunlop CryBaby->Repeat percussion rate ~ 75%) [http://north-effects.co.uk/GeFuzz/spacewah.mp3]
• Couldn't resist playing some Spacemen 3. Verse part from Honey - rate just past 9 o'clock [http://north-effects.co.uk/GeFuzz/rp_honey.mp3]
• Another drone. This time using a nice bass-heavy Fuzz Face to create some synthy tones (Fuzz Face + wah, rate~50%) [http://north-effects.co.uk/GeFuzz/spacewah_fuzzface.mp3]
• Guitar->R-P->wah->delay (with some oscillation fun at the end) [http://north-effects.co.uk/GeFuzz/repeat_percussion_wah_delay.mp3]

Copyright notice: All trademarks are the property of their respective owners and are used for reference only.

http://north-effects.co.uk/repeat-percussion

The History

The Vox (or later Jen) V809 Repeat Percussion was a distinctly different tremolo effect which was first produced some time in the mid 60s. It was originally a notoriously fragile little module that plugged directly into your amp input, which was then connected to your guitar. The unit was then built into some of the higher end Vox guitars such as the Starstream and Grand Prix. Later the circuit surfaced in a more conventional pedal (combined with the Vox Top Boost) format before wandering off into obscurity for nearly two decades. The original plug in modules now go for considerable sums, with the later pedal versions being even more scarce.

The Repeat Percussion

Built from the original factory schematic, this will give you the orginal's thumping trem in a handy pedal package without the expense and fragility of the bakelite housed originals. The best quality materials have been used throughout (all hand-wired, with Neutrik jacks, Alpha pots, heavy duty die-cast housing). Like the originals there's no tacky LEDs (you'll know when this is on) and features true bypass switching so it won't sap your tone when not engaged. Unlike the originals it can be powered using a Boss-type 2.1mm centre -ve DC power jack. A fresh Zinc-Carbon battery is also included, which should last a very long time should you not be equipped with a suitable power supply.

The Sound

At heart the Repeat Percussion is a very simple tremolo device, with a single rate control that goes from a slow pulse to a fast helicopter chop (depth is fixed at about 75-80% of the input signal). What's special about it is whereas most tremolo units have a triangle or square waveform, this has a unique reverse sawtooth waveform. What this means is that you get a very pronounced attack, then gradual decay of a note which mimics your pick attack and decay. This gives a kind of "repeat" illusion; the "percussion" part of the name comes from the thumping quality of the attack that to my ears sounds not unlike the prehistoric drum machines used by Suicide.

Where can you hear it on recordings? In short - Spacemen 3. First showing up briefly on The Perfect Prescription (1987), then smeared all over Playing With Fire (1988), then finally dominating the live album Dreamweapon (1990). Pete Kember seemed to be almost religiously obsessed with this little box for several years - indeed, he owned a Starstream with the effect built in and most likely the plug in module and foot pedal versions. Sounds great with a good 60s style fuzz in front, or with some slow phasing or even slow wah-ing. Team it up with a delay pedal (or, even better, tape delay) and you're in a hall of mirrors heaven.

Down to business... (all clips recorded with '75 Fender Music Master, Laney LC15 valve amp, Line 6 Backtrack)

• Clean, rate min, rate 50%, rate 100%, rate 50% + Big Muff
• Spacemen 3 style drone (Guitar->Germanium Fuzz Face clone->Dunlop CryBaby->Repeat percussion rate ~ 75%)
• Couldn't resist playing some Spacemen 3. Verse part from Honey - rate just past 9 o'clock
• Another drone. This time using a nice bass-heavy Fuzz Face to create some synthy tones (Fuzz Face + wah, rate~50%)
• Guitar->R-P->wah->delay (with some oscillation fun at the end)

Copyright notice: All trademarks are the property of their respective owners and are used for reference only.

The SCÍON is a biofeedback sensor built into a quad random voltage generator. This design is based on the MidiSprout by Datagarden (https://www.midisprout.com/)

It translates biofeedback data, sourced from contact with organic surfaces, into musically useful control signals. Tiny fluctuations in surface conductance on organic materials stimulate control voltage and gate signal changes that can be used to modulate and permutate your patch. Dynamic control over biofeedback sensitivity allows you to quickly adapt any input source to a useful range of responsiveness.

Apply the sensor pads to your house plants, your own skin. When no sensor cables are used simply touching the capacitive Leaf electrode with your finger will create random voltages derived from life itself.

SCÍON offers the ability to make music with all living things.

SCÍON |ˈsʌɪən | noun (biology) young shoot or stem useful for sprouting or forming new roots, a descendant of a noble family

PREORDER: This item is extremely custom and will ship to arrive around mid December. If you order multiple items, your order will ship separately from this item.

The Mötley Crüe Dr. Feelgood 30th Anniversary Guitar Pedal is a very custom limited edition item so once it sells out, it is gone forever!

This pedal is destined to become a collector's item - don't miss out on owning this rare piece of music history.

For the first time ever, you can unleash the band’s iconic sound with this Dr. Feelgood pedal based on the original gear from the band’s seminal record. Created and tested by the World’s Most Notorious Band themselves, this hard rock amp-in-a-box pedal is here to have you glam riffing metal anthems all night...to wailing power ballads at dawn.

This pedal is no toy, but massively versatile studio-grade gear. The pedal’s EQ section with three active filters is precision-calibrated to bring the sound of the legendary overdriven British amps and feel that created the dirty Dr. Feelgood tone. Bass, treble, mid and gain controls let you give your personal flavor to the sound that defined an era.

Dressed in the classic Dr. Feelgood album art, the pedal will see you through a 5-night stint on the Strip and withstand a heavy dose of hairspray. Plug in Dr. Feelgood to go right back to the never-ending party world of the 80’s with its epochal dirty guitar sound and monolithic riffs that cemented Mötley Crüe’s top place on the metal throne. This pedal’s tone is based on hot rodded Marshall/Soldano amps like those used during the Dr. Feelgood era. It is powered by a single 9V battery or a standard 9V Center negative dc power.

The circuit was developed by the band and a renowned tone engineer who has built pedals for some of the greatest artists out there. Each Dr. Feelgood pedal is proudly made and guitar-tested in the USA.