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Drumhead / Emperor Emperor Clear Type:‎ Bass Drumhead Application: Drum Set Finish: Clear

The Emperor® Clear drumheads feature attack, projection, and increased durability.

Feature attack, projection and increased durability 2-plies of 7-mil Clear film Ideal for Tom, Snare and Bass drum applications Most popular among Hard Rock, Funk and R&B drummers

The Emperor® Clear drumheads feature attack, projection, and increased durability. Constructed with two-plies of 7-mil Clear film, Emperor Clear drumheads are most popular among Hard Rock, Funk, and R&B drummers.

Drumhead / Powerstroke P3 Powerstroke P3 Clear Type:‎ Bass Drumhead Tom Drumhead Application: Drum Set Finish: Clear

The Powerstroke® 3 Clear features focused mid and low tones with a well-defined attack.

Focused, warm mid and low range tones 1-ply 10-mil Clear film with a 3-mil inlay ring for Toms and Snares and a 10-mil inlay ring for Bass drumheads Ideal for all playing applications The perfect balance of response and tone control

The Powerstroke® 3 Clear features focused mid and low tones with a well-defined attack. Constructed 1-ply 10-mil Clear film with a 3-mil inlay ring for Toms and Snares and a 10-mil inlay ring for Bass drumheads, Powerstroke 3 Clear provides a perfect balance of response and tone control.

Drumhead / Emperor Emperor Coated Type:‎ Snare Drumhead Tom Drumhead Application: Drum Set Finish: Coated The Emperor® Coated drumheads feature warm, open tones with increased durability and projection.

Provides durability, warmth and volume 2-plies of 7-mil Coated film Ideal for Snare, Tom and Bass applications

The Emperor® Coated drumheads feature warm, open tones with increased durability and projection. Constructed with 2-plies of 7-mil Coated film, Emperor Coated drumheads provide a soft feel and subtle attack for studio and live applications.

Remo POWERSTROKE 3 Drum Skins / Heads

The Remo Coated Powerstroke® 3 features a thin underlay at the outer edge of the head to subtly dampen high frequency overtones. This creates a near-perfect balance of response and tone control that has quickly made Powerstroke 3 one of Remo’s most preferred drumheads. Powerstroke 3/Powerstroke 4 – Ambassador-weight drumheads with a thin underlay at the edge of the head to dampen overtones, making these a popular choice for bass and snare drums. Powerstroke 4s are two-ply versions of the Powerstroke 3 with a much darker sound than their single-ply counterparts.

Remo POWERSTROKE 3 Drum Skins / Heads

The Remo Coated Powerstroke® 3 features a thin underlay at the outer edge of the head to subtly dampen high frequency overtones. This creates a near-perfect balance of response and tone control that has quickly made Powerstroke 3 one of Remo’s most preferred drumheads. Powerstroke 3/Powerstroke 4 – Ambassador-weight drumheads with a thin underlay at the edge of the head to dampen overtones, making these a popular choice for bass and snare drums. Powerstroke 4s are two-ply versions of the Powerstroke 3 with a much darker sound than their single-ply counterparts. Drumhead / Powerstroke P3 Powerstroke P3 Coated Type:‎ Tom Drumhead Bass Drumhead Application: Drum Set Finish: Coated

The Powerstroke® 3 Coated features focused mid and low tones with a subtle attack. Focused, warm mid and low range tones 1-ply 10-mil Coated film with a 3-mil inlay ring for Toms and Snares and a 10-mil inlay ring for Bass drumheads Ideal for all playing applications The perfect balance of response and tone control The Powerstroke® 3 Coated features focused mid and low tones with a subtle attack. Constructed with 1-ply 10-mil Coated film with a 3-mil inlay ring for Toms and Snares and a 10-mil inlay ring for Bass drumheads, Powerstroke 3 Coated provides a perfect balance of response and tone control.

Remo POWERSTROKE 3 Drum Skins / Heads

The Remo Coated Powerstroke® 3 features a thin underlay at the outer edge of the head to subtly dampen high frequency overtones. This creates a near-perfect balance of response and tone control that has quickly made Powerstroke 3 one of Remo’s most preferred drumheads. Powerstroke 3/Powerstroke 4 – Ambassador-weight drumheads with a thin underlay at the edge of the head to dampen overtones, making these a popular choice for bass and snare drums. Powerstroke 4s are two-ply versions of the Powerstroke 3 with a much darker sound than their single-ply counterparts.

For decades, Spector has been synonymous with streamlined, neck-thru bass instruments that have redefined the essence of modern bass tone. Now, we proudly introduce the NS Ethos HP basses, the high-performance additions to our beloved NS Ethos line, inspired by the timeless legacy of our classic 4- and 5-string basses.

Rooted in the lineage of iconic Spectors played by renowned artists such as Sting, Jason Newsted, Rex Brown, and Alex Webster, HP basses propel us into the future of Spector design. These instruments boast 3-piece maple necks, with ebony fingerboards, that traverse the entire length of the instruments, joined by two sculpted alder wings. A combination of EMG DC pickups and Darkglass Tone Capsule preamps deliver the perfect fusion of power and clarity.

With your choice of White Sparkle, Solid Black, Plum Crazy, and Gunmetal gloss finishes, these basses always look the part.

Body & Construction Body Wood Solid Alder Wings Neck Neck Wood 3-Piece Maple; Neck-thru Fretboard Ebony Number Of Frets 24 Inlays Dots; 12th Fret Spector Logo Inlay; Luminlay Side Dots Nut Brass Nut Width 1.75" Scale 35" Pickups & Electronics Controls Master Volume, Blend, Bass, Mid, Hi Mid controls Pickups EMG 40DC Pickup Configuration 2 x Humbucker Preamp System Darkglass Tone Capsule Hardware Hardware Black Bridge Hi-Mass Locking Bridge with Intonation Screws Tuners Sealed Die-Cast Other Finish White Sparkle Gloss, Gunmetal Gloss, Plum Crazy Gloss & Black Gloss Strings Nickel Additional Info String Spacing at Bridge: .66";Illuminating Side Dots

Unleash your creativity and move smoothly between keys with the Kyser Quick-Change Capo - Rosewood. This premium capo is not just a tool, but a game-changer that allows you to effortlessly transpose your tunes without the need for re-tuning. With its patented trigger-release mechanism, you can clamp or unclamp the capo swiftly, providing an uninterrupted flow to your music.

Constructed from the durable aircraft-grade aluminum, the Kyser Quick-Change Capo is light in weight but heavy on strength. It resists bending or warping over time, proving to be a reliable companion for years of intense jamming sessions, gigs, and studio use.

Built for performance, the capo features a dual-action clamping system that applies even pressure across all six strings, thereby eliminating bothersome buzzing and dead spots. It's flexible enough to adapt to different neck profiles, ensuring a buzz-free play irrespective of your guitar’s fretboard radius.

The Kyser Quick-Change Capo combines superior design, construction, and functionality. Its sleek, rugged look complements its precision-engineered components, making it an indispensable accessory for discerning guitarists.

Key Features:

• Patented trigger-release mechanism for quick key changes
• Constructed from durable, lightweight aircraft-grade aluminum
• Dual-action clamping system for even pressure distribution on strings
• Adjustable clamp tension to suit different neck profiles
• Designed for unimpeded fingering above and below the capo
• Backed by Kyser's lifetime guarantee

Unleash your creativity and move smoothly between keys with the Kyser Quick-Change Capo - Rosewood. This premium capo is not just a tool, but a game-changer that allows you to effortlessly transpose your tunes without the need for re-tuning. With its patented trigger-release mechanism, you can clamp or unclamp the capo swiftly, providing an uninterrupted flow to your music.

