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Dynamic hand microphone with push-to-talk switch for paging. Features a molded Cycolac housing in pebble-grain black finish and an unterminated black neoprene coil cord relieved at the housing by spring-type strain relief.

In 1999, Roland introduced a lower priced RD model, the RD-100. This affordable, 88-note, Hammer Action keyboard still featured nine amazing RD quality sounds with split and layer options, but did not include additional features like the separate MIDI TX section.

The Weaver from Fieldtone is a handheld single knob audio sampler. With exploration, randomisation and chance at its core, the Weaver takes any sound and immediately produces rhythmical loops and evolving textures.

There is no undo switch, there is no going back. The only other control is the ability to switch between a textural or rhythmic output. Sample time is fixed at two seconds. The amount of rhythms, loops and possible outcomes of that two seconds is infinite - every time you move the knob the parameters are randomised and a new loop presents itself.

Sounds can be captured by either the built in microphone or the 3.5mm line input.

In Rhythm mode the Weaver can be externally synced as a slave device via control voltage clock. The Weaver is looking for a sync CV of +5v supplied via 3.5mm jack (standard modular patch cable).

The Weaver outputs as stereo, with plenty of spatial movement in its character. The 3.5mm jack output is able to supply headphones directly for portability as well as plugged into line level inputs.

The device is powered by 9v centre negative (standard boss pedal style) DC power supply (not included) or by a 9v battery for use in the field. An alkaline battery will give around 2.5 hours of continuous usage, a rechargeable lithium-ion battery 3-4 hours. Please use rechargeable batteries where possible.

Available in Forest Green and Dusty Pink

The Time Box

The utility pedal you didn't know you needed until now. Remember all those gigs and the a-hole stage manager or sound tech is yelling at you because you are running out of time or need to get off the stage. Think of all the times when you wanted to know the time but couldn't pull out your phone or look at a watch well shredding. Now you can keep track and time sets, songs, entire gigs, and recording sessions all from your pedalboard. Green LEDs are best for live and stage performing. Red LEDs are best for home use or studio.

12/24 clock mode Stopwatch mode Internal clock memory(coin battery cr2032) Green or Red LED display options 1590BB size (4.67" x 3.68" x 1.18" (119 mm x 93 mm x 30 mm) Natural stainless steel finish
Uses standard 9-volt center-neg power (not included) minimum 120 mA

Our flagship Apollo x16 gives professional studios and music producers the same iconic analog tones heard on your favorite records. With 16 channels of elite-class A/D and D/A conversion — featuring the widest dynamic range of any integrated audio interface on the market — Apollo x16 seamlessly connects to your outboard analog gear or mixing console, giving your studio the perfect centerpiece in a sleek rackmount Thunderbolt 3 audio interface.

The Sebatron Valve Microphone Preamplifier has been designed to bring back that Classic tone to digital recording and multitracking. The Sebatron VMP series (Valve Microphone Preamplifier) is available in two channel (with or without VU) and four channel formats ... the vmp-2000e , vmp-2000eVU and vmp-4000e.All circuitry is High Voltage Discrete Class A for optimal headroom, wide audio bandwidth and maximum transient response. The valve Anode Voltage is approximately +300VDC. Microphone inputs are transformer coupled for an organic 'pleasant to the ear' flavour and all signal gain is provided by the valves..Direct Inputs are available for Bass, Guitar, Keyboards and running line level signals through etc.The two-band switched Passive Equalization network and variable colour control via the Pad switches allow the user to carefully sculpt the signals when dealing with the clinical and lifeless quality of Digital (or otherwise ) recordings.Such is the organic quality and musical colouration of the VMP series circuit that they are often used to run stems (sub mixes) or full mixes through to obtain that characteristic 'Analog glue' that Digital recording systems simply cannot produce.Sebatron preamplifiers are being used everyday by Professional hi end audio studios all around the world.

The CA-286 preamp module is a tribute to the classic 1950’s and 60’s European two-stage amplifier made popular by Telefunken™, Langevin™, Collins™, and Gates™. The CA-286 excels in high fidelity recording applications providing the rich, detailed midrange often associated with vintage EF86 tube based preamps.

The CA-286 PS6 preamp module uses our own Coil Audio transformers, high quality capacitors, resistors, and NOS octal tubes and is powered by our PS6 Rack Tray and Power Supply.

