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The Gibson Les Paul Jumbo Flattop. This guitar was not commercially successful, selling just 139 units between 1969 and 1973; this was the only catalog appearance of this model.

Like the Gibson Les Paul Personal and the Les Paul Professional it was fitted with a low impedance pickup, volume, treble, bass and decade controls. Having just one pickup, it could not operate out of phase, so this is not included, but it is otherwise substantially similar with regard circuitry and controls.

Again, as a low impedance guitar, it was designed for use with a low impedance transformer cord - or through a low impedance amplifier such as the Les Paul LP-12

Brand Gibson

Model Les Paul Jumbo

Color Natural

Year 1969 - 1973

Made in United States of America

Categories Acoustic-Electric Guitars

Pickup Surface Mounted Pickup

Number of Frets 19

Number of Strings 6-string

Back Material Rosewood

Top Material Spruce

Color Family Tan

Fingerboard Material Rosewood

Neck Material Mahogany

Body Shape Dreadnought

Model Series Gibson Les Paul Jumbo

String Type Steel

Side Material Rosewood

The Gibson Les Paul Jumbo Flattop. This guitar was not commercially successful, selling just 139 units between 1969 and 1973; this was the only catalog appearance of this model. Later the The Gibson Les Paul Jumbo been manufacture 2003 to 2004

Like the Gibson Les Paul Personal and the Les Paul Professional it was fitted with a low impedance pickup, volume, treble, bass and decade controls. Having just one pickup, it could not operate out of phase, so this is not included, but it is otherwise substantially similar with regard circuitry and controls.

Again, as a low impedance guitar, it was designed for use with a low impedance transformer cord - or through a low impedance amplifier such as the Les Paul LP-12

Brand Gibson

Model Les Paul Jumbo

Color Natural

Year 1969 - 1973 and later 2003 to 2004

Made in United States of America

Categories Acoustic-Electric Guitars

Pickup Surface Mounted Pickup

Number of Frets 19

Number of Strings 6-string

Back Material Rosewood

Top Material Spruce

Color Family Tan

Fingerboard Material Rosewood

Neck Material Mahogany

Body Shape Dreadnought

Model Series Gibson Les Paul Jumbo

String Type Steel

Side Material Rosewood

The Gibson Les Paul Jumbo Flattop. This guitar was not commercially successful, selling just 139 units between 1969 and 1973; this was the only catalog appearance of this model.

Like the Gibson Les Paul Personal and the Les Paul Professional it was fitted with a low impedance pickup, volume, treble, bass and decade controls. Having just one pickup, it could not operate out of phase, so this is not included, but it is otherwise substantially similar with regard circuitry and controls.

Again, as a low impedance guitar, it was designed for use with a low impedance transformer cord - or through a low impedance amplifier such as the Les Paul LP-12

Brand Gibson

Model Les Paul Jumbo

Color Natural

Year 1969 - 1973

Made in United States of America

Categories Acoustic-Electric Guitars

Pickup Surface Mounted Pickup

Number of Frets 19

Number of Strings 6-string

Back Material Rosewood

Top Material Spruce

Color Family Tan

Fingerboard Material Rosewood

Neck Material Mahogany

Body Shape Dreadnought

Model Series Gibson Les Paul Jumbo

String Type Steel

Side Material Rosewood

The 3A-5 Optical Compressor by Stam Audio Engineering is a 1:1 replica of the two most popular solid state opto compressors in the world, the UREI LA-3A and the UREI LA-4.

LA-3A and LA-4 in one unit

Kenetek US made T4B optical cell

Custom US made input transformer

Custom US made autoformer

Carnhill output transformer

True to the original LA-3A schematic

Upgraded LA-4 Op-Amps

Clearmountain MOD

Stereo Lunk

LA-4 switch

Vintage VU Meter

Less than 0.5% THD

Vishay Capacitors

Carbon resistors on audio path

Hand made in Chile

2-year warranty

30-day money back guarantee

The Peavey Audition Plus is a 20 Watt Soild State Guitar Combo build in the 80ties. Compared to the Audition 20 it comes with some extra features.

Made in USA, 1989.

10" heavy duty speaker.

20 watts RMS power output.

3/4" heavy duty wood construction.

1/4" low and high gain inputs.

Normal gain level control.

Channel select switch.

Lead gain supersat and post controls.

1/4" preamp output.

3-way parametric eq: low, mid, high.

1/4" headphone output.

1/4" remote footswitch input rear panel.