Constructed from the durable aircraft-grade aluminum, the Kyser Quick-Change Capo is light in weight but heavy on strength. It resists bending or warping over time, proving to be a reliable companion for years of intense jamming sessions, gigs, and studio use.

Built for performance, the capo features a dual-action clamping system that applies even pressure across all six strings, thereby eliminating bothersome buzzing and dead spots. It's flexible enough to adapt to different neck profiles, ensuring a buzz-free play irrespective of your guitar’s fretboard radius.

The Kyser Quick-Change Capo combines superior design, construction, and functionality. Its sleek, rugged look complements its precision-engineered components, making it an indispensable accessory for discerning guitarists.

Key Features:

• Patented trigger-release mechanism for quick key changes
• Constructed from durable, lightweight aircraft-grade aluminum
• Dual-action clamping system for even pressure distribution on strings
• Adjustable clamp tension to suit different neck profiles
• Designed for unimpeded fingering above and below the capo
• Backed by Kyser's lifetime guarantee

Its Duck Tape ! It Can Do A Lot For You ! Duct tape (historically and still occasionally referred to as duck tape) is cloth- or scrim-backed pressure-sensitive tape, often coated with polyethylene. There are a variety of constructions using different backings and adhesives, and the term "duct tape" has been genericized to refer to different cloth tapes with differing purposes. A variation is heat-resistant foil tape useful for sealing heating and cooling ducts, produced because the adhesive on standard duct tape fails and the synthetic fabric reinforcement mesh deteriorates when used on heating ducts.

Duct tape is generally silvery gray in color, but also available in other colors and printed designs, from whimsical yellow ducks, college logos to practical camouflage patterns. It is often confused with gaffer tape (which is designed to be non-reflective and cleanly removed, unlike duct tape).

During World War II, Revolite (then a division of Johnson & Johnson) developed an adhesive tape made from a rubber-based adhesive applied to a durable duck cloth backing. This tape resisted water and was used to seal some ammunition cases during that period.

"Duck tape" is recorded in the Oxford English Dictionary as having been in use since 1899 and "duct tape" (described as "perhaps an alteration of earlier duck tape") since 1965. History Wheel fender extension to keep down lunar dust improvised using duct tape during the Apollo 17 mission The first material called "duck tape" was long strips of plain non-adhesive cotton duck cloth used in making shoes stronger, for decoration on clothing, and for wrapping steel cables or electrical conductors to protect them from corrosion or wear. For instance, in 1902, steel cables supporting the Manhattan Bridge were first covered in linseed oil then wrapped in duck tape before being laid in place. In the 1910s, certain boots and shoes used canvas duck fabric for the upper or for the insole, and duck tape was sometimes sewn in for reinforcement. In 1936, the US-based Insulated Power Cables Engineers Association specified a wrapping of duck tape as one of many methods used to protect rubber-insulated power cables In 1942, Gimbel's department store offered venetian blinds that were held together with vertical strips of duck tape. Modern duct tape is made variously from cotton, polyester, nylon, rayon or fiberglass mesh fabric to provide strength. The fabric, a very thin gauze called "scrim", is laminated to a backing of low-density polyethylene (LDPE). The color of the LDPE is provided by various pigments; the usual gray color comes from powdered aluminum mixed into the LDPE. Two tape widths are common: 1.9 in (48 mm) and 2 in (51 mm). Other widths are also offered.[34] The largest commercial rolls of duct tape were made in 2005 for Henkel, with 3.78 inches (9.6 cm) width, a roll diameter of 64 inches (160 cm) and weighing 650 pounds (290 kg)

Martin are world renowned for their ability to craft beautiful guitars perfect for the working musician. Their latest collection shows exactly the kind of quality that has kept that at the top of the game for over 100 years. For NAMM 2021 CF Martin are proud to present the GPC-13E Ziricote

The 14-fret cutaway on this Grand Performance model is striking, but it’s the back and sides that really grab your attention. Constructed with a Fine Ziricote Veneer back & Sides with a lush Sitka Spruce top. This pairing projects extremely well and also with the scalloped X-bracing it has a very loud volume. It is super sweet sounding and cuts through extremely well.

The neck on this guitar is extremely comfortable and features a 25.4" Scale length with a 1 3/4" Nut Width. You have incredible access all over the neck thanks to the awesome 14 Fret cutaway.

And if that wasn't enough this GPC-13E comes fitted with Fishman MX-T electronics making this the perfect guitar for at home,in the studio or on stage! Make sure to check these out as this is one incredible guitar at an even better price point.

With a gorgeous glossed spruce top and ziricote back and sides, this Grand Performance cutaway model is a great sounding guitar at an affordable price. New to this model are stunning mother-of-pearl pattern fingerboard and rosette inlays, a multi-stripe rosette border, and white binding. It has an FSC® Certified Richlite® fingerboard and bridge, gloss body, and a hand-rubbed neck finish. Also new to this model is a Martin E-1 electronics package with a built-in soundhole tuner so you can tune up any time without using a pedal. This guitar comes with a burst option and Premium Soft Shell Case so it is Road-ready to join you on all of your adventures!

Due to material availability the GPC-13E is designed with either a tortoise pattern or black pickguard, and comes with a soft-shell case or soft gig bag. Selection may vary.

Martin are world renowned for their ability to craft beautiful guitars perfect for the working musician. Their latest collection shows exactly the kind of quality that has kept that at the top of the game for over 100 years. For NAMM 2021 CF Martin are proud to present the GPC-13E Ziricote

The 14-fret cutaway on this Grand Performance model is striking, but it’s the back and sides that really grab your attention. Constructed with a Fine Ziricote Veneer back & Sides with a lush Sitka Spruce top. This pairing projects extremely well and also with the scalloped X-bracing it has a very loud volume. It is super sweet sounding and cuts through extremely well.

The neck on this guitar is extremely comfortable and features a 25.4" Scale length with a 1 3/4" Nut Width. You have incredible access all over the neck thanks to the awesome 14 Fret cutaway.

And if that wasn't enough this GPC-13E comes fitted with Fishman MX-T electronics making this the perfect guitar for at home,in the studio or on stage! Make sure to check these out as this is one incredible guitar at an even better price point.

Body Size: Grand Performance 14 Fret Cutaway Finish Top: Gloss Construction: Mortise & Tenon Neck Joint Back and Side Finish: Gloss Bracing Pattern: X-Brace Scale Length: 25.4" Brace Shape: Scalloped Fingerboard Width at Nut: 1 3/4'' Top Material: Spruce Neck Shape: Performing Artist Back Material: Ziricote Fine Veneer Neck Taper: High-Performance Taper Side Material: Ziricote Fine Veneer Electronics: Yes Electronics Options: Martin E-1

Martin are world renowned for their ability to craft beautiful guitars perfect for the working musician. Their latest collection shows exactly the kind of quality that has kept that at the top of the game for over 100 years. For NAMM 2021 CF Martin are proud to present the GPC-13E Ziricote

The 14-fret cutaway on this Grand Performance model is striking, but it’s the back and sides that really grab your attention. Constructed with a Fine Ziricote Veneer back & Sides with a lush Sitka Spruce top. This pairing projects extremely well and also with the scalloped X-bracing it has a very loud volume. It is super sweet sounding and cuts through extremely well.

