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Reverberant Synthesis Machine. NightSky is a reverberant synthesis workstation, and a powerful, hands-on experimental sound design platform. NightSky gives you real-time continuous control of reverb pitch/processing rate/core size, harmonics, and even a synth-like resonant filter with multiple modulation waveshapes, plus a step sequencer with variable glide. You haven’t heard a pedal like this before.

Made in Japan Hybrid II is a series that deserves to be called a "hybrid", incorporating almighty modern specs that do not choose the player or music genre, while maintaining the vintage looks. Made in Japan, which has many fans around the world, has realized a product that combines playability and instrument tone that fits any guitarist or bassist regardless of rhythm / lead.

The Empress ParaEQ MKII Deluxe packs four new filters and vastly improved Q controls into a box half the size of the original ParaEQ! From the +/- 15dB boost/cut on all three bands to the extended adjustability of the fully sweepable Q controls, this pedal’s slimmed-down size makes no compromises over the original unit, and it’s even been upgraded with a vastly improved headroom. In fact, the ParaEQ MKII Deluxe’s 107.9dB signal to noise ratio, 0.03% introduced distortion, and 27V functionality deliver a clear, noise-free sound that’s simply unprecedented in a stompbox format. A 30dB boost section rounds out the ParaEQ MKII, providing everything from a subtle push to a long signal chain, to taking your favorite tube amp into raunchy overdrive territory. A worthy addition to the trailblazing Empress catalog of pedals, the ParaEQ MKII shatters the limitations of stompbox equalization!

This Fender Limited Edition Johnny Marr Jaguar comes in a bold Fever Dream Yellow finish and is the latest version of his signature guitar. The original version came out in 2012 and has been one of the most popular signature offset models in the company’s history. Limited Edition Johnny Marr Jaguar

The Fender Limited Edition Johnny Marr Jaguar in a new Fever Dream Yellow nitrocellulose finish. It is based on Marr’s favourite 1965 Jaguar and combines custom wiring and switches. These subtle tweaks make it a very popular guitar with players and fans of offset guitars. With a neck based on Marr’s 1965 Jaguar, with a custom maple neck profile and a 7’25” radius rosewood fretboard. It has 22 vintage-style frets and having played a few I will say that they are super comfortable guitars.

Eventide’s H90 Harmonizer re-defines the sonic possibilities of a multi-effects pedal, seamlessly merging the studio-level versatility of Eventide’s flagship H9000 rack unit with the streamlined form factor of the H9 Max pedal. The H90 Harmonizer starts with all of the 52 algorithms found in the H9 Max pedal — all derived from the same ARM-based architecture found on the H9000 — then tops off this formidable foundation with 10 all-new algorithms for even greater versatility. Beyond that, the H90 boasts a significantly expanded control set compared to the H9 Max’s single-knob setup: five push knobs; seven LED buttons; a trio of footswitches; and a high-resolution OLED display are designed to allow for instant mid-song adjustments without compromising on the Harmonizer series’ deep editing options, further enhanced via the H90 control software. True to its rack unit heritage, the H90 is finished off with a massive level of I/O configuration options, including MIDI in/out/thru, two expression pedal inputs, and USB functionality to personalize and tweak your setup.

The American Professional II Jazzmaster® draws from more than sixty years of innovation, inspiration and evolution to meet the demands of today’s working player.

Our popular Deep "C” neck now sports smooth rolled fingerboard edges, a “Super-Natural” satin finish and a newly sculpted neck heel for a supremely comfortable feel and easy access to the upper register. New V-Mod II Jazzmaster single-coil pickups are more articulate than ever while delivering the sparkle and chime the Jazzmaster is known for. The bridge pickup has a tap function that allows both a powerful, throaty sound or a lower-output vintage sound. At the flip of a switch, the rhythm circuit puts both pickups in series for a thicker tone with increased output, controlled by independent volume and tone roller pots. The new Panorama™ Tremolo system with pop-in tremolo arm dramatically increases the range of vibrato available, allowing for deep, Strat-style dives, in addition to classic Jazzmaster warble.