$1,899.00

Modular Microphone/Line Tube Amplifier The CA-70 preamplifier module pays homage to the classic American two-stage circuit invented by Western Electric™ in 1913 and manufactured by multiple companys from the 1930's through the 1950's – most notably RCA™, Gates™, and Langevin™. This old octal tube circuit has a huge thick tone and is what many consider to be the quintessential “old tube preamp” sound.

The CA-70 PS6 preamp module uses our own Coil Audio transformers, high quality capacitors, resistors, and NOS octal tubes. It's powered by our PS6 Rack Tray and Power Supply.

$1,899.00

The Controls The (INPUT) pad section contains a phase reverse switch, and a 6 position pad network. The first four positions are various 150/250 ohm mic pads; -6db, -12db, and -19db. The final two (LN 1 & LN 2) positions allow line-level signal to run through the amplifier providing tone-shaping capabilities while mixing from your DAW, Tape Machine, or other Line Level Devices – including other Preamps.

The (NF) control varies the amount of negative feedback present in the circuit. Counter-clockwise brightens and moves the sound forward while raising harmonics and sensitivity. Clockwise increases negative feedback, producing a darker tone with a smooth, dampened harmonic structure.

The (HIGH) switch transitions from the natural openness of the tubes to a gentle filtering of upper frequencies.

The (LOW) switch reacts with the NF, boosting or cutting low frequency while moving the low end from front to back in the sound stage.

The (OUTPUT) control is placed between the 1st stage 6J7 and 2nd stage 6C5 tubes and sets the final level Output level.

The Big Balls is my submission for a personally tailored Big Muff circuit. These started as a request from a customer for a vintage muff sound, but in a unit that could handle some extra low end without completely fritzing out. And so enters the Big Balls. The tonal appointments follow one of my favorite instances of the “Ram’s Head” era muffs from the mid 1970’s. Many may know that there’s never been one true circuit for this era, as they varied quite a bit from unit to unit, but this follows my personal holy grail variation. The mids are pretty scooped, and the tone is large and dark. With that i’ve used a slightly lower gain setup, similar to the Russian made muffs of the 1990s, which adds a fat bottom end and holds back the raspiness and grit leaving a smooth, soaring sustain.

Main Drag Music had this to say about it:

This pedal is essentially a lower gain Ram’s Head Muff. What you’re getting out of it is the ability to push the volume and gain and drive your amp harder, without the danger of having your sound collapse on itself – a problem that a lot of players have with modern day muffs. Don’t let the “lower gain” throw you off. There’s plenty of big on this muff.

These guys do double duty nailing the Gilmour solo tone from the late 70’s (Animals, The Wall) and hang equally well with the Dinosaur Jr sound, all while retaining that big low end. The same all-handmade Balls quality is represented here as it is in all of my pedals.

The Balls Ambassador is the newest edition to our little fuzz family. This one started, like so many thing, by following a classic fuzz circuit and tweaking to taste. The sound is rich and saturated and aims to provide that singing chewy fuzz that we all know and love. Cleans up great just by tweaking the volume level on your guitar. The level of fuzz has been set high, and the Range control allows to for user-defined tonal variations. Set it all the way up and its the full deal bright and fizzy fuzz. Roll it back as needed to tame out some of the highs and bring in the low end. Its a subtle control, nothing huge, but it lets you trim the unit quite well to your application.

The transistors on board are a pair of BC107B silicon devices. These units are pedalboard friendly in size, use standard 9V power supplies, and feature an on/off LED. This follows my usual blend of an old-school approach with modern technological equivalents to get the sound right and the jo

Ampster The world of music has changed and the world of guitar playing has changed along with it. It is becoming normal to not see the full guitar rigs of the 70’s 80’s and 90’s, and just see guitar players with minimal systems to achieve their signature sounds.

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Introducing the Carl Martin Ampster…. from the company that has shone the single analog light down that deep digital tunnel. The Ampster, a single tube driven amp/speaker simulator that can either supplement your amp, or replace it. A fully analog unit with controls that are the same as your amplifier with the addition of a mute switch, a speaker selection switch and a voicing switch. What’s more important, the Ampster reacts to your playing in the same way your full size amp does, giving you the same organic feel with zero latency!

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The Ampster is housed in a solid metal box with the standard EQ (Bass Middle Treble), pre and post volume/gain controls (Master & Gain) plus a Presence Control. There is a Mute Switch for obvious reasons and a Cabinet Switch with an LED Indicator light ( Red for a 2x12 Open Backed Cab, and Green for a 4x12 Closed Back Cab).