The neck on this guitar is extremely comfortable and features a 25.4" Scale length with a 1 3/4" Nut Width. You have incredible access all over the neck thanks to the awesome 14 Fret cutaway.

And if that wasn't enough this GPC-13E comes fitted with Fishman MX-T electronics making this the perfect guitar for at home,in the studio or on stage! Make sure to check these out as this is one incredible guitar at an even better price point.

ESP LTD Viper-1000 Deluxe, Vintage Black The ESP LTD Viper-1000 is a super-sleek guitar that promises high-output tones and rapid playability. Its gold hardware draws the eye, while the hyper-clear and super-tight tones voiced by the Fishman Fluence Modern pickups will attract any ears around. Not only do they boast a monstrous output to satisfy metal enthusiasts, but their multiple voicings (accessible through push/pull switches) give you access to vastly different timbres on demand.

ESP's locking tuners and a Tonepros TOM bridge ensure stable and reliable performance for even the most demanding professional gigger. Coupled with a three-piece neck for extra resistance to warping and humidity changes, it cuts down on those pesky maintenance sessions. Complete with a classic Thin U neck shape and a silky ebony fretboard, you can reach your shredding potential with the Viper-1000 Deluxe.

Product Ref: 289261 Full Description Fishman Fluence Modern pickups

These pickups have been specifically engineered for the modern guitarist, who requires a pickup that can handle the most extreme playing styles. Whether it's crushing metal riffs or soaring leads, these Fluence Modern Humbuckers provide unparalleled clarity and definition in their tone. The Alnico and Ceramic voicings offer a different tonal character, giving you versatility at your fingertips with just the push or pull of a knob. Gold hardware and LTD locking tuners

The gold hardware on this Viper-1000 Deluxe gives it a touch of class, perfectly complementing the sleek black finish. The LTD locking tuners provide excellent tuning stability, even under heavy usage. The Tonepros TOM bridge also ensures accurate intonation and superb string-to-body resonance for an overall enhanced playing experience. Professional playability

The Viper-1000 Deluxe boasts a set-thru construction and a Thin U neck shape, making it incredibly comfortable to play for extended periods. The 22 XJ stainless steel frets offer effortless bending and smooth legato playing, while the Macassar Ebony fingerboard with a 350mm radius provides a slick playing surface. This guitar is designed for professionals who need an instrument that can keep up with their demanding playing style.

The VIPER-1000 Vintage Black from ESP LTD is truly a top-tier guitar that delivers stunning tones and exceptional playability. Whether you're a metalhead or a rock virtuoso, this guitar will exceed all your expectations and help you reach new heights in your playing. Don't miss out on the opportunity to own this incredible instrument - get yours today! Specifications Body

Construction: Set-Thru Body Material: Mahogany Finish: Vintage Black Weight: 5-6 kg

Neck & Fretboard

Neck Material: 3-piece Mahogany Neck Shape: Thin U Fretboard Material: Macassar Ebony Radius: 350mm Frets: 22 XJ stainless frets Nut Width: 42mm

Hardware & Electronics

Hardware Color: Gold Tuners: LTD locking Bridge: Tonepros locking TOM & tailpiece Pickups: Fishman Fluence Modern Humbucker Alnico (Gold) and Ceramic (Gold) Controls: Volume/Tone(Push/Pull)/3-way Switch

oining Epiphone's newly-conceived 'Inspired by Gibson' collection is the legendary ES-335 electric guitar. Known for its ability to transcend multiple genres, the ultra-versatile ES-335 is now available at a price-point that most players can afford.

Maintaining the signature semi-hollow body construction and powerful dual-humbucker formula that almost all Gibson ES guitars are known for, the Epiphone ES-335 promises a spellbinding sound with superb playability to boot! Classic Construction

The ES-335's body is crafted from strong layered Maple, which is used to form its top, back and sides. Giving the instrument plenty of vibrancy, definition and acoustic-like volume, this is coupled with a solid Maple tone block that creates the amazing sustain and resonance that players crave from a genuine ES-335.

To add some mid-range warmth, the Epiphone ES-335's body is paired with a Mahogany neck; topped with an Indian Laurel fingerboard for a silky touch under the fingers. The neck adheres to a rounded "C" profile, which offers excellent comfort for traditionalists and contemporary players alike, while 22 medium jumbo frets provide a controllable feel for vibrato and string bends. Alnico Classic PRO Pickups

A double-dose of proprietary Alnico Classic PRO humbuckers give the Epiphone ES-335 a beautiful vintage voice. Thanks to their medium output, these pickups are highly-responsive to your picking dynamics and lend themselves particularly well to expressive playing styles. Although semi-hollow guitars are fairly synonymous with jazz, these humbuckers can sound raunchy and bold with overdrive - even distortion! High-Quality Hardware

The Epiphone ES-335 may be a cost-effective alternative to the Gibson classic, but no shortcuts have been taken when it comes to its hardware appointments. Sporting Epiphone's Deluxe machine heads, a tone-enhancing Graph Tech NuBone nut and a LockTone bridge/tailpiece - you can expect rock-solid tuning stability and fast, stress-free string changes. Specifications: Body:

Body Shape: ES-335 Body Material: Layered Maple Back & Sides: Layered Maple Top: Layered Maple Centerblock: Maple Binding: 1-Ply Cream, Top and Back Finish: Gloss

Neck:

Neck Material: Mahogany Neck Profile: Rounded "C" Scale Length: 24.724" Fingerboard Material: Indian Laurel Fingerboard Radius: 12" Number Of Frets: 22 Frets: Medium Jumbo Nut Material: Graph Tech NuBone Nut Width: 1.693" Inlays: Dots Joint: Glued-In, Set Neck

Hardware:

Bridge: LockTone Tune-O-Matic Tailpiece: LockTone Stop Bar Knobs: Black Top Hat with Metal Inserts Tuners: Epiphone Deluxe Plating: Nickel Strings: 10-46

Electronics:

Bridge Pickup: Epiphone Alnico Classic PRO Neck Pickup: Epiphone Alnico Classic PRO Controls: 2 Volume, 2 Tone, CTS Potentiometers Pickup Selector: 3-Way Toggle

The Vox AC15C1 Limited Edition Guitar Combo Amp, White Bronco

Key Features:

Limited Edition White Bronco Finish Offers a Sophisticated Look 15-Watt 1 x 12" Celestion Speaker Produces Powerful Tones Normal & Top-Boost Channels Provide Versatility Built-In Tremolo Lets You Sweeten Your Sound Extensive Controls for the Perfect Tone Shaping

Vox AC15C1 Limited Edition Guitar Combo Amp, White Bronco Overview:

The Vox AC15C1 Limited Edition Guitar Combo Amp features a sophisticated White Bronco colour that's offset by the classic diamond fret cloth. The AC15C1 offers a 15 watt output through a 12 inch Celestian speaker, and is equipped with a twin channel design which provides normal and top boost tone. Additional features include treble and bass controls, along with a gain and master volume to allow for warm overdrive at any level, and tremolo and spring reverb effects. With its vintage tone and appointments, it is the perfect addition for players who prefer both a classic look and sound.