The American Pro II Jazzmaster delivers instant familiarity and sonic versatility you’ll feel and hear right away, with broad ranging improvements that add up to nothing less than a new standard for professional instruments.

Originally designed to appeal to jazz guitarists with elegant appointments and sophisticated controls, the Jazzmaster found its way into the hands of musical rebels. From surf to punk and indie rock, its flexible sound heralded the call of change and shaped the voice of rebellion. The American Original ‘60s Jazzmaster faithfully recreates the voice and style of this classic guitar, supplementing them with smooth, modern playability.

The first instruments to bear the Squier name were introduced in 1982, answering the call for genuine Fender® designs at accessible prices. The Squier 40th Anniversary collection celebrates the 40-year journey of Fender’s entry-level brand with special editions of the Telecaster®, Stratocaster®, Jazzmaster®, Precision Bass®, and Jazz Bass®, all available in Gold Edition and Vintage Edition variants.

The Squier® 40th Anniversary Jazzmaster®, Vintage Edition is a soulful tribute model trimmed with a collection of classic features for the retro-minded Squier enthusiast. Featuring aged chrome hardware, an anodized aluminum pickguard, a vintage-tinted maple neck, an engraved anniversary neck plate and satin finish throughout, this Jazzmaster honors the heritage of the Squier catalog and its ancestry. Player-friendly refinements of this commemorative model include a slim and comfortable “C”-shaped neck profile for an easy playing feel, vintage-style tuning machines and 6-saddle floating bridge and tremolo for authentic performance and style, and Fender-Designed single-coil pickups with alnico 5 magnets for familiar Jazzmaster tone.

The Warm Audio Centavo is an accurate recreation of one of the most unattainable overdrive pedals in guitar history. Known by its lauded boost and overdriven tones, the craze for this uber-popular pedal continues today, long after its original production from 1994 to 2009. With prices soaring into unthinkable prices for a three-knob overdrive, it’s no wonder that guitar players like Jeff Beck, Joe Perry, John Mayer, and Josh Homme have found all the mythical magic of the original pedals to be worth the hype. The Warm Audio Centavo is a true-to-original overdrive pedal that authentically recreates the legendary experience and adored tones of the original, legendary box.

The Fender® American Vintage II series presents a remarkably accurate take on the revolutionary designs that altered the course of musical history. Built with period-accurate bodies, necks and hardware, premium finishes and meticulously voiced, year-specific pickups, each instrument captures the essence of authentic Fender craftsmanship and tone.

The Jazzmaster® was originally advertised as a guitar that contained “all the well-known Fender developments,” where “every convenience is provided.” Intended to provide a luxury playing experience and tempt jazz guitarists into playing solidbody electric guitars, this futuristic and comfort-contoured offset is about as far from a boxy archtop as can be imagined. Perhaps unsurprisingly, the guitar failed to catch on with the jazz crowd, but instead gained early acceptance with ‘60s surf, and later, indie-rock, alternative, and even country players.

The American Vintage II 1966 Jazzmaster features a comfortable “C” shape maple neck that plays like a dream with a 7.25” radius round-lam rosewood fingerboard and vintage tall frets. Characteristic of production in 1966, this guitar is offered with white neck binding, pearl blocks, single-line “Fender Deluxe” tuners and matching painted headstock (on custom colors only). The patented “floating” tremolo, adjustable bridge with threaded saddles and Pure Vintage ‘66 Jazzmaster pickups, wired to the signature rhythm and lead circuits, deliver classic tone and authentic Fender feel.

The instruments in the American Vintage II series are direct descendants of the original Fenders: designed for players with a fine appreciation for vintage Fender tone and feel and built with unmatched quality, down to the last screw. These are Fender electrics in their purest form: Fender American Vintage II, the stuff of legends.

The Tone Master Princeton Reverb is one of the most versatile and prized guitar amplifiers of all time. It's versatile enough to go from the bedroom to the recording studio to the gig with the great sound and authentic vintage vibe that Fender players know and love. The Tone Master Princeton Reverb delivers classic Fender tone, reverb and tremolo; and it's the perfect size for guitarists who want a moderately powered amplifier for any situation.

