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A reissue of the old classic 1971 Colorsound Overdriver, still distributed by Macari’s of London, and hand made by Jake Rothman/Theremin.co.uk at the time I write this (2007). The Overdriver is a bass and treble boost/overdrive pedal that works great with tube amps. It sounds almost like a little amp in a box, and it is LOUD. David Gilmour of Pink Floyd used the old orange Power Boost version throughout the 1970’s on such tracks as Shine On You Crazy Diamond, Have A Cigar, Pigs and many other mid to late late 1970s Pink Floyd songs. He also used it on the 1977 Pink Floyd tour for that incredible power boosted Big Muff lead sound, and used the Overdriver version in the 1990’s. Jan Akkerman of Focus, Marc Bolan of T Rex, and Jeff Beck were other users of this pedal. The Overdriver is a piece of british fuzz history.

The Overdriver circuit is almost identical to the original 18v Colorsound Power Boost released circa 1969-70, but includes a master volume knob, and a bit less headroom and more gain when the drive is set to maximum on the example I own. There were three slightly different schematics for the PB/Overdriver, so some vintage units will sound slightly different from others. The Overdriver gives a very transparent and super clean boost that sounds very dynamic and open. The bass and treble controls give a wide range of tonal options, including a full-on treble boost, and overall it has a very unique overdrive sound that you won’t find in many modern drive pedals. It can make any tube amp have a more hi-fi sound just using the clean setting. The drive control really does not do much, but when you get to the last 10%, the doors open wide. A very nice vintage Fuzz Face type overdrive blasts in. Nothing quite like it. It is great for vintage ’70s rock. At low drive settings the Overdriver opens up the tone of an amp, lightly or heavily coloring the sound (depending on settings), making it a great “always-on” pedal, although it does not necessarily improve the tone of all amps.

Set the Colorsound Overdriver for a light drive and place it before or (or after, depending on settings) a Fuzz Face or Big Muff pedal. This creates a really nice late 1970’s David Gilmour fuzz tone, especially through a Hiwatt amp like the Custom 50 or Custom 100. I use the Overdriver for much of the light overdrive tones and some fuzz tones for Dark Side of the Moon and Wish You Were Here, and as a light boost after my fuzz pedals like the Analogman Sunface BC108 Silicon fuzz. I have also found the Overdriver in conjunction with a Big Muff is a great combo to recreate the huge distortion tones David Gilmour used for Pink Floyd’s 1977 Animals/In the Flesh tour, and on the 1978 Columbia Records promotional videos David made for his first solo record. It was also possibly used on the record itself. The dry treble and fuzz from the Colorsound is very distinct when used with the Big Muff in this way. I also leave the pedal on all the time with a very light drive setting, a trick I learned from Gilmourish.com It really makes my Fender tube amps sound better. Gilmour used several other overdrive pedals throughout the years, with the BK Butler Tube Driver being on of his favorites, but nothing has quite that same early Pink Floyd overdrive tone like the Power Boost/Overdriver. You can also find less expensive clones like the Throbak Overdrive Boost. A Boss BD-2 Blues Driver also gets in a similar tone territory.

The Overdriver runs on 9v batteries (an AC adaptor version was also made), and sounds best with non alkaline type. The only real drawback to the Overdriver, other than the high cost, is that even with the master volume set to zero, the minimum volume level is higher than a typical untiy volume level when the drive knob is set high enough for a heavy orverdrive. The circuit does not allow the volume to go down to a unity level, or even to zero. At high drive settings this makes it almost impossible to use on a modern pedal board with other pedals at unity volume, because with any high drive level, the Overdriver will be louder than everything else when switched on. Placing the pedal in a bypass loop with a volume pedal before it is one way to overcome this. The Overdriver is housed the the classic pressed metal Colorsound case (22cm x 9.6cm), with a nice vintage hammerite finish. The bottom of the case pops off for access to the battery.