Inspired by the custom colours of models made in the 60s, Vox have added a sophisticated sense of design to their amps with the White Bronco finish. The sleek, smart colour will add a feel of cleanliness to your performance, with its classic diamond grill cloth beautifully offsetting the vivid white hue. An Evolution in Tone

The Vox AC15C1 lets you dial in a classic sound that is all your own with its two channels: normal and top-boost. Each channel is equipped with its own volume control, and the top boost channel offers highly interactive treble and bass tone controls, a powerful channel pairing that provides an abundance of tone-crafting control.

Enjoy an additional degree of tone-shaping with the tone cut control that operates the power stage rather than the preamp stage. The master volume control works in conjunction with the individual volumes of each channel to create just the right degree of gain-staging. Both channels on the AC15C1 rely on the tone cut and volume controls in the master section. By balancing the individual and master volumes, the custom series can deliver everything from a clean VOX "chimey" sound to a powerful overdriven tone.

Sound in Motion:

The Vox classic tremolo effect lets you sweeten the sound of your custom series amplifier, allowing you to generate your perfect sound by adjusting the speed and depth. You can also add spaciousness to the sound thanks to the warm spring reverb. All custom series amps can use the VOX VFS2 footswitch, allowing you to turn the reverb and tremolo effects on and off as you continue to play.

Power Sharing:

The AC15C1 combo makes use of 3 x 12AX7 preamp tubes and uses pair of EL84 tubes to drive a single 12" Celestion speaker. All models in the custom series offer a switchable 8/16 ohm output jack for powering an external speaker cabinet when you need to speak with a little more authority; using this jack will mute the internal speakers. You can also create a fuller sound by running an extra 16 ohm cabinet along with the internal speakers with the AC15C1's second extension speaker jack.

Features:

Limited Edition model in a stylish White Bronco colour 15-Watts of valve power and tone Twin channel design provides normal and top boost tone Treble & Bass controls Gain and Master Volume allow for warm overdrive at any level Tremolo & spring Reverb effects External and extension speaker output jacks 1 x 12” Celestion G12M Greenback speaker Lightweight and portable Compact, Lightweight and Portable Retro Bakelite handle

Specifications:

Output Power: 15 Watts RMS into 16 Ohms Speaker: 1 x 12" 16 ohm Celestion G12M Greenback Inputs: Normal Input Jack, Top Boost Input Jack, Footswitch Jack Outputs: External Loudspeaker Jack, Extension Loudspeaker Jack Options: VFS2A Footswitch (Sold Separately) Colour: White Bronco

Dimensions:

Width: 602 mm (23.70") Depth: 265 mm (10.43") Height: 456 mm (17.95") Weight: 22 kg / 48.50 lbs.

Mondegreen Modulated Delay

The Mondegreen Delay is no longer in production, but many units exist out there in the world. For posterity, we present its details here.

The Old Blood Noise Endeavors Mondegreen was a digital delay hellbent on giving you something different than what you put in. It was delay. Into modulation. And it was weird.

A three-way toggle switch selected between three modes of modulated delay. STUTTER: A delay with a percussive tremolo on the trails. WHIRL: A modulated delay adding chorus on the wet signal. SHEER: A delay with increasing octaves on the repeats.

Perhaps it will still be strange enough in your hands. Perhaps we’re underestimating your adventurous nature. You sly dog. Precocious Pup. Get out of here. Go get weird.

Requires 9V DC center negative power with a mA draw of 110 The art of the Mondegreen comes from the illustrative ends of Jake Blanchard's mind.

Through miniaturizing the Longsword, the Dagger found its own voice. During this process we re-examined the quirks and unique rough edges of earlier Longsword versions. The V1 and V2 Longswords have less headroom, which let the EQ controls overload the output stage for a distinctively fuzzy sound. While not a traditional use case, we fell back in love with that sound and incorporated those design elements into the Dagger. In addition to being a great fit for smaller pedal boards, the Dagger also stands on its own as a unique drive pedal.

Volume: output volume, self explanatory

Drive: turn clockwise to increase the amount of overdrive

Low/High: James/Baxandall tone stack (shelving filters)

Shift (toggle): Adjusts the low frequency contour. Up produces a thicker sound, and down produces a tighter sound.

Electrical Specifications

Bypass: Relay switching with true bypass

Input impedance @ 1 Khz: 500kΩ

Output impedance @ 1 Khz: <25K (passive volume control)Power: 9-18V DC, 2.1 mm center negative barrel. The current draw is 50 mA.We recommend a regulated, isolated power supply rated for 100 mA minimum. The PSU input is protected against reverse polarity. The Dagger can be operated at 18V for more headroom and clarity.Changelog

V2 (current as of July 2021) – New mechanical format (updated enclosure, knob spacing, etc.) – Added soft-touch relay bypass switching – Added Shift toggle – More robust power supply and EMI filtering – Updated Low/High EQ points to match Longsword V4.5 update

“Dunkin” Dagger (April 2020 – Limited Edition) – Copyright-flouting artwork variant – NOS Germanium diodes made in Massachusetts

The GLASS PALACE by Holy Island Audio... Glass Palace is a glassy low to mid gain drive pedal (hence the name) that is suitably at home providing twinkly midwest-emo chime through to awkward and discordant noise rock.

It was initially designed as a love letter to the middle position of an aluminium necked Jazzmaster of mine, but of course it loves to play with a variety of guitars and tunings so I highly recommend experimenting with it in a few different set ups.

At the circuit’s heart lies one of my favourite preamp circuits of all time, the DOD Bifet Preamp. The original circuit was great for adding some secret sauce to your guitar sound and I have always kept one on my pedalboard in some form or another.

Glass Palace’s circuitry takes a step away from its source material as it’s been cross contaminated with Fuzz DNA. Two switchable flavours of transistor based fuzz circuits lie at its core, with those two respective circuits being both pushed and emphasised by the preamp circuitry.

This means that Glass Palace is capable of a plethora of drive sounds from clangy, cutting and loud to splatty and compressed percolator-esque fuzz.

The primary drive is paired with a boost running at a boosted voltage to provide a decent surge of volume to push your amp into saturation. This is placed after the primary drive and can be used independently or in conjunction with the primary drive circuit to provide a dynamic shift mid performance.

9V 'BOSS style' DC adaptor only. No Batteries.

The TIDES by Holy Island Audio Tides is fundamentally a highly tweak-able dirty reverb. A more accurate description of the pedal would be an atmosphere generator that allows you to craft perfect noisy waves of reverb. Usually you would be advised to place all dirt before your reverb pedal but Tides ignores this convention and is designed to add dirt after your dry signal has been blended with the wet signal. This approach enables you to create over the top fuzzy walls of sound sprinkled with interesting harmonics and sonic artefacts that would not be achieved otherwise.

The Primary BluesBreaker style drive is now permanently engaged and has been adjusted to provide a more balanced range of drive sounds as well as being better voiced to stack with other drive pedals.

The Secondary gainstage has moved from a toggle to a footswitch. This allows you to flip between two different levels of saturation for dynamic shifts mid song. This gainstage works by adding a reverse transistor fuzz after the volume control. This means it will behave differently depending on how hard it's being pushed by the Primary drive circuit. The Volume for this gainstage can be adjusted via an internal trimpot.

I've added a Voicing toggle that in the upward position keeps the original Tides V1 voicing and in the downward position engages a high frequency cut with a slight boost in saturation that lends itself perfectly to creating blown out fuzzy walls of sound.