Additional rear-panel features deliver modern convenience and flexibility—including an output power selector for full power and five attenuated settings, balanced XLR line output with impulse response (IR) cabinet simulations, mute switch for silent stage or recording use, USB port for firmware upgrades, and more.

FEATURES

Proprietary DSP modeling process 10" Jensen C10R speaker Rear-panel output power selector for full power and five attenuated settings Balanced XLR line output with impulse response (IR) cabinet simulations, level control, and ground switch Lightweight, resonant pine cabinet Power jewel illuminates in different colors for normal operation, warmup, and mute/silent mode USB port for firmware upgrades Universal worldwide 100V – 240V operation Cover and two-button footswitch included

he Soft Focus patch on the Yamaha FX500 was widely used in the ‘90s by early shoegaze bands, most notably Slowdive on Souvlaki. With its roots in that patch, the Catalinbread Soft Focus is intended to be an instant shoegaze button, while addressing the most glaring issues of the original unit: no mix control, a sub-par preamp, and a ghastly tone-sucking bypass signal. At its heart, the Soft Focus is a heavily modified plate reverb with adjustable time, which is subsequently split into three paths. One path contains a multi-voiced chorus modulator, another features a well-appointed octave-up mixed in with the reverb, and the third path leaves the reverb untouched. The Mod knob controls the rate of the chorus on path one, and the Symphony knob controls the level of the octave on path two. All controls are "coupled" to the tone of the reverb to give users an expansive playing field of sounds to discover and fine tune. Our Soft Focus is not an exact recreation but was exhaustively com- pared with our own FX500; the difference is that a fairly generic fixed-time digital delay is present on the Soft Focus patch. We found that leaving this feature intact ate into the circuit’s memory just a little too much for such little payoff, so we leave that addition to you and your favorite delay.

The Float Dual Filter effects pedal is the first digitally controlled analog pedal from Old Blood Noise Endeavors. Float boasts two independently controllable filters and copious capabilities for motion. Utilizing the two filters in tandem can create stereo movement, linked reactive elements and modulations that approach harmonic tremolo and phaser, as well as classic filter sounds.

Features Two independent filters, each with control over filter type, cutoff frequency, LFO rate, envelope sensitivity, LFO shape, resonance and volume True stereo, parallel mono, or series mono operation via top-mounted jacks Min/max toggle for precise sculpting of LFO and envelope range Sync toggle to link the LFO or envelope elements of Filter 1 to Filter 2 Expression jack to externally control Cutoff or Rate for each filter Soft touch switching with true relay bypass Hidden settings for LFO phase and envelope speed Pedalboard friendly size Requires at least 100mA 9VDC center negative power

Choose your classic digital delay character With three distinct voicings onboard, the Strymon DIG V2 offers a ton of digital delay character to choose from. When digital delay really took off in the '80s, there were several rival technologies. The DIG's ADM (Adaptive Delta Modulation) and 12-bit PCM modes capture the two most prominent of these sounds, allowing you to perfectly re-create classic digital delay types. There's also a pristine and highly dynamic modern 24-bit/96kHz delay onboard, and when you stack up two delay engines — configurable in series, parallel, or ping-pong arrangements — and add delay line modulation, you can conjure up decades of iconic effects.

Go deep with 12 powerful parameter controls To save processing power, many highly nuanced effects emulations offer only limited parameter control, but not the Strymon DIG V2. This pedal lets you dive deep, with six top-level parameter controls and an additional six you can access by depressing both footswitches. These knobs let you quickly dial in both delay lines, change the overall configuration, filter delays, adjust delay time subdivisions, and more. The DIG V2 introduces a handy Tone control to the set, which is capable of fine-tuning your delay tone with a counterclockwise high cut or clockwise low cut. You can get even more real-time control over your effects by hooking up an expression pedal, which provides on-the-fly control over any parameter you choose, plus you can recall a favorite setting instantly via a simple external trigger pedal.

Under-the-hood improvements provide unparalleled performance While the cosmetic and sonic improvements are easily seen, further inspection of the DIG V2 reveals several changes to its core for an even more premium playing experience. To start, Strymon loaded the DIG with a top-quality JFET input circuit. The result? Enhanced responsiveness, dynamics, and feel tailor-made for gigging performers and touring pros. Swapping between mono and stereo modes is as easy as flicking a rear-panel switch, with the option to now control the DIG via an expression pedal or MultiSwitch Plus. Perhaps best of all, a new ARM DSP chip significantly increases processing power while decreasing energy consumption for a clearer and more accurate tone.