Great sounding little Practise Amplifier

Weight: 20lbs.

The Axis Overdrive / Distortion / Fuzz by Blue Colander is a Multi-Drive from Clean Boost over Distortion and Overdrive up to a Fuzz.

It's core is based on the classic Colorsound Power Boost - a discrete transistor boost/overdrive design, praised by many seeking for either a powerful gain provider or just for it's original sound signature. Not many pedals can smash a tube amp with such power, deep bass and glassy treble as this one.

Top three knobs represent 'stock' Colorsound setup, while MASTER knob is an essential addition to let original circuit be set for distorted sounds at low output volume. BASS & TREBLE knobs are arranged after the drive section, so EQ shape final tone after desired amount of drive is achieved. RANGE knob is my extension to allow deeper voicing of the dirt character - it removes low frequencies from drive section, making distortion tighter and smoother, plus it can bring it to a clangy, grinding noise regions.

OK, that would be good enough, but heart of Crooked Axis is the BLAST switch, which grants pedal a new character and distortion range. DRIVE range now starts with a warm, heavy overdrive with extra amount of bass to spend. Cranked up turns into fat, grainy distortion without sizzle and raw character of the BLAST 'off' setting. Turn DRIVE to max and experience melting fuzz with blasting low-end, bursting attack and blooming textures during sustained notes. Throughout whole range it keeps dynamics and attack sensitivity, so it feels like extension to the instrument. Together with various RANGE and EQ settings this setup provides great amount of output volume and diversified tones - many classic and many of its own, from pristine clean to utter destruction. From '70s leads to heaviest sludge sounds, with guitar, baritone or down-tuned bass, all works equally well.

And there's one more thing to mention... the BLAST switch middle position. Neither it's engaged nor switched off. With most of DRIVE knob range it delivers saggy and loose overdrive with lower gain, but even fatter tone compared to BLAST 'on' setting. DRIVE maxed in this mode brings brass-like, throaty fuzz tone with panoply of lo-fi dimensions and random octave-down sound appearance.

Original Colorsound Power Boost was powered by two 9V batteries, while Crooked Axis requires 9V DC supply and uses internal voltage doubler circuit to attain 18V operation.

Controls: - BASS & TREBLE - post-dirt active equalisation (turn CCW to cut, turn CW to boost) - DRIVE - input gain control - MASTER - master volume control - BLAST - 'off' for classic boost response; 'on' for overdrive & fuzz response - RANGE - pre-dirt bass control (maxed is full bass content, turn CCW to cut)

No battery operation possible with this pedal. Use isolated, regulated, negative center power supply at 9V DC only. Current draw is 15mA.

Actually you can use 12V DC for a little extra headroom and output. All Units available from Nov 14th come with power input protected against reverse polarity and overvoltage up to 20V and will not turn on with incorrect power connected - if it doesn't power on, disconnect and check the supply. For older units you can use 12V too, but first make sure actual measured supply voltage does not exceed 13 volts). Current draw at 12V is 25mA.

The FM3 Fractal FM3 MK II Turbo Amp Modeler/FX Processor is a compact all-in-one processor for guitar, bass, and other instruments.

Developed with the Cygnus X2 Amp Modeling, UltraRes™ and DynaCab™ speaker cab simulation, plus an incredible collection of legendary stompbox and studio effects, and based on the Axe-Fx III.

The unit is also a powerful foot controller with all of the programmable features of our larger FC controllers, plus a 4×4 USB audio interface , all in a compact, rugged, floor unit designed for the studio or stage.

It captures the sound — and the equally important feel — of real tube amps, with 300+ models offering an impressive range of clean tones, elusive “edge of breakup”, and everything from warm, touch-sensitive overdrive to face-melting modern distortion.

The FM3 includes the entire speaker cab impulse response (“IR”) collection from the Axe-Fx III, with 2,200+ “Factory” choices and 1,024 “User” locations to store custom cabs, widely available for free and from commercial producers. Firmware 7 adds new DynaCab™ technology, giving you a visual mic-on-cab tone shaping experience that’s easier than ever before.

As a multi-effects unit, the FM3 truly excels. It includes a superb selection of Fractal Audio’s state-of-the-art effect algorithms. All of the essentials and many exciting innovations are on board: dazzling drive pedals, dozens of delays, reverbs, compressors, EQs, phasers, flangers and other modulation effects, a looper, and much more.

FM3 is a compact floor unit with three onboard switches.