Another big change to this second version of Tides is the Order Toggle. This swaps the position of the Primary drive in the signal chain. In the upwards position the Primary Drive is placed before the Reverb to act as a preamp for cleaner and less distorted sounds. In the downwards position the Primary Drive is placed after the Reverb circuit in the signal chain as it was in version 1 this gives a noisier, wilder character to the sound.

The momentary 'swell' foot-switch forces the pedal into self oscillation as the reverb signal is fed back into itself for wild washes of feedback as and when you desire and has now been moved to the center of the pedal and is slightly taller than the other two footswitches to make it easy to access without accidentally engaging/disengaging the other two footswitches.

The effects loop has stayed the same as the previous version. If you weren't aware, this allows you to place any effect (or chain of effects) that you can imagine onto your reverberated signal to further expand the ability for sonic exploration and the discovery of new, unconventional sounds.

The ultimate shoegazers wet dream. 9V 'BOSS style' DC adaptor only. No Batteries.

The TIDES V2 by Holy Island Audio Tides is fundamentally a highly tweak-able dirty reverb. A more accurate description of the pedal would be an atmosphere generator that allows you to craft perfect noisy waves of reverb. Usually you would be advised to place all dirt before your reverb pedal but Tides ignores this convention and is designed to add dirt after your dry signal has been blended with the wet signal. This approach enables you to create over the top fuzzy walls of sound sprinkled with interesting harmonics and sonic artefacts that would not be achieved otherwise.

This is the second iteration of the Tides circuit and I've made a few changes this time around, mostly to accommodate the requests I've had from customers as well as a few more subtle changes to the voicing of the circuit.

The Primary BluesBreaker style drive is now permanently engaged and has been adjusted to provide a more balanced range of drive sounds as well as being better voiced to stack with other drive pedals.

The Secondary gainstage has moved from a toggle to a footswitch. This allows you to flip between two different levels of saturation for dynamic shifts mid song. This gainstage works by adding a reverse transistor fuzz after the volume control. This means it will behave differently depending on how hard it's being pushed by the Primary drive circuit. The Volume for this gainstage can be adjusted via an internal trimpot.

I've added a Voicing toggle that in the upward position keeps the original Tides V1 voicing and in the downward position engages a high frequency cut with a slight boost in saturation that lends itself perfectly to creating blown out fuzzy walls of sound.

Another big change to this second version of Tides is the Order Toggle. This swaps the position of the Primary drive in the signal chain. In the upwards position the Primary Drive is placed before the Reverb to act as a preamp for cleaner and less distorted sounds. In the downwards position the Primary Drive is placed after the Reverb circuit in the signal chain as it was in version 1 this gives a noisier, wilder character to the sound.

The momentary 'swell' foot-switch forces the pedal into self oscillation as the reverb signal is fed back into itself for wild washes of feedback as and when you desire and has now been moved to the center of the pedal and is slightly taller than the other two footswitches to make it easy to access without accidentally engaging/disengaging the other two footswitches.

The effects loop has stayed the same as the previous version. If you weren't aware, this allows you to place any effect (or chain of effects) that you can imagine onto your reverberated signal to further expand the ability for sonic exploration and the discovery of new, unconventional sounds.

The ultimate shoegazers wet dream. 9V 'BOSS style' DC adaptor only. No Batteries.

The TIDES by Holy Island Audio Tides is fundamentally a highly tweak-able dirty reverb. A more accurate description of the pedal would be an atmosphere generator that allows you to craft perfect noisy waves of reverb. Usually you would be advised to place all dirt before your reverb pedal but Tides ignores this convention and is designed to add dirt after your dry signal has been blended with the wet signal. This approach enables you to create over the top fuzzy walls of sound sprinkled with interesting harmonics and sonic artefacts that would not be achieved otherwise.

The Primary BluesBreaker style drive is now permanently engaged and has been adjusted to provide a more balanced range of drive sounds as well as being better voiced to stack with other drive pedals.

The Secondary gainstage has moved from a toggle to a footswitch. This allows you to flip between two different levels of saturation for dynamic shifts mid song. This gainstage works by adding a reverse transistor fuzz after the volume control. This means it will behave differently depending on how hard it's being pushed by the Primary drive circuit. The Volume for this gainstage can be adjusted via an internal trimpot.

I've added a Voicing toggle that in the upward position keeps the original Tides V1 voicing and in the downward position engages a high frequency cut with a slight boost in saturation that lends itself perfectly to creating blown out fuzzy walls of sound.

Another big change to this second version of Tides is the Order Toggle. This swaps the position of the Primary drive in the signal chain. In the upwards position the Primary Drive is placed before the Reverb to act as a preamp for cleaner and less distorted sounds. In the downwards position the Primary Drive is placed after the Reverb circuit in the signal chain as it was in version 1 this gives a noisier, wilder character to the sound.

The momentary 'swell' foot-switch forces the pedal into self oscillation as the reverb signal is fed back into itself for wild washes of feedback as and when you desire and has now been moved to the center of the pedal and is slightly taller than the other two footswitches to make it easy to access without accidentally engaging/disengaging the other two footswitches.

The effects loop has stayed the same as the previous version. If you weren't aware, this allows you to place any effect (or chain of effects) that you can imagine onto your reverberated signal to further expand the ability for sonic exploration and the discovery of new, unconventional sounds.

The ultimate shoegazers wet dream. 9V 'BOSS style' DC adaptor only. No Batteries.

Transparent overdrive pedal

The Sick As by Bondi Effects is a Transparent Overdrive Pedal. The Bondi Effects Sick As Overdrive is a diversion from the well-worn path, taking its basic structure from the Klon Centaur® but with some major improvements for the modern player. The gain control serves a dual purpose— as the gain is increased, the ratio of gain-to-clean tone increases as well. This ensures that when the gain is rolled off, the tone never becomes muddy and unpleasant. You can control the amount of headroom and the character of the drive with the toggle switch. Choose from a more compressed, mid-range focused tone or an open, transparent, rhythm tone. The tone circuit is a powerful, two-band active EQ circuit capable of boosting or cutting the bass and treble frequencies up to 15dB for maximum versatility. The voltage is also boosted internally to 18V for increased clarity and headroom.

No.Tom Guitars are pleased to offer Bondi Effects as their exclusive London retailer.

Clean Boost, Overdrive or a blend of the two. Dynamic and natural, responsive to your pick attack or volume knob. Internally boosted to 18 volts for maximum headroom and clarity. Toggle switch controls the amount of headroom and character of the drive. Powerful active tonestack, capable of 15dB of boost or cut Soft touch true-bypass switching Current Consumption ~67mA

The DRV by 1981 Inventions is a highly nuanced preamp/distortion pedal designed in collaboration with Jon Ashley of Bondi Effects. Through four years of abandoned prototypes and circuit tweaking, I think that we have emerged with something really special here. I wanted the DRV to be an extension of myself and what I personally needed from a distortion pedal. It is vintage minded in sound and concept. I find that there is a wide variety of sounds that can be found from tweaking three highly interactive knobs, which is how I like to tweak when I am finding a sound.

Clear and harmonic-rich warmth with guitar specific midrange, which brings a lot of clarity to almost any instrument. I think I’m most proud of the lower gain sections of the pedal, where preamp meets distortion. The DRV has a unique dynamic range and sensitivity, where instead of going clean to slightly overdriven, it goes from clean to slightly distorted. I also love the thick and yet clear fuzz sounds that you’ll find in the high gain settings.