24-bit/96kHz stereo plate, room, and spring reverb from your pedalboard The blueSky has three onboard reverbs in 24-bit/96kHz quality to cover your reflective needs. Plate style takes cues from celebrated studio rack gear for lush and open-sounding transparent ambiance. The Room algorithm adds a shorter, more subtle liveliness to your licks for a sound that's felt more than heard. The blueSky V2 introduces an optimized Spring algorithm to nail those delectable vintage spring reverb tank sounds, complete with the tweed spank and feedback guitarists love. Decay and Damping controls make it a breeze to find that reverb sound you hear in your head, from organic and natural to otherworldly and beyond.

Exciting new tone-shaping features abound The prevalence of the blueSky V1 on pedalboards of practically every genre is a testament to this pedal's incredible sounds. Never one to rest on their laurels, Strymon saw an opportunity to improve upon this already-fantastic design with several player-focused features and optimizations, providing enhanced flexibility while simplifying operation on stage and in the studio. While the original blueSky sports a Shimmer mode, the V2 model boasts a dedicated Shimmer knob that changes its behavior depending on the mode. Engage the Plate mode, and the Shimmer knob adds octave-up pitch shifting to taste. In Room mode, you get an octave up as well as a fifth for some additional texturing and a more ethereal feel. Spring mode offers the most unique of the Shimmer knob's offerings, adding in an octave-down effect with adjustable LFO speed to dial in eerie and dynamic soundscapes. The blueSky V1's Mod feature has been expanded into a dedicated switch with Light and Deep settings to find the perfect modulation level for your reverb. Sweetwater players were happy to discover MIDI compatibility onboard the blueSky V2, allowing you to control practically every setting via the EXP/MIDI jack as well as USB.

nder-the-hood improvements provide unparalleled performance While the cosmetic and sonic improvements are easily seen, further inspection of the blueSky V2 reveals several changes to its core for an even more premium playing experience. To start, Strymon loaded the blueSky with a top-quality JFET input circuit. The result? Enhanced responsiveness, dynamics, and feel tailor-made for gigging performers and touring pros. Swapping between mono and stereo modes is as easy as flicking a rear-panel switch, with the option to now control the blueSky via an expression pedal or MultiSwitch Plus. Perhaps best of all, a new ARM DSP chip significantly increases processing power while decreasing energy consumption for a clearer and more accurate tone.

Expanding on the Excess, Old Blood Noise continues their journey to revive and expand sought-out pedal sounds of the 80s. With delay, chorus, and harmonized fifths available along with distortion in series or parallel configurations, Excess V2 unveils more sounds and even more control.

Excess features:

Three modes of modulation (Delay, Chorus, and Fifth) each with Time, Depth, and Volume controls Distortion section with control over Gain, Tone, and Volume to access light overdrive through fuzzy distortion Order switching to run Distortion into Modulation, Modulation into Distortion, or separate parallel paths Soft touch switching and true relay bypass for each section Expression jack to externally control Rate and Depth Internal trimpot to set wet-dry mix of Modulation section Requires at least 125mA 9VDC center negative power Excess and Excess V2 Art created by atiya jones

"Urla" is an Italian verb which means "scream" in second person imperative (tu, urla = you, scream).

A loud, aggressive and experimental device which consists in 2 effects in 1 pedal unit, the URLA is a CMOS fuzz in front of a synth-based dual resonant filter.

CMOS fuzz

A CMOS chip works with digital logic (1, 0). Compared to the transistor based fuzz circuits (both germanium or silicon), in a CMOS fuzz there is no "in-between", no "dynamic range", no "vintage tone" or anything like that. There are just 1s and 0s, so no matter which kind of waveshape you put into it: the output will always be square wave with no adjustable gain neither since the square wave is as distorted as it can get. The URLA obviously makes no exceptions and it provides an overdriven, brutal, glitchy and gated fuzz sound with a decay that dies abruptly (but still allowing to sustain each note thanks to a bass boost stage that we put at the very beginning of the signal path). It offers 2 controls: VOLUME and BLEND.