3-Core “Griffin” Processor plus dedicated GPU.

Hundreds of accurate models with real tube amp sound and feel.

Rugged steel chassis with protective endcaps and handles

Features CYGNUS Amp Modeling developed for the Axe-Fx III

Easy-to-use front panel interface, plus free FM3 Edit software.

Includes all factory cabs from Axe-Fx III, plus 1,024 user cab slots.

Ultra-low noise instrument input plus XLR stereo main outputs.

Impressive multi-effects capability based on Axe-Fx III.

Additional Stereo I/O Pair, plus headphone & SPDIF outputs.

Uncompromising sound quality and road-worthy reliability.

4×4 USB Audio, 2 onboard switch/pedal jacks, MIDI In & Out/Thru

Fantastically flexible 3-button integrated foot controller.

Easy-to-Read precision Tuner with graph and virtual strobe displays.

FASLINK II allows adding up to two FC-12/FC-6 controllers.

Upgradeable firmware allows improvement and innovation

The FM3 Fractal FM3 MK II Turbo Amp Modeler/FX Processor is a compact all-in-one processor for guitar, bass, and other instruments.

Developed with the Cygnus X2 Amp Modeling, UltraRes™ and DynaCab™ speaker cab simulation, plus an incredible collection of stompboxes and studio effects, and based on the Axe-Fx III.

The unit is also a powerful foot controller with all of the programmable features of our larger FC controllers, plus a 4×4 USB audio interface , all in a compact, rugged, floor unit designed for the studio or stage.

It captures the sound — and the equally important feel — of real tube amps, with 300+ models offering an impressive range of clean tones, elusive “edge of breakup”, and everything from warm, touch-sensitive overdrive to face-melting modern distortion.

The FM3 includes the entire speaker cab impulse response (“IR”) collection from the Axe-Fx III, with 2,200+ “Factory” choices and 1,024 “User” locations to store custom cabs, widely available for free and from commercial producers. Firmware 7 adds new DynaCab™ technology, giving you a visual mic-on-cab tone shaping experience that’s easier than ever before.

As a multi-effects unit, the FM3 truly excels. It includes a superb selection of Fractal Audio’s state-of-the-art effect algorithms. All of the essentials and many exciting innovations are on board: dazzling drive pedals, dozens of delays, reverbs, compressors, EQs, phasers, flangers and other modulation effects, a looper, and much more.

FM3 is a compact floor unit with three onboard switches.

3-Core “Griffin” Processor plus dedicated GPU.

Hundreds of accurate models with real tube amp sound and feel.

Rugged steel chassis with protective endcaps and handles

Features CYGNUS Amp Modeling developed for the Axe-Fx III

Easy-to-use front panel interface, plus free FM3 Edit software.

Includes all factory cabs from Axe-Fx III, plus 1,024 user cab slots.

Ultra-low noise instrument input plus XLR stereo main outputs.

Impressive multi-effects capability based on Axe-Fx III.

Additional Stereo I/O Pair, plus headphone & SPDIF outputs.

Uncompromising sound quality and road-worthy reliability.

4×4 USB Audio, 2 onboard switch/pedal jacks, MIDI In & Out/Thru

Fantastically flexible 3-button integrated foot controller.

Easy-to-Read precision Tuner with graph and virtual strobe displays.

FASLINK II allows adding up to two FC-12/FC-6 controllers.

Upgradeable firmware allows improvement and innovation

The Dinky JS30 DKT Electric Guitar by Jackson.

Colors: Transparent Amber or Black Body: Alder with Flame Maple Veneer on Clear Colors Body Style: Dinky Bolt-On Maple Neck Fingerboard: Rosewood Scale Length: 25.5" / 648mm Number of Frets: 22 jumbo frets Nut Width: 1.6875" (43mm) Bridge Pickup: Jackson CVR2 Humbucking Pickup Neck Pickup: Jackson CVR2 Humbucking Pickup Chrome Hardware Bridge: Adjustable String-Through-Body Bridge Tuners: Die Cast

The Dinky JS30 DKT Electric Guitar by Jackson.