On the back of the pedal you will find a Ground Lift and a Voicing Switch (a subtle low end cap controlled voicing adjustment). Input, Link (output to your amp) Balanced DI (XLR output to go to a mixing or recording console), a Send and Return for those specific effects that shouldn’t be in front of the amp, a Remote Input (cabinet sim) for use with digital or analog effect controllers like the Carl Martin Octaswitch ‘The Strip’, and your standard 9v 1A power input. It couldn’t be simpler!

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Plug your guitar straight in, or plug your pedal board into the input jack, choose your output, and open your ears to a surprisingly big round clean sound. By adjusting the Gain, you can get a hint of that decidedly British Overdrive sound for which Carl Martin has become so well known, depending of course on the guitar and pickup configuartion. Our test players have fallen in love, telling us the Ampster reacts just like their standard amps, organic and responsive to your playing style or attack. In fact, the Ampster sounds just like a full size amp, but it fits on your pedalboard. Take a look at the videos…we are certain you will want to take the Ampster for a test drive!

COLOSSUS! BY RUBEN BLOCK and DR. NO. A TWIN PEDAL WITH A HIGH GAIN GRITTY BOOSTER AND A OCTAVIA. NOW AVAILABLE, FULLY HANDMADE, NUMBERED & HANDSIGNED. “Ladies and gentlemen! Finally! He’s here! The COLOSSUS guitar and bass pedal!

The amazing Dr No isn’t just your average pedal-pusher. He’s a very creative individual who makes something unique, with personality and attitude and already worked with some amazing players to show for his tallent and craftsmanship in the field. A long time ago we started talking about trying to create a tailor-made, limited edition guitar pedal. Something that would work with- or deliberately against what was already cooking on my 9-volt-infused-power-plant.

Over the past two years he started making prototypes, we went back and forth between his laboratory and my little noise-shack. Eventually decided what part of the electrified-animal-kingdom this new creature was going to live in. A two-faced OCTAVIA FUZZ combined with a GRITTY BOOSTER was born, to be used separately or all together. We started test-driving, back and forth, changing, rearranging, taking it out on the road and eventually to Santa Monica where it ended up all over our new album COLOSSUS on both guitar and bass. I’ve been using the prototype for the last two years and I’m very happy to have the amazing final version (with handmade brass knobs!!), on my board today! Thanks Doc! I had so much fun providing input and working on this together!

Beware, this is no subtle piece of machinery!

Ruben Block”

The Colossus is a High Gain Booster with the character of a gritty Fuzz, like we know of Ruben Block’s famous guitar tone. Together with this High Gain Booster, the COLOSSUS has an Octavia Fuzz built-in that can operate together but also independently from the Booster. There are many possibilities with the COLOSSUS. For example, the Booster has a fine to be adjusted Volume, Tone, Bass and Gain knobs. The Octavia Fuzz has a Octavia Fuzz Volume on the right-hand side and a two-position Gain switch.

The COLOSSUS was developed in close cooperation with Ruben Block to broaden its famous and signature sound, that is now also available for the heavy minded Boutique Guitar Effects lovers.

The COLOSSUS has been used and can also be heard on Triggerfinger’s latest album with the same titled, COLOSSUS.

The Buttons are handmade by an American fine metal worker, who put a lot of effort and time into manufacturing these beautiful solid brass buttons, resulting in these million dollar looking knobs. These are a custom made series only available with the COLOSSUS.

The COLOSSUS Housing has a rustic rust powder coating that is hand-screen printed with a custom made four-color design in the Art Deco style.

The COLOSSUS is a limited edition, hand-crafted individually from A to Z, but also hand-signed but and numbered.

The MOON CANYON Limited “Blood Moon” edition is a special limited series within the limited edition of the separate listed MOON CANYON’s of only 50 builds of the MOON CANYON as known as the “Blood Moon” serie. It has a sparkle dark blue coating, a Blood Moon moon cycle light (Red) on a gold leaf background and four blue led foodswitches compaired to the Original MOON CANYON. A Collaboration with Sarah Lipstate (Noveller)

#What kind of effect(s) is/are the MOON CANYON.