A reissue of the old classic 1971 Colorsound Overdriver, still distributed by Macari’s of London, and hand made by Jake Rothman/Theremin.co.uk at the time I write this (2007). The Overdriver is a bass and treble boost/overdrive pedal that works great with tube amps. It sounds almost like a little amp in a box, and it is LOUD. David Gilmour of Pink Floyd used the old orange Power Boost version throughout the 1970’s on such tracks as Shine On You Crazy Diamond, Have A Cigar, Pigs and many other mid to late late 1970s Pink Floyd songs. He also used it on the 1977 Pink Floyd tour for that incredible power boosted Big Muff lead sound, and used the Overdriver version in the 1990’s. Jan Akkerman of Focus, Marc Bolan of T Rex, and Jeff Beck were other users of this pedal. The Overdriver is a piece of british fuzz history.

The Overdriver circuit is almost identical to the original 18v Colorsound Power Boost released circa 1969-70, but includes a master volume knob, and a bit less headroom and more gain when the drive is set to maximum on the example I own. There were three slightly different schematics for the PB/Overdriver, so some vintage units will sound slightly different from others. The Overdriver gives a very transparent and super clean boost that sounds very dynamic and open. The bass and treble controls give a wide range of tonal options, including a full-on treble boost, and overall it has a very unique overdrive sound that you won’t find in many modern drive pedals. It can make any tube amp have a more hi-fi sound just using the clean setting. The drive control really does not do much, but when you get to the last 10%, the doors open wide. A very nice vintage Fuzz Face type overdrive blasts in. Nothing quite like it. It is great for vintage ’70s rock. At low drive settings the Overdriver opens up the tone of an amp, lightly or heavily coloring the sound (depending on settings), making it a great “always-on” pedal, although it does not necessarily improve the tone of all amps.

Set the Colorsound Overdriver for a light drive and place it before or (or after, depending on settings) a Fuzz Face or Big Muff pedal. This creates a really nice late 1970’s David Gilmour fuzz tone, especially through a Hiwatt amp like the Custom 50 or Custom 100. I use the Overdriver for much of the light overdrive tones and some fuzz tones for Dark Side of the Moon and Wish You Were Here, and as a light boost after my fuzz pedals like the Analogman Sunface BC108 Silicon fuzz. I have also found the Overdriver in conjunction with a Big Muff is a great combo to recreate the huge distortion tones David Gilmour used for Pink Floyd’s 1977 Animals/In the Flesh tour, and on the 1978 Columbia Records promotional videos David made for his first solo record. It was also possibly used on the record itself. The dry treble and fuzz from the Colorsound is very distinct when used with the Big Muff in this way. I also leave the pedal on all the time with a very light drive setting, a trick I learned from Gilmourish.com It really makes my Fender tube amps sound better. Gilmour used several other overdrive pedals throughout the years, with the BK Butler Tube Driver being on of his favorites, but nothing has quite that same early Pink Floyd overdrive tone like the Power Boost/Overdriver. You can also find less expensive clones like the Throbak Overdrive Boost. A Boss BD-2 Blues Driver also gets in a similar tone territory.

The Overdriver runs on 9v batteries (an AC adaptor version was also made), and sounds best with non alkaline type. The only real drawback to the Overdriver, other than the high cost, is that even with the master volume set to zero, the minimum volume level is higher than a typical untiy volume level when the drive knob is set high enough for a heavy orverdrive. The circuit does not allow the volume to go down to a unity level, or even to zero. At high drive settings this makes it almost impossible to use on a modern pedal board with other pedals at unity volume, because with any high drive level, the Overdriver will be louder than everything else when switched on. Placing the pedal in a bypass loop with a volume pedal before it is one way to overcome this. The Overdriver is housed the the classic pressed metal Colorsound case (22cm x 9.6cm), with a nice vintage hammerite finish. The bottom of the case pops off for access to the battery.

What do you do if you want the Left Hand Wrath's elite tier chainsaw tone, but you dont want an HM2s gain structure?

You buy this.

The Eight Ball is a High headroom studio grade EQ , with the specialized and optimal EQ of the best modded HM2 on the market, and all 4 center bands tapped so you can run this after your favorite distortion, fuzz or boost and get that skull cracking flesh ripping tone.