Colors: Transparent Amber or Black

Body: Alder with Flame Maple Veneer on Clear Colors

Body Style: Dinky

Bolt-On Maple Neck

Fingerboard: Rosewood

Scale Length: 25.5" / 648mm

Number of Frets: 22 jumbo frets

Nut Width: 1.6875" (43mm)

Bridge Pickup: Jackson CVR2 Humbucking Pickup

Neck Pickup: Jackson CVR2 Humbucking Pickup

Chrome Hardware

Bridge: Adjustable String-Through-Body Bridge

Tuners: Die Cast

The ED-X1+ Electric Acoustic Guitar by Enya is a Dreadnought with Pick Ups ...

and High-Pressure Laminate (HPL) is a composite material obtained through high pressure and temperature, that provides high resistance to external forces. Within reason, a HPL instrument can get wet without too much hassle. The surface is super hard and it will laugh at scratches, pick-wear, etc. It will handle heat better than a wooden instrument. If you want a guitar to drag around without worrying too much about scratches, or rain, or heat, or humidity, or dryness, these instruments could be just the ticket.

Body Size: Dreadnought Top: High-Pressure Laminate Back & Sides: High-Pressure Laminate Neck: Nato Fingerboard & Bridge: Richlite Nut & Saddle: Bone Neck width at nut: 43 mm Scale Length: 648 mm Number of Frets: 20 Pickup: Yes Machine Heads: Custom black die cast Case: 10 mm black bag

The ED-X1+ Electric Acoustic Guitar by Enya is a Dreadnought with Pick Ups ...

and High-Pressure Laminate (HPL) is a composite material obtained through high pressure and temperature, that provides high resistance to external forces. Within reason, a HPL instrument can get wet without too much hassle. The surface is super hard and it will laugh at scratches, pick-wear, etc. It will handle heat better than a wooden instrument. If you want a guitar to drag around without worrying too much about scratches, or rain, or heat, or humidity, or dryness, these instruments could be just the ticket.

Body Size: Dreadnought

Top: High-Pressure Laminate

Back & Sides: High-Pressure Laminate

Neck: Nato

Fingerboard & Bridge: Richlite

Nut & Saddle: Bone

Neck width at nut: 43 mm

Scale Length: 648 mm

Number of Frets: 20

Pickup: Yes

Machine Heads: Custom black die cast

Case: 10 mm black bag

The ED-X1+ Electric Acoustic Guitar by Enya is a Dreadnought with Pick Ups ...

and High-Pressure Laminate (HPL) is a composite material obtained through high pressure and temperature, that provides high resistance to external forces. Within reason, a HPL instrument can get wet without too much hassle. The surface is super hard and it will laugh at scratches, pick-wear, etc. It will handle heat better than a wooden instrument. If you want a guitar to drag around without worrying too much about scratches, or rain, or heat, or humidity, or dryness, these instruments could be just the ticket.

Body Size: Dreadnought Top: High-Pressure Laminate Back & Sides: High-Pressure Laminate Neck: Nato Fingerboard & Bridge: Richlite Nut & Saddle: Bone Neck width at nut: 43 mm Scale Length: 648 mm Number of Frets: 20 Pickup: Yes Machine Heads: Custom black die cast Case: 10 mm black bag

The Dinky JS30 DKT Electric Guitar by Jackson.

Body: Alder with Flame Maple Veneer on Clear Colors or in Black Body Style: Dinky Bolt-On Maple Neck Fingerboard: Rosewood Scale Length: 25.5" / 648mm Number of Frets: 22 jumbo frets Nut Width: 1.6875" (43mm) Bridge Pickup: Jackson CVR2 Humbucking Pickup Neck Pickup: Jackson CVR2 Humbucking Pickup Chrome Hardware Bridge: Adjustable String-Through-Body Bridge Tuners: Die Cast

The Dinky JS30 DKT Electric Guitar by Jackson.

Colors: Transparent Amber or Black Body: Alder with Flame Maple Veneer on Clear Colors Body Style: Dinky Bolt-On Maple Neck Fingerboard: Rosewood Scale Length: 25.5" / 648mm Number of Frets: 22 jumbo frets Nut Width: 1.6875" (43mm) Bridge Pickup: Jackson CVR2 Humbucking Pickup Neck Pickup: Jackson CVR2 Humbucking Pickup Chrome Hardware Bridge: Adjustable String-Through-Body Bridge Tuners: Die Cast

The Dinky JS30 DKT Electric Guitar by Jackson.

Body: Alder with Flame Maple Veneer on Clear Colors or in Black Body Style: Dinky Bolt-On Maple Neck Fingerboard: Rosewood Scale Length: 25.5" / 648mm Number of Frets: 22 jumbo frets Nut Width: 1.6875" (43mm) Bridge Pickup: Jackson CVR2 Humbucking Pickup Neck Pickup: Jackson CVR2 Humbucking Pickup Chrome Hardware Bridge: Adjustable String-Through-Body Bridge Tuners: Die Cast

The FM3 Fractal FM3 MK II Turbo Amp Modeler/FX Processor is a compact all-in-one processor for guitar, bass, and other instruments.