The MOON CANYON houses three different guitar effects in the following order of chain, Overdive, Reverb and Delay. It makes it a multi effect. An fx-loop, (not to be mistaken by a recording looper), is added and made to use and put other effects in between the Overdive and the Reverb & Delay that you can switch on and off. Most guitar Effects users prefer to have their Reverb and Delays at the end of the fx chain to get the best out of these fx, one of the reasons that one is added here too, as I can imagine that you probably like to add Effects to your pedalboard.

-The Overdrive is the first in chain. It is an overdrive that is very transparent and extremely suitable for a dynamic playing style but also very complimentary on the Reverb and Delay. The Overdrive has a mini toggle switch on top of the effect to add more low ends. Dail functions are, Volume, Tone and Drive.

-Second is the Effects-Loop. You can redirect the signal into the loop chain you prefer and put together, and still keep the Reverb and Delay at the end of your chain. If you switch OFF the FX-loop by using the FX-Loop footswitch on the pedal, not using another in between added Effects chain, you bypass it. If you connect the Loop In with the Loop Out by using a patch cable, the signal bypasses without the use of a looped fx chain. If you leave out a FX-chain or a patch cable in between the Loop In & Loop Out, your FX-loop footswitch will function as a mute. The FX-Loop has no part in the moon light like the Overdrive, Reverb and Delay do light up 1/3 of the moon, only the switch ring of the FX-Loop will light up red when engaged.

-3rd is the Reverb.

This is a single knob Digital Reverb based on a high quality Belton Reverb brick with a “Long” Reverb. The BIGGEST sounding Reverb simulation in the range of Belton bricks. With the use of a nice amplifier or multiple amps this Reverb can sound like playing in a Cathedral. Just turn up or down the potentiometer to add more or less Reverb.

-Last but not least the Delay.

This is a Digital Delay but with analog sounding characteristics. The Delay has three Knobs. Mix, to mix in the amount of present Delay to your signal. Time, the tempo of your delay. Repeats the feedback. When you turn the repeats to max or you turn it while a signal runs through, you can create a killer oscillation. Have it turned above 2 o-clock and turn the Time while a signal runs through, you may find yourself in oscillation heaven.

At the end you have two mono outputs to play with. Use two amps like Noveller is using or run one to an amp and another to a new chain of effects and then to a amp. Just a simple cool extra.

A glorious all analog monophonic guitar Synthesizer with Filter, Sample and Hold and Analog Chorus.

The Synthotron is an incredibly unique pedal.

The term "unique" seems to get overused a lot in the world of pedals..... but the Synthotron III does things to your guitar sound that no other pedal can do.

From the sublime to the ridiculous. So many sounds. So many options. So much fun.

SYNTHESIZER SECTION

• 4 independent all analog voices with pitch and octave settings across them, determined by the top toggle switch on each of the four channels.
• Voice One toggle - Pitch 1 -(Yellow strip)= Unison, 1 octave up, 2 octaves up
• Voice Two Toggle - 8ve - (Orange strip) = References whichever note is being generated by Voice one and the generates either: 1 octave below, 2 octaves below or 3 octaves below
• Voice Three Toggle -Pitch 2 (Red strip) References note generated by Voice one and generates either: 1 octave below, p4 or p5 below, ma 2 or mi6 below

• Voice Four Toggle - 8ve - (Dark Red strip) = References whichever note is being generated by Voice three and the generates either: 1 octave below, 2 octaves below or 3 octaves below

• Decay and infinite sustain options - you can set each voice independently to have an incredible crisp, staccato feel, or a gentle decay (You can set the duration of the decay independently on each channel) or set it to an infinite sustain - where the synth will lock onto the note you’re playing and will only change pitch when you change the note on your guitar.

• Flux dial controls the “spring” or glissando between notes.

• Flux Toggle - right position engages the flux option. Left position disengages. Left position enables a staccato option with great tracking.

• Seperate Dry level control.

• External Dry out (so you can split the Synthotron III between two amps - one carrying clean signal, the other carrying synth.

• External CV in.

• External Trigger in.

FILTER SECTION

• Select between - Sample Hold Mode, Envelope Filter Mode and Manual Sweep Mode (via exp pedal).

• Velocity and Freq control the speed and frequency range of the filter

• External Exp jack for controlling frequency range with an external exp pedal when in expression pedal filter sweep mode.

• External Exp jack for controlling filter section LFO speed with an external exp pedal.

CHORUS SECTION

• All analog chorus section (based around the Empress Deus Chorus) - using a NOS MN3007 bucket brigade chip.

