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The Dolamo D-11 Classic Distortion Pedal is a powerful vintage distortion pedal that goes beyond the standard offerings, providing a dirty and aggressive sound with plenty of bite. Designed to deliver an impressive range of volume and tone variations, this pedal is perfect for capturing the classic rock style. With its Volume, Filter, and Distortion controls, as well as a 3-way selector switch with Solo, Turbo, and Normal modes, the D-11 offers versatile sound shaping capabilities.

Abyss is built for bass players who want full control over their sound. « Abyss is an homage to bass players and their pursuit of the ultimate tone. » - Kirk Hammett, Metallica The power of the Abyss is in its mix controls: a separate volume for your original amp tone and another for adding a powerful, overdriven tone. Unlike overdrives with a simple blend knob, the Dirty and Clean channels allow you to perfectly shape your tone, adding just the right amount of clean vs overdriven signal. « It's the best bass overdrive I've ever played. » - Frank Bello, Anthrax Great for rhythm playing, the Abyss provides a warm, tube-like boost and a subtle crunchy overdrive. For soloing or a more powerful rhythm, the “hi” setting adds saturation, sustain, low end and compression. Technology Utilizing bi-amp technology with two discrete circuits, the Abyss divides your signal down two paths. One of them stores your dynamic and color, the other adds an overdriven sound with fullness and punch. As the two circuits reconnect, the result is your original sound made more powerful, fuller and richer. Like all KHDK pedals, the Abyss is crafted and quality-tested in Kentucky, USA. CONTROLS DIRTY controls the amount of distorted signal in your tone. CLEAN controls your original sound and adds only volume, changing nothing. TREBLE is a passive, natural sounding low-pass filter. It cuts high end and offers a wide frequency range. Turned clockwise, it becomes raw, aggressive and cuts through. Turned counterclockwise, it cuts highs for a more mellow and warm tone. < Lo/Hi is tied directly into the gain. The lo setting offers a warm, tube-like boost and a subtle crunchy overdrive, great for rhythm playing. The hi setting adds saturation, sustain, low end and compression. This setting is recommended for a more powerful rhythm or soloing. GAIN sets preamp gain, affects amount of compression and sustain.

WE’VE HIT A NEW LOW. From this moment forward, the power and intensity of bass fuzz is changed forever. The Bass War by Death By Audio is a louder, wider-ranging, earth-shaking bass fuzz that can get more oomph than any other pedal we’ve ever heard. The Bass War began with the idea that we could make a version of the Fuzz War that was even more perfect for bass. Twisting classic circuit ideas to our own tastes, we’ve crafted a wicked, harmonically rich octave fuzz. It boasts extraordinary levels of gain, a massive tone sweep, and a MIX control, providing everything you need for the ultimate bass fuzz at your fingertips. It sounds freaking amazing but it doesn’t stop there, the Bass War goes BEYOND that and can deliver more volume, more tones, more fuzz, and more sonic syrup guaranteed to turn the heads of any bystander. The controls have super-extended ranges that let you dial in so many wildly different tones that are all surprisingly useful and HEAVY. Roll the FUZZ knob back for a dirty, sleazy, grinding drive, turn it up to noon for a super thick distortion, and then alllllll the way up for a blistering wall of total destruction. The TONE knob is a notch filter that transforms the overall sonic spectrum of the fuzz to sound like you are sweeping through an arsenal of 100 different fuzz pedals. Combine this with insane volume on tap and a MIX knob to get the extreme fuzz and distortion you always wanted for your bass without sacrificing volume or floor-shaking subs. Wrap it all up in a DBA punk-style raw enclosure with spray-painted graphics, and all that’s left to do is find a time machine so you can re-record all those old bass parts! Controls VOLUME Controls the overall output level from -inf to +27 dB, 10 o'clock is close to unity volume. WARNING: The Bass War is capable of extreme volume! FUZZ Controls the gain of the fuzz from +16 to +64 dB. Ranges from raunchy drive, to smooth fuzz, to overloaded insanity. TONE Sweeps a deep notch filter tuned for a wide range of 98 Hz to 3.3 kHz. This radically reshapes the fuzz sound for a massive range of tones. MIX Blends between your clean sound and the fuzz. Blending in your clean tone helps your notes stay articulate, balanced, and bassy against the huge sound of the fuzz circuitry.