Developed with the Cygnus X2 Amp Modeling, UltraRes™ and DynaCab™ speaker cab simulation, plus an incredible collection of legendary stompbox and studio effects, and based on the Axe-Fx III.

The unit is also a powerful foot controller with all of the programmable features of our larger FC controllers, plus a 4×4 USB audio interface , all in a compact, rugged, floor unit designed for the studio or stage.

It captures the sound — and the equally important feel — of real tube amps, with 300+ models offering an impressive range of clean tones, elusive “edge of breakup”, and everything from warm, touch-sensitive overdrive to face-melting modern distortion.

The FM3 includes the entire speaker cab impulse response (“IR”) collection from the Axe-Fx III, with 2,200+ “Factory” choices and 1,024 “User” locations to store custom cabs, widely available for free and from commercial producers. Firmware 7 adds new DynaCab™ technology, giving you a visual mic-on-cab tone shaping experience that’s easier than ever before.

As a multi-effects unit, the FM3 truly excels. It includes a superb selection of Fractal Audio’s state-of-the-art effect algorithms. All of the essentials and many exciting innovations are on board: dazzling drive pedals, dozens of delays, reverbs, compressors, EQs, phasers, flangers and other modulation effects, a looper, and much more.

FM3 is a compact floor unit with three onboard switches.

3-Core “Griffin” Processor plus dedicated GPU.

Hundreds of accurate models with real tube amp sound and feel.

Rugged steel chassis with protective endcaps and handles

Features CYGNUS Amp Modeling developed for the Axe-Fx III

Easy-to-use front panel interface, plus free FM3 Edit software.

Includes all factory cabs from Axe-Fx III, plus 1,024 user cab slots.

Ultra-low noise instrument input plus XLR stereo main outputs.

Impressive multi-effects capability based on Axe-Fx III.

Additional Stereo I/O Pair, plus headphone & SPDIF outputs.

Uncompromising sound quality and road-worthy reliability.

4×4 USB Audio, 2 onboard switch/pedal jacks, MIDI In & Out/Thru

Fantastically flexible 3-button integrated foot controller.

Easy-to-Read precision Tuner with graph and virtual strobe displays.

FASLINK II allows adding up to two FC-12/FC-6 controllers.

Upgradeable firmware allows improvement and innovation

The Thunderhorse IV E-Bass build by Cormac McGrath Guitars in California , a collaboration with The Bass Channel has lead to this beast of a bass.

The bass features three pickups all EMG.

The neck has a thunderbird pickup for lowend and warmth.

In the middle is a classic P for that mid punch and growl.

The bridge pickup is a Jazz style for that glassy top end.

There is 3 volumes and 1 tone. This bass takes the idea of the workhorse P and ramps it up several levels.

Body Material: 2 Piece Ash​​

Fretboard Material: Ebony

Fretboard Radius: 12"

Scale Length: 34"

Nut width: 1.5"

​Nut material: Bone

Neck Profile: Modern D

Neck Finish: Hardwax Oil

Neck reinforcement: Carbon

​Weight: 9.9 lbs

Pickups: EMG PJT HZ

Bridge: Hipshot Kickass​

​Machine Heads: Hipshot USA Ultralite

​Pots: EMG

Capacitor: EMG

Control Knobs: GOLD

Truss Rod: 2 Way Spoke Nut

​​Number of Frets: 21

String Gauge: 45 - 100

Pickguard: Black

​Color: Matte Black

The EGS-330SC is an Electric Acoustic Dreadnought build by Takamine.

Designed and built under the supervision of Takamine’s head luthiers, G-Series guitars are created to serve all players from the hobbyist to professional.

The EGS330SC dreadnought features a solid cedar top for a warm, deep resonant tone.

The ultra light satin finish adds to the overall resonance of the guitar.

The mahogany neck and dual action adjustable tension rod keeps the guitar playing true no matter what the environment.

Stage ready with the TK40 preamp with onboard chromatic tuner.

Specifications:

Top Solid Cedar

Back Nato

Sides Nato

Finger Board Rosewood

Electronics TK40

Finish Satin Natural

The Old Blue Overdrive V2 by Oneder Effects.