Built and wired in the USA. Vintage style through-hole components on the PCB. The DRV features off-board jacks and power enclosed in a uniquely subtle folded steel box. Each unit thus far is personally tested and hand numbered. Specifications Highlights Based on the vintage Whiteface RAT Co-lab with Jon Ashley of Bondi Effects Vintage style through-hole components on PCB Soft-touch switching Made in USA Bypass True bypass Power consumption 9V DC center negative (power supply sold separately) 58 mA Dimensions H: 5 cm (incl. knobs) W: 9,3 cm D: 11,1 cm Weight 518 g.

ANGEL TEETH £125.00

ANGEL TEETH

PLEASE BE AWARE THAT THIS IS A PREORDER AND PEDALS WON’T SHIP UNTIL APPROXIMATELY 1-2 MONTHS AFTER PURCHASE

Based on the classic DOD 250 circuit. The Angel Teeth takes that circuit and transforms it into an angry, clangy weirdo.

The idea for pedal was to have the option for traditional overdrive at the same time as having aggressive, chaotic and unique flavours of drive available at the flick of a switch. The Angel Teeth really earns its place on your pedalboard with its sheer versatility. I opted for a primarily switch based tweaking system as I find it a really satisfying way to manipulate the core tonality of a pedal.

It's tuned to work well with drop tuned guitars/bass and incorporates a switchable octave up + additional gain stage. This pedal will provide a simple clean boost, low gain settings have almost a broken tape machine like quality that can be pushed into thunderous overdrive as you crank that gain knob. The octave up sections gives you awkward glitchy velcro fuzz all the way through to blown out clangy explosive noise that will help you find some truly unique sounds that you can use to carve out your own individual sound and find a niche in an otherwise boring and repetitive landscape of Tubescreamer style drive pedals. This pedal stacks really nicely with other overdrives, especially running into a tube amp on the edge of breakup. This pedal will push your setup into new, crushingly heavy sonic territory and help you truly bear your ( Angel ) Teeth.

CONTROLS:

Volume: Master volume control

Gain: Controls the amount of opamp gain

I: Fuzz: Adds an additional gain-stage at the end of the circuit. Flip to your neck pickup and you'll really feel that full fat thickness take over.

II: Clipping switch: UP: LED + Germanium - Subtle compression, adds a sharp grit to the peaks of your signal. Can really emphasise an almost broken tape like quality at lower gain settings. MIDDLE: No diodes - Less compression, noticeably louder, strong and clear DOWN: Silicon - Slightly more compressed and saturated than the other modes.

III: Octave up: Adds a traditional 'Green Ringer' style octave up at the start of the circuit. With lower gain settings this can achieve awkward, clangy ring mod style sounds while cranking the gain with this switch engaged will give you monstrous, aggressive fuzz with a nod to octavia style distortion. Think Jimmy Hendrix playing Sleep riffs.

9V 'BOSS style' DC adaptor only. No Batteries.

Amp smashing fuzz-stortion with gating and EQ options

The Dunsh by Champion Leccy is an Amp Smashing Fuzz-stortion with gating and EQ-Options.

I’m currently experiencing issues with my back/hip/leg. I will need to focus on my health for the next few months. Please expect delays on shipping. Up to a couple of weeks in some cases. I will get orders out as quickly as I am able. Many apologies for the inconvenience and thank you for your patience!

Finish: Yellow, Grey (limited run), Sherbet pink, BLEM (yellow)

The Arborist V2 by Spruce Effects is a Discrete Transistor Overdrive

The Arborist was born as the silicon side of the former Giganteum Drive, offering excellent discrete transistor tones to color your sound and provide an awesome base for light drive and gain stacking.

For The Arborist V2, we went back to the drawing board and implemented a lot of feedback we got from you all! The second version retains the original tones of V1 at certain settings, but has way more variety and flexibility. We've expanded the tone stack to include independent passive treble and bass controls and we've added a versatile 3-way voicing switch with 3 distinct modes: smooth, dynamic, and comp. They are based on a unique germanium feedback/diode clipping arrangement and are balanced enough to switch on the fly, but unique enough to allow for extremely fine tuning by interacting with the other controls.

Features/Improvements:

Switchcraft Jacks High quality Taiway toggle Premium Gorva true bypass footswitch Enclosure printed and milled in the USA Hand wired and assembled in California Standard negative ground power Improved noise floor Improved RF filtering Various small circuit stability improvements More stable biasing Added low-pass filter on output to reduce harsh highs

Controls:

Top-mounted jacks, input on right, output on left True-bypass stomp switch is on/off, indicated by LED "Volume" controls the amount of output (a lot) "Gain" controls the gain of the dual transistor stages for tube-amp like overdrive at reasonable volumes "Treble" and "Bass" controls work very similarly to the famous Fender Bassman 5f6A tone stack. They are very interactive and allow for fine tuning of highs and lows in the different voicing positions 3-way voicing toggle to change clipping characteristics

Power:

We always recommend isolated power supplies. If you daisy chain effects on one supply or use a low-quality product, you may inject noise, ripple, ground loop hum, etc. This effect requires 9v, center negative power. In other words, the industry standard power supply. Current draw: 2.6mA

The Arborist was born as the silicon side of the former Giganteum Drive, offering excellent discrete transistor tones in the same package as our Germanium boost. We've repackaged the circuit in a familiar top-mount jack and slim enclosure for more pedalboard friendly use. The Arborist is a perfectly balanced medium gain drive pedal that is mostly happy pushing your tube amp into sweet overdrive or as a tone shaping tool in drive stacking. You can dial the gain all the way back and use the loads of gain on tap with the volume control to annihilate the front end of your amp. Dial the volume back and turn the gain control up to get that sweet, sweet transistor overdrive. The tone control is wired in classic Spruce Effects fashion, with thin and trebly CCW, and beefy and low-end heavy on the CW side. Use the fat toggle to add low-mids in to perfectly match your guitar and amp needs.

Switchcraft Jacks True Bypass Enclosure printed and drilled in the USA Hand wired and assembled in California Standard negative ground power

Controls: Top-mounted jacks, input on right, output on left True-bypass stomp switch is on/off, indicated by LED "Volume" controls the amount of output (a lot) "Gain" controls the gain of the dual transistor stages for tube-amp like overdrive at reasonable volumes "Tone" is a low-pass filter The "fat" toggle switch adds low-mids back in for even more beef when you need it

A beautifully built, ferocious-to-freakish fuzz. One welcome development of the stompbox’s new golden age is that some pedal designers are looking beyond guitar effect conventions, probing music’s outer limits to imagine new ways to twist sound. One interesting subset of the freak pedal cabal is the designers who can get weird while delivering on the fundamentals. The Spacemen Sputnik embodies this ideal.

The Sputnik is one the most satisfying and sonically striking germanium fuzzes I’ve heard in a while—growling, mean, harmonically complex, and screaming-hot. It’s also one of the more perverse, capable of metamorphosing from an strutting fuzz panther to a twitching mutant insect at the flick of switch. Between those extremes lies a goldmine of fuzz sounds that will engage knob tweakers, studio tone voyagers, and fuzz surgeons for months.