WE’VE HIT A NEW LOW. From this moment forward, the power and intensity of bass fuzz is changed forever. The Bass War by Death By Audio is a louder, wider-ranging, earth-shaking bass fuzz that can get more oomph than any other pedal we’ve ever heard. The Bass War began with the idea that we could make a version of the Fuzz War that was even more perfect for bass. Twisting classic circuit ideas to our own tastes, we’ve crafted a wicked, harmonically rich octave fuzz. It boasts extraordinary levels of gain, a massive tone sweep, and a MIX control, providing everything you need for the ultimate bass fuzz at your fingertips. It sounds freaking amazing but it doesn’t stop there, the Bass War goes BEYOND that and can deliver more volume, more tones, more fuzz, and more sonic syrup guaranteed to turn the heads of any bystander. The controls have super-extended ranges that let you dial in so many wildly different tones that are all surprisingly useful and HEAVY. Roll the FUZZ knob back for a dirty, sleazy, grinding drive, turn it up to noon for a super thick distortion, and then alllllll the way up for a blistering wall of total destruction. The TONE knob is a notch filter that transforms the overall sonic spectrum of the fuzz to sound like you are sweeping through an arsenal of 100 different fuzz pedals. Combine this with insane volume on tap and a MIX knob to get the extreme fuzz and distortion you always wanted for your bass without sacrificing volume or floor-shaking subs. Wrap it all up in a DBA punk-style raw enclosure with spray-painted graphics, and all that’s left to do is find a time machine so you can re-record all those old bass parts! Controls VOLUME Controls the overall output level from -inf to +27 dB, 10 o'clock is close to unity volume. WARNING: The Bass War is capable of extreme volume! FUZZ Controls the gain of the fuzz from +16 to +64 dB. Ranges from raunchy drive, to smooth fuzz, to overloaded insanity. TONE Sweeps a deep notch filter tuned for a wide range of 98 Hz to 3.3 kHz. This radically reshapes the fuzz sound for a massive range of tones. MIX Blends between your clean sound and the fuzz. Blending in your clean tone helps your notes stay articulate, balanced, and bassy against the huge sound of the fuzz circuitry. POWER DETAILS Power Supply: Standard 9 VDC power supply with a 2.1mm negative center barrel Current Draw: 33 mA PHYSICAL DETAILS Dimensions: 5.9" x 4.73" x 2.24" (including hardware) Weight: 15.5 oz.

WE’VE HIT A NEW LOW. From this moment forward, the power and intensity of bass fuzz is changed forever. The Bass War by Death By Audio is a louder, wider-ranging, earth-shaking bass fuzz that can get more oomph than any other pedal we’ve ever heard. The Bass War began with the idea that we could make a version of the Fuzz War that was even more perfect for bass. Twisting classic circuit ideas to our own tastes, we’ve crafted a wicked, harmonically rich octave fuzz. It boasts extraordinary levels of gain, a massive tone sweep, and a MIX control, providing everything you need for the ultimate bass fuzz at your fingertips. It sounds freaking amazing but it doesn’t stop there, the Bass War goes BEYOND that and can deliver more volume, more tones, more fuzz, and more sonic syrup guaranteed to turn the heads of any bystander. The controls have super-extended ranges that let you dial in so many wildly different tones that are all surprisingly useful and HEAVY. Roll the FUZZ knob back for a dirty, sleazy, grinding drive, turn it up to noon for a super thick distortion, and then alllllll the way up for a blistering wall of total destruction. The TONE knob is a notch filter that transforms the overall sonic spectrum of the fuzz to sound like you are sweeping through an arsenal of 100 different fuzz pedals. Combine this with insane volume on tap and a MIX knob to get the extreme fuzz and distortion you always wanted for your bass without sacrificing volume or floor-shaking subs. Wrap it all up in a DBA punk-style raw enclosure with spray-painted graphics, and all that’s left to do is find a time machine so you can re-record all those old bass parts! Controls VOLUME Controls the overall output level from -inf to +27 dB, 10 o'clock is close to unity volume. WARNING: The Bass War is capable of extreme volume! FUZZ Controls the gain of the fuzz from +16 to +64 dB. Ranges from raunchy drive, to smooth fuzz, to overloaded insanity. TONE Sweeps a deep notch filter tuned for a wide range of 98 Hz to 3.3 kHz. This radically reshapes the fuzz sound for a massive range of tones. MIX Blends between your clean sound and the fuzz. Blending in your clean tone helps your notes stay articulate, balanced, and bassy against the huge sound of the fuzz circuitry.