The updated circuitry in V2 is a very versatile and useful Overdrive It's an always-on Pedal. It's has a heft, grit, and sparkle missing from other "transparent" pedals.

The clipping toggle is where most of the magic happens, with the familiar PLUS setting (more open, gainy, bright) and MINUS (compressed, smooth). V2 offers a new clipping option (labeled V2) that sits perfectly between the original sounds. It's by far my favorite, and dare I say the most "amp-like." Clipping tonal changes are most noticeable at higher gain settings. The weight contour was also upgraded, making it a much more noticeable sweep, and now allows you to cut low end when you go below noon. Finally, Old Blue CAN get more transparent if you need it! This is a great tool when stacking pedals, using thicker sounding pickups, or goosing a high gain amp. Don't fret, the same thick Old Blue V1 sounds are there from noon to max. Don't be afraid to max out the weight knob, it sounds great, and even adds a bit more gain!

Low gain boost, mid-gain overdrive, or saturated high gain sounds, Old Blue does it all, and does it well. And before you ask, YES, Old Blue loves basses and lower tunings! It's what the internet dubbed "The Emo Pedal". Your Nashville session pedal. The pedal that inspires you to finally write that record. Old Blue is your trusty overdrive.

-Updated artwork by Jesse Augustine

-Top Mounted High Quality Neutrik Jacks

-Clickless relay bypass Footswitch

-9v DC Center Negative Power Only!

-Built By Hand in Michigan, USA

The Old Blue Overdrive V2 by Oneder Effects.

The updated circuitry in V2 is a very versatile and useful Overdrive It's an always-on Pedal. It's has a heft, grit, and sparkle missing from other "transparent" pedals.

The clipping toggle is where most of the magic happens, with the familiar PLUS setting (more open, gainy, bright) and MINUS (compressed, smooth). V2 offers a new clipping option (labeled V2) that sits perfectly between the original sounds. The most "amp-like." Clipping tonal changes are most noticeable at higher gain settings. The weight contour was also upgraded, making it a much more noticeable sweep, and now allows you to cut low end when you go below noon. Finally, Old Blue CAN get more transparent if you need it! This is a great tool when stacking pedals, using thicker sounding pickups, or goosing a High Gain Amp. Don't fret, the same thick Old Blue V1 sounds are there from noon to max. Don't be afraid to Max out the weight knob, it sounds great, and even adds a bit more Gain!

Low Gain Boost, Mid-Gain Overdrive, or saturated high gain sounds, Old Blue does it all, and does it well. And before you ask, YES, Old Blue loves basses and lower tunings! It's what the internet dubbed "The Emo Pedal". Your Nashville session pedal. The pedal that inspires you to finally write that record. Old Blue is your trusty overdrive.

-Updated artwork by Jesse Augustine

-Top Mounted High Quality Neutrik Jacks

-Clickless relay bypass Footswitch

-9v DC Center Negative Power Only!

-Built By Hand in Michigan, USA

The Old Blue Overdrive V2 by Oneder Effects.

The updated circuitry in V2 is a very versatile and useful Overdrive It's an always-on Pedal. It's has a heft, grit, and sparkle missing from other "transparent" pedals.

The clipping toggle is where most of the magic happens, with the familiar PLUS setting (more open, gainy, bright) and MINUS (compressed, smooth). V2 offers a new clipping option (labeled V2) that sits perfectly between the original sounds. It's by far my favorite, and dare I say the most "amp-like." Clipping tonal changes are most noticeable at higher gain settings. The weight contour was also upgraded, making it a much more noticeable sweep, and now allows you to cut low end when you go below noon. Finally, Old Blue CAN get more transparent if you need it! This is a great tool when stacking pedals, using thicker sounding pickups, or goosing a high gain amp. Don't fret, the same thick Old Blue V1 sounds are there from noon to max. Don't be afraid to max out the weight knob, it sounds great, and even adds a bit more gain!

Low gain boost, mid-gain overdrive, or saturated high gain sounds, Old Blue does it all, and does it well. And before you ask, YES, Old Blue loves basses and lower tunings! It's what the internet dubbed "The Emo Pedal". Your Nashville session pedal. The pedal that inspires you to finally write that record. Old Blue is your trusty overdrive.

-Updated artwork by Jesse Augustine

-Top Mounted High Quality Neutrik Jacks

-Clickless relay bypass Footswitch

-9v DC Center Negative Power Only!

-Built By Hand in Michigan, USA