• Twin voice settings allow selection between a warm CE-1 styled chorus or a bright shimmery chorus

• Velocity controls the chorus speed

• Mix controls the blend of wet and dry signal

• Depth controls the depth of the chorus effect

SUMMARY

Each of the three effects in the Synthotron III (Synth, Filter, Chorus) can be used independently or simultaneously. Three incredible, ultra dial-able analog effects in one enclosure.

Each of the three effects in the Synthotron III has it’s own foot-switch allowing ease of engaging/ disengaging each section of the pedal.

The Synthotron III is true bypass so will not impact your tone when not engaged. It runs off a standard DC 9 volt pedal power supply. Inside the Synthotron it takes the 9 volts and converts to 18 volts for maximum headroom and stability.

The Synthotron III is the most unique sounding pedal I have ever created. Synthotron I and II were unique, but also quite polarising - the inherent challenges with tracking meant that people seemed to either adore it or be utterly mystified by it. Synthotron III offers all the things people loved about it’s predecessors, but a vastly improved and expanded design.

This is the only pedal in the world that can create these sounds. There are thousands of Fuzz pedals, Chorus pedals and overdrive pedals. But only ONE Synthotron. There will be a maximum of 100 Synthotrons produced between now and the end of 2023. Each pedal will be hand signed and numbered by me, Ben Fulton.

This one started out as a collaboration between Nick at Dunwich Amps and myself. We were aiming for a massive sounding Rat based pedal, with huge volume on tap and all the lows and highs you could want. I've since redesigned the circuit to have an extra volume boost on a second foot-switch for big riffs or solos. Further tweaks across the circuit have improved the overall quality of sound. This is the pedal for you if you're looking for early Conan or Melvins guitar tones or an even more chunky take on Song 2 by Blur.

Current active users include Daniel of Gilla Band, Paul of Primordial, Matt of Malthusian, Matt of Hands Up Who Wants to Die/Shifting/No Spill Blood, Mike of Bong/11 Paranoias/Melting Hand etc, Niallo of Wild Rocket, Shiran of Monarch!/Year of No Light/Gasmask Terror, Shaun of Unyielding Love, Steve of Destriers.

The pedal graphics are hand pulled screen prints on powder coated or hand sprayed cases. Colours can vary from run to run, feel free to get in touch for more info.

All pedals are true bypass as standard and powered by the industry standard (boss style) negative tip 9V DC power supply. For best results use a reputable regulated pedal power supply.

LM 308 Based Overdrive/Distortion

Baxandall Treble & Bass Tones Controls

Integrated 20dB Volume Boost

Three Clipping Modes

Dobsky Fuzz

After too long of a hiatus the definitive Dobsky is here. Essentially an evolution of the Dobsky VB that was previously available with some nice improvements and new livery.

The most obvious change is that there is now two toggles. The low pass filter on the clean blend is now preset to take a small amount of treble off the top. I find it’s akin to having the tone knob of your bass back at about 75% so that the very high frequencies are all distorted while you can still blend in some clean midrange and low end as desired. The low pass is a bunch more noticeable on guitar but still very useable and useful.

I’ve also tweaked a few other parts of the circuit for a touch more gain. I’ve found tweaking the input stage works well for me along with using some NOS Russian diodes in the second clipping stage, same ones used in both the Civil War and Tall Font versions), these have a little more saturation and different character to the modern 1n4148s used in the first clipping stage. The combination here gave me the closest tone to the reference muffs I have available.

The following paragraph applies more to the Dobsky VB but I’ve left it here as a hand reference to where I’m coming from…

Having used the vG for years on bass, I decided it was time to revisit the circuit to perfect Sovtek fuzz tone specifically for bass. The key ingredient too nailing the tone was matching the NOS Russian transistors to the ones in my personal reference muffs. In addition to the vG mids control, I added a toggle switch to shift the centre of the mid frequency to enable even heavier low mid punch. I then added a clean blend, with a low pass filter (aka high cut), to allow players to mix in their clean low frequencies if and when it's needed. I'm proud to present authentic Russian muff tones along with all the extra features required of bass players and guitarists today. This is the pedal if you're chasing the Sonic Youth, Sunn O))), Weezer, Dave Gilmour and Black Keys muff tones with a little extra.

Current active users include Tanya of Bismuth, Stevie and Brian of Junk Drawer, Gordon Watson of Melting Hand/Terminal Cheesecake.