You can also run this EQ in your effects loop for even more tonal sculpting options.

Butcher the crowd like I butcher the competition.

Orders will ship within 4-6 weeks of purchase.

This pedal is designed to run on an isolated and regulated power supply on the 9V 100ma output due to the high headroom topology. It will not work with a budget brand one spot type daisy chain supply, failure to adhere to these power requirements will result in undesired operation.

As this is a hand made, built to order product, no refunds are offered, and all sales are final.

The Brick. the final word in chainsaw EQ

Further expanded version of the 8 ball EQ, now with even more tone tweaking options.

High headroom operation, designed to allow you to achieve absolutely devestating new levels of refined chainsaw tone.

The center bands allow you to sweep the entire range of each band when the top row are maxed.

The frequency bands allow you to shift the root of each bands specified range to exactly where you want it.

This is the final word in a design like this, dont waste you time with others.

This run is limited to 15 spots and will be black vein hammertone with orange print.

They will ship in 6-8 weeks, if you have impatience issues, dont order. Im not amazon.

All sales are final, no refunds are offered as this is a hand made product made 1 at a time for you.

The use of an isolated and regulated 9v power source is required, a low grade daisy chain power supply will void your warranty. Dont do it.

Originally written for KVR website DC competition, Alieno is Acrobatics' peculiar performance monophonic synthesizer with advanced step-modulation.

It is easely suitable for lead lines, sequences and special FX synthesis. SCI-FI look and feel with 12 skins and a plenty of original sounds in the extended library included.

A deeper edit is guaranteed by the object-oriented graphic interface, letting you choose between different sound generators, filters and modulations schemes just as in a spaceship environment. The machine sports also warp, delay and reverb effects: join the space battle today!

Your Tone Must Flow, so Tame the Terror

"The earth, once so tranquil and serene, started to shake more ominously than ever beneath her feet. After centuries of scaring the living daylights out of the ancestors, the monster-of-malice was back. She looked up with an imperious glance and faced her destiny, her irradiant eye focusing unwaveringly on the venerable creature ahead. Suddenly, the earth stood still and there fell a deep silence. She had tamed the beast! She was the long-foreseen saviour, the GUARDIAN of the WURM"

Fusing together the powerful evolution of KMA’s highly regarded WURM Distortion with an intuitive, yet versatile and ultra-fast Noise Gate, GUARDIAN of the WURM is the perfect metal monster. From chugging hard-rock, droning doom metal and grinding Swedish death metal, the beast abides. But through its highly tweakable control set, the pedal can be tamed to provide impeccable clarity to your riffs, making this the definitive dirt pedal for metal, prog-rock, shoegaze, indie and beyond.

Calling a pedal legendary or a cult classic is often stretching the truth, but when it comes to the Boss HM-2 MIJ it’s absolutely on the money. We’ve never tried to hide the fact that the WURM Distortion is our unabashed sonic love letter to this filthy box of doom and gloom, taking the essential ingredients of this classic, while in the process developing a way more flexible metal-distortion pedal.

While WURM absolutely nails that Swedish death-metal chainsaw sound, the pedal is not all about that and is adept for so many other genres. To give you an idea, famous players like David Gilmour, Prince, Johnny Marr, Belinda Butcher, Lee Ranaldo, Daron Malakian and others have all made their mark with this style of distortion.

With GUARDIAN of the WURM, we’ve evolved our take on this venerable circuit and added a bunch of really useful new features. Whether you’re playing guitar, baritone, bass or synths through this pedal, we’re sure you’ll appreciate the immense flexibility on offer here. So let’s dig in.

We of course kept the iconic active HM-2 dual band EQ section, but added two more bands, giving a much wider range of tones to tailor your evil and gritty distortion sound. Each band now has a dedicated centre-frequency control on the front of the pedal, allowing you to quickly and easily change and fine-tune your tone.