Take your playing to the next level with the MOSKY CRAZY TONE RIOT Distortion Pedal. This pedal offers bold, powerful distortion with 3 easy-to-adjust knobs - Dist, Level, and Tone - allowing you to customize and create your own unique sound. Take the plunge and make your music roar with the MOSKY CRAZY TONE RIOT!

Features:

RIOT Distortion Pedal, it brings you from classic crunch into high-gain heaven. Designed with Dist to adjust the amount of gain, Level for the output, Tone for the overall tonal response of the pedal. Voicing switch choose to produce a natural, organic tone or a vintage high gain response. True bypass switch providing tone with no noise. Single 1/4″monaural input and output jacks, 9V DC adapter power supply, LED indicator.

Step into a world where time bends to your will with the Vox Time Machine, a marvel crafted in collaboration with guitar virtuoso Joe Satriani. This isn't just a delay pedal; it's a gateway to sonic dimensions, offering a seamless blend of vintage warmth and modern clarity. Whether you're chasing the ethereal echoes of the past or sculpting the crisp repeats of tomorrow, the Time Machine stands ready. With its intuitive design, you're always just a twist away from finding your unique sound. Embrace the power to make every note linger in the air, just the way you envisioned.

Key Features:

• Collaboration with Joe Satriani ensures a blend of technical excellence and creative genius.
• Offers a wide delay range from 125 to 1000 milliseconds, catering to diverse musical styles and preferences.
• Hi-Fi/Lo-Fi switch enables tonal versatility, allowing musicians to explore a spectrum of sounds.
• Two distinct modes: 'modern' for pristine delay lines and 'vintage' for a warm, analog echo.
• Intuitive and user-friendly interface, designed for both novices and professionals.

Step into a world where time bends to your will with the Vox Time Machine, a marvel crafted in collaboration with guitar virtuoso Joe Satriani. This isn't just a delay pedal; it's a gateway to sonic dimensions, offering a seamless blend of vintage warmth and modern clarity. Whether you're chasing the ethereal echoes of the past or sculpting the crisp repeats of tomorrow, the Time Machine stands ready. With its intuitive design, you're always just a twist away from finding your unique sound. Embrace the power to make every note linger in the air, just the way you envisioned.

Key Features:

• Collaboration with Joe Satriani ensures a blend of technical excellence and creative genius.
• Offers a wide delay range from 125 to 1000 milliseconds, catering to diverse musical styles and preferences.
• Hi-Fi/Lo-Fi switch enables tonal versatility, allowing musicians to explore a spectrum of sounds.
• Two distinct modes: 'modern' for pristine delay lines and 'vintage' for a warm, analog echo.
• Intuitive and user-friendly interface, designed for both novices and professionals.

DigiTech has long been known as a leader in the guitar and bass signal processing industry. The Bass Multi Chorus brings you a breakthrough in chorus effect technology. Thanks to our proprietary AudioDNA™ processor, the Bass Multi Chorus is the only pedal that provides up to 16 independent voices of interactive chorusing. The result is a lush wash of modulation that rivals any of the finest pedal and rack chorus devices you have ever heard.

R-27 SCYLLA is a BASS COMPRESSOR, specially designed for bass, its circuit is designed to feature low noise, high dynamic control range.You can have various types of bass compression via the ATTACK/RELEASE/RATIO knobs. The TONE knob retains note clarity and makes the tone stand out during live performance.

Dive into the ethereal with the One Control Prussian Blue Reverb pedal, a compact powerhouse that brings the vast, expansive soundscapes of reverb right to your pedalboard. Crafted with precision in Japan, this digital reverb pedal is a marvel for musicians who seek to add depth and dimension to their sound without compromising on pedalboard space. Whether you're painting lush, ambient textures or looking to add a touch of reverb for that perfect sound, the Prussian Blue Reverb offers unparalleled control and quality. Its unique "Kill Dry" feature ensures that you can achieve the pure reverb sound without any interference from your dry signal, making it an essential tool for experimental and live performances alike.