The Russian Program: The innards of the Sputnik, like those of every Spaceman pedal we've seen, are a feast for circuit board fetishists. Components are incredibly well ordered, immaculately assembled, and covered in cool little details like stars, Sputnik satellite representations, Roman numeral dating, and Cyrillic inscriptions. Outside, the Sputnik uses the ’60s aerospace design motifs and construction standards seen elsewhere in the Spaceman line. These not only look cool, but also provide useful level markers, smooth knobs, and rugged switches. The cryptic function names sound like they’re from a Cold War sonar unit: “signal” for volume, “range” for gain, “calibrate” for tone. And that just sets you up for the chaos that ensues when using the “drift/sync,” “filter,” and “scan” controls. Retro Rocket, Ripping Tones The Sputnik is both boss and bizarre. As long you keep your hands off that sync/drift switch, it’s easy to summon colorful and wide-ranging tones. The fuzz sounds are harmonically opulent, even silky at times. But they can also grind, with a vocal-like presence in the upper mids and highs. It’s a hot, loud fuzz, yet not too dirty or “gainy.” With signal (volume) at two o’clock, the level can match that of most loud fuzzes. Beyond that, the Sputnik exhibits almost amp-like characteristics, becoming more compressed rather than louder. Still, if you can’t cut through your band’s mix with this thing, you’re gonna need a bigger amp.

The Sending Firmware version 2 will be available on November 19, 2024!

Sending is an analog delay that melds the archaic voice of bucket brigade devices with a fully modern toolbox of digital control. It embraces the character and idiosyncrasies of the medium while delivering high quality sound and performance-friendly features worthy of the modern musician.

Using two MN3005 BBDs and comprehensive analog processing techniques, Sending can delay a sound up to a full second without clock noise, and it can be pushed to even longer times for compelling sonic degradation. At the input is a discrete preamplifier capable of subtle enhancement or warm saturation that melds perfectly with the delay line. A dual-mode feedback filter shapes the repeats into deep pulses or dub-style bright echoes. Its flexible LFO engine can modulate the delay time to create gentle movement or musical chaos. Conducting this analog ensemble is a 32-bit, 100MHz processor granting deep user control, preset functionality, and MIDI access to every parameter.

Sending is our love letter to the antiquated yet enduring technology of analog delay. As you explore its many shades of interplay between past and future, we hope you find it as immersive as we do.

Controls

Each knob has a primary and secondary function. Access secondary functions by pressing Shift once. Press again to return the panel to normal.

Time: delay time from <5ms to 1 second

Div: tempo divisions

Color: adjusts preamp gain while keeping level consistent

Trim: adjust volume up/down by 6dB

Mix: wet/dry blend

Mix Mode: Sets Mix knob as a crossfader between wet/dry or as a delay level control only

Feedback: sets the number of repeats, from one repeat to self-oscillation

Swell time: adjusts speed of feedback swell when Tap is held

Filter: cut lows or highs in the delay line

Rate: LFO rate

Chaos: LFO randomization

Depth: LFO intensity

Shape: Set LFO waveform

Preset Select Buttons (I, II, III): long press to save a preset, short press to recall

Engage Footswitch: turn effect on/off. Long press to change the bypass mode.

Tap Footswitch: tap four times to set the delay time as a running average. Hold to enter Feedback Swell mode.

• A unique discrete preamplifier for subtle enhancement or full-range saturation that is automatically balanced for optimal output levels at all settings.

• Trails bypass mode that allows the preamp to be used as an always-on drive.

• Dual-mode Filter control that changes the tone of the delay repeats.

• Advanced analog filtering for low noise and high bandwidth on the delay line.

• Comprehensive digital control of every function using a powerful 32-bit processor system that seamlessly integrates with the analog signal path.

• Tap tempo with subdivisions and a hold mode for feedback swells.

• Delay time LFO engine with sine, square, and triangle waves plus a unique Chaos function that modulates the delay time using a truly random Lorenz attractor.

• Insert loop to apply external effects to delay repeats within the feedback path.

• Save and recall up to 32 presets: 3 via the front panel, the rest via MIDI.

• CV/Expression input that can be mapped to one or multiple controls.

• TRS MIDI input for control changes, preset selection, and clocking.

• Web-enabled firmware updates via the MIDI jack.

Specs:

Bypass switching: Electronic bypass with buffered or Trails modes. Trails mode passes signal through the preamplifier.

Input impedance @ 1kHz: 1MΩ

Output impedance @ 1kHz: <1KΩ

Power: 9VDC, 2.1mm center negative barrel. Current draw is 350-380mA depending on the Time setting.

We recommend a regulated, isolated power supply rated for 400 mA minimum. The DC input is protected against reverse polarity and over-voltage up to 24V. Our pedals do not accept batteries.

All Electronic Audio Experiments pedals come with a warranty tied to the original owner.

Version 2 (July 2023)

Complete circuit overhaul. Consider this the new starting point.

Version 1 (Summer 2018)

Original release; only 55 units built.

In many ways, this is a completely different product. For info please visit the legacy product page.

V2 (November 2024) Note: new units are shipped with v2 beginning with Serial Number #508. For a fully detailed changelog, refer to the Technical Manual.

Revamped LFO engine w/ improved tapering, more natural V/Oct pitch movement, continuously variable Shape, clock sync mode, and arpeggio easter egg mode

Modulation Matrix

CV clocking mode

Major updates to Swell mode: adjustable feedback, increased range of swell time, momentary activation in Trails mode, new Hold mode

Improved clock accuracy

Quality of life improvements including reduced LED brightness, parameter resets, and more

Bug fixes:

Reduced feedback in trails mode to eliminate bleed

Fixed PC message behavior for preset loads. Now, sending a message twice reloads the preset instead of exiting to the live panel state.

Fixed a bug that prevents the bypass state from not saving correctly

Fixed a bug that resulted in occasional missed button presses.

V1 (July 2023)

Original release

The Harmonious Monk MKII by Jam Pedals

Collaboration between That Pedal Show and JAM Pedals Vintage inspired tremolos all the way to otherworldly staccato choppiness Three selectable LED’s for varying modulation and intensity Tap & Ramp mode Legacy mode Internal trimmers for personalisation All metal enclosure Hand built and wired Wide ranging and flexible controls Hand painted artwork LED power indicator on and off All analogue True bypass Side mounted jack sockets Limited lifetime warranty Description

What's New:

TAP tempo Ramp function: holding the TAP switch will ramp to a second speed. You can determine the second speed, as well as the rate of the ramp between the two tremolo speeds. There is a second mode of operation called the Legacy mode which retains and expands on the mk.1’s functionality since now you can choose to have x2 (double) or x1.5 (dotted eighth) speed multiplying options! New LFO waveform added: Reverse Sawtooth CHOP (kill dry) function In addition to the MKI's 3 internal EQ trimmers, the MKII features a new internal trimmer to adjust input gain control to optimise JAM Pedals Harmonious Monk MKII for use with guitar, bass, keys, or anything else you might want to throw at it! You can now specify the startup state of the MKII, to ON or OFF upon receiving power!

Dan here, Mick here – hello!

Our love for harmonic tremolo and amplitude tremolo deepens ever further with the JAM Pedals Harmonious Monk MKII. Building on JAM Pedals’ award winning collaboration with That Pedal Show, the JAM Pedals Harmonious Monk MKII retains the original’s all analogue circuitry and modern classic tone and adds features to make it even more useful and functional on guitar, keys and anything else!