The EQ-STYLE mode, now also on the front of the pedal, helps you carve out even more tonal variation. Selecting HM-II mode will get you that classic ‘chainsaw’ high-mids character. However, in KMA mode the EQ is a little more tonally balanced, less peaky and a bit wider in response. Selecting BOTH fattens and doubles up the tone stacking, allowing you to rank the LOWS and the HIGH MIDS and rip that Swedish forest even more to shreds.

To adjust the extent of drive compression, you can choose between 3 different clipping styles. Silicon (Si) delivers the original compression, for rich harmonics and singing leads. Asymmetric (A-S) increases the headroom and gives you more grit by retaining complex harmonics, while the OFF position lifts the sound of the Diodes for a slight compression and way more clarity, which is perfect for baritone guitars or bass.

Plus, the Clean Blend feature helps to preserve your natural core tone. Simply twist the BLEND control o mix in the original unprocessed signal, allowing the initial pick attack of your tone to breathe. It is also especially useful when running the GUARDIAN of the WURM into an already distorted high-gain amp.

When talking about high-gain, we all know drive circuits like this at full tilt can be noisy malice monsters. To get a grip on the potential noise floor, we designed a sophisticated, yet easy to use Noise Gate. This is based on a high-performance Blackmer® VCA and provides lightning fast and precise performance. Simply set the Threshold to taste via the GATE control and enjoy the silence. Fast palm-mutes? No problem. Decaying notes? Dead simple to accomplish. For even more tweakability, we fitted an internal DIP switch to change the trigger-source from pre- or post-Distortion or even pre-Noise Gate.

Pre-Noise Gate? Well, that’s because we added a TRS FX-Loop that works between the Distortion and the Noise Gate sections, allowing you to insert whatever fun noise-making pedals you might wish between them. You can also use this feature to place the Noise Gate section in your amplifier’s FX-Loop. Those who like to experiment with sound designs might even use the Noise Gate in other ways, for instance by using an external trigger source. No problem, the EXT TRIG jack hooks up to your source of choice.

In extreme settings, the WURM can sometimes begin to feedback, which can’t even be suppressed by the Noise Gate. To tame that high-frequency content, flip the internal dip-switch to activate the input filter to help smoothen things out. Yup, we did think of everything.

But wait, there is more! As the cherry on top, we added relay-based soft switches and also two different activation modes to suit the needs of different players.

"Independent mode" is exactly what it says on the tin. Both sides of the pedal can be switched on and off independently via the TERROR or TAME switches respectively. However, in “Synced mode” the entire pedal is switched on and off via the TERROR switch. In this mode the Noise Gate can also be switched in and out of the circuit as desired. Changing between modes is really simple to do. Just hold down both switches while connecting the pedal to the power supply, and you’re good to go. Once set, GUARDIAN of the WURM will remember the setting, even when powered off.

So here it is. Crank it up and you will feel the rage of the ancient WURM, while the GUARDIAN will help you tame that beast when needed, making GUARDIAN of the WURM your perfect pairing for an evil and gritty tone that never gets out of control… unless YOU want it to! \m/

Powered by an optional standard 9V DC (max.) PSU (negative center, 2.1mm, >150mA current draw)

Every pedal is designed, assembled, silkscreened, tested and numbered by hand in our small workshop. We use external manufactured PCBs to guarantee our high quality standard and keep the price of our pedals reasonable. The use of an indestructible powdercoated die-cast enclosure ensures a maximum durability.

For further information visit our FAQ.

Just when you think Louis Futon has weaved his stylings into as many cool sounds as you can imagine, he takes it a step further. Volume 3 of Pretty Cool Sounds delivers drum and percussion loops and one-shots, melodic loops and phrases from organs, guitars, synths, and many other instruments, and way more. If you're looking for sounds that bridge and blend R&B and hip hop in a surprising but effortless way, look no further.

Louis Futon is a Philadelphia-hailing producer who effortlessly blends R&B, soul, and hip hop influences into a single cohesive sound. He returns to Splice with another collection of versatile samples and presets that are sure to breathe life into any production.