Key Features:

• Compact design, perfect for any pedalboard setup
• High-quality digital reverb sound crafted in Japan
• Unique "Kill Dry" switch to eliminate the dry signal, perfect for use in parallel effects loops or for ambient playing styles
• Designed for optimal performance with battery operation, ensuring reliability and ease of use on stage or in the studio

Dive into the ethereal with the One Control Prussian Blue Reverb pedal, a compact powerhouse that brings the vast, expansive soundscapes of reverb right to your pedalboard. Crafted with precision in Japan, this digital reverb pedal is a marvel for musicians who seek to add depth and dimension to their sound without compromising on pedalboard space. Whether you're painting lush, ambient textures or looking to add a touch of reverb for that perfect sound, the Prussian Blue Reverb offers unparalleled control and quality. Its unique "Kill Dry" feature ensures that you can achieve the pure reverb sound without any interference from your dry signal, making it an essential tool for experimental and live performances alike.

Key Features:

• Compact design, perfect for any pedalboard setup
• High-quality digital reverb sound crafted in Japan
• Unique "Kill Dry" switch to eliminate the dry signal, perfect for use in parallel effects loops or for ambient playing styles
• Designed for optimal performance with battery operation, ensuring reliability and ease of use on stage or in the studio

One Control Butter Yellow Auto Quack is an envelope controlled filter. This type of filter is controlled by the dynamics of playing. BYAQ is a resonant filter, the center frequency of which moves upward with as you strike a note harder. The filter takes the initial transient of a plucked note and then follows the decay of the note so that filter center frequency moves up at the peak and then falls by the ratio of the decay.

History of effect

Since envelope filters are controlled by strength of input signal historically famous users of envelope filters have connected the control input directly to guitar or bass pick up and others used compressors or volume control on instrument to equalize the value of notes throughout fretboard. Envelope filters are also common in analog synths.

Historically most envelope filters were designed for keyboards to cover the complete range of the keyboard. BYAQ is adapted to the range of electric guitar and electric bass and has therefore a more narrow range. The heart is a resonant filter similar to a wha however BYAQ has a Mellow/Bright switch that sets the range of the filter.

There are a number of problems with use of envelope filters on guitar and bass which the BYAQ attempts to solve: partly filter range is often too wide and therefore BYAQ has a range switch; filters often rest at very low frequency and the BYAQ is made to rest at about transparent level: this allows having BYAQ on for a seethrough effect until a transient triggers filter to move. The starting frequency can be set with Bias control so that even small movements i.e. mini-whas can be created on each plucked note.

The sounds:

BYAQ can be used to make wha sounds controlled by the musician and it triggers swiftly enough for fast rythmic sequences aswell as making low strings mellow and high strings bright and BYAQ can be used to make small or larger sweeps of filter to create a movement on chords.

The Controls

The BIAS control sets staring point of filter and can be used to sweep through the filter’s entire range

The MELLOW/ BRIGHT switch sets filter range from low and narrow to high and wide The SENSITIVITY control sets the level where transients trigger filter to move The DECAY control sets the rate it takes from transient moving filter to return

Sensitivity is set for medium pick ups and a tip is to use Pale Blue Compressor set with Blend to allow transients to equal sensitivity throughout fretboard and also to equal sensitivity between pick ups on instrument. and also to compensate between different instruments

When using Envelope controlled effects in general and without the aid of compressor with transients it is often helpful to set sensitivity at highest required and to ride the volume control on instrument to equalize

Though Envelope filters are often used on clean sounds BYAQ can also be used ahead of distortion to to make a hand controlled wha.

Not one, not two, but three bands of dynamic filters that sweep your bass tones under the control of the ‘high’, ‘low’ or ‘blended’ filter frequency; generating speech like and funky bass sounds.

The Type 23 is a triple voltage controlled envelope filter with two of the filters being switchable between high band and mid band.

It's a blend between a modern JFET preamp and an old-school transistor fuzz.

INTRODUCTION Just as the masterful flight of the majestic bird from whom it takes its name gracefully crosses the border of the sky and ocean, the Albatross is a blend between a modern JFET preamp and an old-school transistor fuzz.