The headline new feature of the JAM Pedals Harmonious MKII is Tap & Ramp mode. You can now tap the time of your tremolo using the second switch, but a longer press will ramp to a second speed that can be set anywhere you like. You can also set the rate of the ramp between the two tremolo speeds.

There are now three selectable LFOs (instead of two) providing varying shapes of modulation in both Harmonic and Amplitude modes: sine wave, square wave and reverse sawtooth. That means you can dial in everything from subtle, vintage inspired tremolos all the way to otherworldly staccato choppiness!

The JAM Pedals Harmonious Monk MKII also has a Legacy mode, so everything you know about the JAM Pedals Harmonious Monk MKI can remain intact if you prefer it that way, with an additional option on the rate of the second, preset speed.

Depth and mix controls enable you to set the effect intensity to sit perfectly in your tone, and should you wish to tweak further, there are internal trimmers for bass, midrange and treble EQ on the effected signal.

JAM Pedals have added an input gain control to optimise the JAM Pedals Harmonious Monk MKII in environments other than a traditional guitar rig. The JAM Pedals Harmonious Monk MKI remains a truly awesome and inspiring tool. Harmonious Monk MKII spreads some features icing on an already incredible sonic cake! Operation Selection

The JAM Pedals Harmonious Monk MKII comes with the Tap & Ramp mode preselected. To switch between the Tap & Ramp and Legacy modes, keep both footswitches pressed until the LEDs blink, indicating mode change.

RAMPING FEATURE: Only available while in the Tap & Ramp mode. A prolonged press of the TAP footswitch will engage ramping from the original to the fixed user selectable speed.

To determine the fixed user selectable speed, while keeping the TAP footswitch pressed, adjust the Speed potentiometer to taste. Make sure to return the Speed to the original position after releasing the TAP footswitch.

To determine how long it takes to travel from the original speed to the fixed user selectable speed, while keeping the TAP footswitch pressed, adjust the Depth potentiometer to taste. Make sure to return the Depth to the original position after releasing the TAP footswitch. Speed Multiplying Feature

Only available while in the Legacy mode. An instantaneous press of the TAP footswitch will engage and disengage the speed multiplying function. There are two available factors: x 2 and x 1.5 (dotted feel).

To change the multiplication factor, keep the TAP footswitch pressed until you see 2 TAP LED blinks for the x 2 factor or 3 TAP LED blinks for the x 1.5 factor.

CHOP FEATURE: While in the Amplitude mode and with the Square LFO selected, you can activate the CHOP effect (kill dry) which effectively alternates between sound and complete silence. While in the aforementioned settings, simply turn the Depth potentiometer all the way up (to the right) for the CHOP effect to kick in.

INTERNAL TRIMMERS:

TOP ROW of 3: LEFT: Treble EQ, MIDDLE: Midrange EQ, RIGHT: Bass EQ controls only for wet (effected) sound

LOWEST TRIMMER: Adjusts the input gain of the pedal’s wet path - this will affect the wet signal’s output level Click Here To View JAM Pedals Harmonious Monk MKII Product Manual Controls

KNOBS:

D = Depth of tremolo effect S = Speed (rate) of tremolo modulation L = Master volume Level M = Mix between dry and effected signal

TOGGLE SWITCHES:

Top 2 way toggle switch: Top position for Harmonic, bottom position for Amplitude tremolo modes Lower 3 way toggle switch: Top position for Square, middle position for Sine, bottom position for Reverse Sawtooth LFO shapes

FOOTSWITCHES:

LEFT: Turns the pedal ON / OFF RIGHT: TAP TEMPO / SPEED X

Component Listing and Tech Spec:

High quality components throughout 9V centre negative power Internal trimmer for adjusting the input gain Current consumption (max) 145 mA Battery: no

Enclosure Dimensions:

Length: 120 mm / 4.7 in Width: 75 mm / 2.9 in Height: 56 mm / 2.2 in Weight: 300g

FX Pedal Planet Limited and FX Pedal Planet Online Store are proud to be UK dealers for JAM Pedals effects pedals. If we do not have the JAM Pedals effects pedal required, please message us via the contacts page and we will do our best to get the product that you want at the very best price and service.

The first dedicated filter pedal for the guitar, the LF7's voltage controlled analog high and low pass filters allow you to emulate transistor radio and megaphone type sounds. Best used at the end of a signal chain in combination with other pedals, this ticking time bomb creates wide soundscapes of far out tones that previously required a massive rack of analog electronics.The Lo Fi also performs equally well with vocals, drum machines or in any "mix-down" context. Drive Controls the amount of distortion. Distortion will increase when the knob is turned to the right. Lo Cut Frequency Sets the frequency at which the low range will be cut (80Hz - 1kHz). Turning the knob to the right will raise the cutoff frequency, simulating the sound of a small speaker. Hi Cut Frequency Sets the frequency at which the high range will be cut (1kHz - 10kHz). Turning the knob to the left will lower the cutoff frequency, producing a muffled sound. Level Controls the overall volume of the pedal. Volume is increased when turned to the right and decreased when turned to the left. Mode Switch the type of sound and input.

GUITAR: Warm sound suitable for guitar DRUMS: Sound suitable for a music source such as drum machine or CD MIC : The input will be boosted so that a mic can be connected directly. The boost will occur even when the effect is off.

The Arigato™ by Caroline. A phaser even for people who don't normally like phasers, Arigato™ delivers incredible modulation, range, and warmth.

ARIGATO neither seeks to recapture the sounds of the past, nor to be state of the art. It is a snapshot of a future we were promised as children. It is our way of saying thank you to customers who for years asked us for a phaser. (Really? A phaser???)

While capable of the airy psychedelia of classic units, this one is meant to rumble, wobble, shake, rattle, and roar. It is also capable of going fully wet for interesting vibrato sounds, max feedback for auto-wah sweeps, and a wide range of responsive shades throughout each control as they interact with the others.

We’re pretty excited about this release; the first pedal Philippe ever owned was a phaser, our team is a bunch of phase shifting nuts, and releasing this feels like coming home.

For those of you who didn't think you'd like a chorus, but fell in love with our Somersault™ pedal - we think you're going to really love this thing too. While we love classic one-knob units and their ALL CAPS WHOOSH approach to phasing, there's a world of subtle shading and different movement to be explored, and Arigato is here for it.

Additional information: Weight: 24 oz Dimensions: 2 × 6 × 4 in COLORWAY : PEACH, BLACK&WHITE

Beam Splitter takes one signal and makes three copies of it, each with differing overdrive voices and delay times. It is specifically our way of creating a huge sound out of a regular one. Output can be kept in parallel mono or split individually to three places. While the goal is singular bigness, you can also find strange filters, flangers, lo-fi vibratos, and trailing slap-back echoes using the delay controls and blending everything to taste.

Controls include:

Gain, Volume, and Tone to shape the amount of distortion, overall volume, and brightness of each drive section Time to introduce delays up to 125mS on the green and blue sections Decay to add intense filtering or trailing delays, depending on Time Deviate to randomly vary the delay time, giving a more natural feel and chorus effect Top jacks for summed parallel mono output or split output for each drive Expression jack to externally control Deviate knob Soft-touch bypass footswitch for true bypass and minimal switch noise

Requires 9V DC center negative 2.1mm jack power supply capable of 150mA (not included). The art of Beam Splitter is by Dustin Charles.