The pedal graphics are hand pulled screen prints on powder coated cases. Colours can vary from run to run, feel free to get in touch for more info.

All pedals are true bypass as standard and powered by the industry standard (boss style) negative tip 9V DC power supply. For best results use a reputable regulated pedal power supply.

Inspired By The Original Sovtek Muffs (both Civil War and Tall Font versions)

Hand selected NOS KT3102E Russian Transistors

Additional Mid Control With Frequency Toggle

Improved Control Over Lower Gain Tones

Three Clipping Modes & Clean Blend With Low Pass Filter

The Cosmic Trigger preamp

Combining the best of the Traynor TS50 and Acoustic 360 preamps with a custom gain stage, this one has been a few years in the making. Started out with a fascination of the Electrical Audio bass tones I put together some replicas of the Traynor TS50 and TS50B preamps. I was never satisfied with the sounds I was getting with them. I’d also built some Acoustic 360 preamp replicas which I loved but were missing a special something. One day I had the idea of combining what I liked from the three circuits. I opted for the active midrange control from the TS50 and the treble and bass controls from the ACC 360.

The Cosmic Trigger can be used as a clean or drive pedal or as a full on preamp running direct or into a power/effects return on your favourite amp. It was designed principally for bass but is equally at home with guitar or any other instrument you can think of. The TS50 is the guitar amp from Traynor but we’ve modified it to work perfectly with bass. It also works wonders with synths and drum machines.

The preamp has 36 Volts of headroom off a regular 9V wall wart power supply with integrated overvoltage and reverse polarity protection all courtesy of Nick Williams and his second to none PCB design skils.

The boost footswitch is a gain boost of about 10% giving more gain/saturation and a touch more volume. Perfect for when you just need a bit more bite and attack in your sound.

Current active users include Ian MacFarlane of Cruel Sister/Squarehead, John “Spud” Murphy Percolator/Lankum, Gareth Quinn Redmond, Si Francis, Moose of Wild Rocket/BB84,

I love how this pedal can cover the ground from Albini style noise rock to classic 70s grooves and everything in between. I’ve had an early prototype out on tour with Kylie Minogue. Final proto was on my board as my core bass tone up until I made the first round of production prototypes. It takes other pedals like a champ, drive fuzz etc just sound better running into the Cosmic Trigger.

The pedal graphics are hand pulled screen prints on powder coated or hand sprayed cases. Colours can vary from run to run, feel free to get in touch for more info.

All pedals are true bypass as standard and powered by the industry standard (boss style) negative tip 9V DC power supply. For best results use a reputable regulated pedal power supply.

Super versatile preamp and drive pedal

Combining the best of the Traynor TS50 and Acoustic 360 preamps with a custom gain stage

Massive 36 Volts operation from a 9V supply.

Boost footswitch for extra bite and attack

Active midrange control

Suitable for bass, guitar, synths and drum machines

A touch of Spring

One knob spring reverb emulator. One control to set the mix of wet to dry signals. Simple and to the point.

Finishes may vary from run to run but top photo below will show current finishes.

All pedals are true bypass as standard and powered by the industry standard (boss style) negative tip 9V DC power supply. For best results use a reputable regulated pedal power supply.

Now a part of the full production line of effects, the Cosmic Tremorlo is a Percussive Tremolo based on the old Vox Repeat Percussion made famous by Spaceman 3. It features three additional controls for added functionality and versatility. You can clearly hear the Cosmic Tremorlo in action on the Fontaines DC song Televised Mind and Wild Rocket song Edges of Reality.

Features include:

Rate control to set speed of the tremolo.

Toggle switch gives three rate ranges, from slow and heavy to pseudo Ring Mod territory.

Depth to adjust depth or intensity of the effect, functions almost like a mix or blend of the original signal. I love it about a quarter turn back from max which gives some of the unaffected signal along with plenty of percussive tremors.

Level to set overall level, can be set at unity or above or below unity volume. Unity is usually at 12 noon but should adjusted to taste and to match your rig set up.

Current users of note include Carlos of Fontaines DC.

The pedal graphics are hand pulled screen prints on powder coated or hand sprayed cases. Colours can vary from run to run, feel free to get in touch for more info.

All pedals are true bypass as standard and powered by the industry standard (boss style) negative tip 9V DC power supply. For best results use a reputable regulated pedal power supply.