THE STORY Look, I’m a bass player and we all have our heroes. I’ve been listening over and over since the long-forgotten cassette player format, the sound of the 70’s John Entwistle thunderous bass licks, then the virtuoso Billy Sheehan runs from the 80’s and the then more modern approach to the bass groove of Tim Commerford from the 90’s till this day. One thing these gentlemen have in common in their sound is that pushing clarity of the low strings even when the amp seems to blow up from how much overdriven they are. I needed that sound! All my research crossed in the same point. Bi-amping! The signal is split in two, one kept relatively cleaner to support the push of the low notes and one sent to hell and distorted out.

It took me quite a while and I’m not exaggerating saying that after fifteen plus years of pedal building and a whole rack full of test pedals I’ve come to this final version to release it to you. It’s completely built up from scratch, from ideas I’ve put aside along the years to have one circuit that is not particularly vintage but not too modern either but can easily reach the sounds in my head with simple and understandable controls. You don’t need to carry two amps and spend endless hours of experiments till balance them, just this little pedal with three knobs you can take anywhere.

My motto of the Albatross is: Step on it and the groove is there.

Some like their chorus tones toothache sweet. Others just want a hint of syrupy swirl. And no matter where you fall on that spectrum, the Sugarcube delivers.

We captured the essence of all our favourite chorus pedals from the 80s, added in a dash of rotary whirl and some crystallized pitch-shifting for good measure — and then wrapped it all up in a pedalboard-friendly package.

Of course, you get the MIDI, preset and expression pedal support you’ve come to expect from Alexander Pedals, but look — sugar addiction is real. Consider this your only warning.

THUMPING GRITTY LOWEND The BETA-V is a Bass Preamp pedal that kicks! This latest incarnation of our top selling Beta Series is designed to capture the warmth and grit of favorite vintage tube amps. You know, that distinctive drive and tone that seems to be lacking from much of today’s modern bass amplification.

Yes, we all know the convenience of a lightweight “sub 10 lbs” bass head that pumps out 500 watts and a neo cab that doesn’t require a roadie crew or chiropractor is great, but there is something extremely satisfying in the way that big, old Ampeg-style tube amps compress, clip and round out your signal. However, With the BETA-V you can finally have the best of both worlds - bone-shaking mojo-packed dirt, all wrapped up in modern and easy to use convenience.

Our classic Beta bass architecture has been reworked and expanded, delivering a wider range of tones. The low-pass filter now has 2 settings for bumped or scooped-mids as well as a center bypass setting for a more transparent experience. Plus, the Drive control has been reworked for lower gain applications or hotter basses.

Most importantly, the BETA-V sports an active 2-band post gain EQ allowing you to boost or cut your highs and lows with a flat response in the center. Dialing in anything from punchy overdriven Lemmy tones to the fattest, deepest soul shaking dub is only a few knob twists away.

The Challenge The biggest challenge to overcome was the fact that guitarlists and bassists feel things differently.While they pursue the best sound on the same ground,they do it in defferent ways. Understanding what they visualize was the toughest challenge for us. This pedal can intuitively reproduce the sound that bassists feel and imagine in their heads. This pedal is a milestone for One Control. The tone you imagine manifests itself in this pedal. What does the "distortion effect" mean for bassists? They naturally have different ideas depending on their styla of play an genre.Yet, bass distortion effect pedals, especially overdrive pedals, are thought to be an extension of an amp simulator/preamp or onboard active preamp. In order to fulfill the functions of both an amp and a bass, bass overdrive pedals tend to be multi-functional and large in size due to an increased pedals, especially overdrive pedals, are thought to be an extension of an amp simulator/preamp or onboard active preamp. In order to fulfill the functions of both an amp and a bass, bass overdrive pedals tend to be multi-functional and large in size due to an increased various other effects can be used effectively to add color to music. Now, more than ever, bass overdrive effects need casual usability like a guitar overdrive.

One Control HOOKER'S GREEN BASS MACHINE 4K embodies everything bassists need in its small body from the bass amp features to tone and deep feelings. The Sound Bass tube amps are essential for an old school rock sound. Nothing can beat the controllable tones and feelings they create. HOOKER'S GREEN BASS MACHINE 4K gives you the tone and feeling of bass tube amps and old transistor amps when used with a modern bass transistor amp, which is common in many music venues and studios. When HOOKER'S GREEN BASS MACHINE 4K is not in use, you can get a modern transistor amp sound. By combining a modern transistor amp that is most commonly used by contemporary bassists and this small HOOKER'S GREEN BASS MACHINE 4K, you can cover all the bass amp sounds that many bassists seek. HOOKER'S GREEN BASS MACHINE 4K has a dynamic range as wide as a bass tube amp and picks up all the subtle expressions that bassists create with their fingers. Transitions between clean and distorted sounds are smooth and it creates a gorgeous but stable compression tone like an old transistor amp when you increase the distortion. It won’ t miss any finger touches and accurately produces any groove from blues, fusion, or hard rock to metal. Its moderately sharp attack and clear sounding keys do not decrease the speed realized by picking. With slapping, percussive chunks of sound by thumbing pop up, and sound created by pulling can be maintained and kept stable. The ability to freely control distortion enables you to play in a relaxed and comfortable way. For heavy tracks using a multi-string bass, the LOW BOOST knob does its job.

HOOKER'S GREEN BASS MACHINE 4K has enough low-end, but if it’ s not enough, adjust the LOS BOOST to unlock even more low-end. HOOKER'S GREEN BASS MACHINE 4K’ s TREBLE knob has limited range to allow subtle adjustment. Many music venues and studios have modern bass amps equipped with powerful EQ and basic bass sound is created using that. What is required for an overdrive pedal is delicate sensory adjustment that is impossible with amp EQ.

While a number of bass effects pedals have knobs for blending and mixing, HOOKER'S GREEN BASS MACHINE 4K does not have them. The distortion circuit sometimes narrows the dynamic range and as a result creates a “coreless” sound. “Blend” is effective for giving "sound variation" in fuzz and space effects but blending in bass overdrive pedals is only supplementary to dynamic range. HOOKER'S GREEN BASS MACHINE 4K introduced a dynamic amplifier circuit that handles bass signals fully. Thus, it does not create any coreless sound that is impossible to distort and therefore the blend knob is unnecessary. It also helped reduce the size of the product. If you absolutely need to blend for sound variation, use One Control Mosquite Blender for blending any effects.

HOOKER'S GREEN BASS MACHINE 4K does not have a balanced out connector. You can create a lively bass sound with a line connector if you connect it to a mixing board directly and use it as a DI pedal.

Guitar Use - Guitar Overdrive Pedal HOOKER'S GREEN BASS MACHINE 4K was originally designed to be a bass overdrive pedal but can function as guitar overdrive pedal as well. Its wide dynamic range covers the full range of the guitar frequency and creates various sounds from a clean sound after applying the highest quality compression available to a thicker medium overdrive sound. It’ s highly responsive and its ability to express various distortions with the guitar’ s volume control is beyond many guitar overdrive pedals. Its response is comparable with One Control Strawberry Red Overdrive and Anodized Brown Distortion that have the highest response level. HOOKER'S GREEN BASS MACHINE 4K creates BJF’ s “trademark” unique solid dark European tones when it is used as a guitar overdrive pedal. The frequency range that also supports multi-string bass is ideal for guitars tuned low as well as seven, eight, and nine-string modern guitars. High Voltage Operation HOOKER'S GREEN BASS MACHINE 4K operates under high voltage when used with up to an 18V adapter. With higher voltage, head room is increased to allow even richer expression while reducing the gain slightly. Although it's most effective for solo bass or guitar. 9V operation might give a stronger core when used in ensemble or guitar riffs.You can change the voltage according to your needs.

HOOKER'S GREEN BASS MACHINE 4K is an all-purpose bass machine for any genre of music after the 1950s. If I had to compare the sound to an artist, I would compare it to Lemmy's iconic bass sound from Motorhead.

The CRIMSON RED BASS PREAMP allows us to relive the sounds of bass amplification before extreme clarity, thanks to 400W amps and tweeters, was a thing in the bass world. The CRB reproduces the sound similar to a single 15" or 18" setup.

CRB allows you to control 3 main characteristics: Volume: Output volume Brilliance: Bandwidth control. At maximum, treble can pass. Whereas at the most counter-clockwise position, only bass is amplified. Gain: Boost control.

The CRIMSON RED BASS PREAMP can be used as a preamp to modern bass amplification setups while bringing back that old school feel of a 60s upright bass and 70s electric bass.