VOLUME (fuzz)

Adjusts the output level of the fuzz.

BLEND

As the name suggests, this control allows to blend the fuzz sound with the original signal placed in front of the URLA. Clean guitar tone is probably the most basic example in that sense but no doubt the bravest sonic adventures could find plenty of different as exciting solutions (e.g. as "wall of sounds" enthusiasts, we do love to place a shimmer reverb in front of it or some modulation as well to create different kind of textures). Being a fully analog jFET blend, it goes from almost completely DRY (counterclockwise) to 100% wet signal (clockwise).

DUAL RESONANT FILTER

This is the second effect placed in the internal signal chain of the URLA and it consists in a faithful replica of the analog filter section of the glorious Korg MS-20, simply our all times favorite vintage monophonic synthesizer. It's an HIGH PASS filter connected in series with a LOW PASS one, both adjustable with their relative controls of CUTOFF and PEAK. Also, we added a dual potentiometer to control the VOLUME of both, which is pretty useful in order to dial with other output levels in chain (including the internal FUZZ placed in front).

VOLUME (filter)

Sets the output level of the dual filter.

CUTOFF

These knobs allow to decide where the frequencies (high ones by LP, low ones by HP) have to be cut. No doubt they're the most exciting controls of the URLA. We placed those on the external sides of the pedal's surface exactly because of that: you'll love messing up with those as much as possible by exploring the wild excursions of both. In fact, depending on the place of their relative PEAK knobs, they can go approximately from 0hz (so you'll mute your signal completely when at least one of their respective knobs are fully closed) to 15kHz.

PEAK

While cutoffs allows to remove frequencies (harmonics) from the incoming audio signal, their respective resonances allow to have an additional controlled amplification of the cutoffs frequency, creating a secondary peak form and coloring the original pitch. The resonances of the original Korg MS-20 are well known for their pretty wild and loud nature due their tendency to create a microphonic feedback at extreme settings. URLA makes no exceptions, so USE THESE KNOBS CAREFULLY: depending on the cutoffs positions (especially the one related to the LP since it's the last one in series) they really make your amp scream and/or boost low ends massively when set at high levels! For that reason, we highly recommend to keep the filter volume as low as possible when starting to dial with this effect.

EXPRESSION

We're not going to lie: if you'll not play the URLA with an expression pedal (by using a TRS cable) to control the cutoff of your favorite filter (HP or LP it's up to you: just place the EXP toggle switch where you prefer), you'll probably miss more than the 90% of the fun. For that reason, our friend Luca Romanelli from Mastro Valvola (the same guy who wrote the code for the RESPIRA's shimmer) designed an expression input which works correctly with ANY expression pedal on the market. But there's more: when the expression pedal is plugged into the URLA, you can still set the minimum (the starting point of the parameter you want to control with the expression pedal) by adjusting the relative cutoff knob.

As aggressive as experimental-friendly, URLA is our tribute to all the industrial, noise and alternative artists/records that made our world a better place to live.

Switching System: true bypass managed by soft switch + programmed relay.

Power: 9v center negative. Current draw: 100 mA minimum

Infinity 3 is the world’s most musical looping pedal. Simple to operate, yet tremendously powerful and flexible, the Infinity 3 guarantees latency-free looping. Our state-of-the-art platform provides instantaneous record, playback, dub, undo and redo, on two stereo loop pairs that can be played in series or parallel as well as synchronized and cue'd for automatic playback. On top of superior speed and a unique, performance-friendly feature set, Infinity 3 sounds downright incredible thanks to its discrete analog limiter stages, transparent analog pass-through and 24 bit HD recording engine with variable sample rate that can be incremented in semi-tones over two octaves. With approximately 3 hours of recording time on up to 50 loop pairs, the Infinity 3 was designed to inspire compositional depth and engaging performances. Comprehensive MIDI control and intelligent MIDI clock jitter correction provide the ability to link the Infinity 3 to a DAW, Drum Machine or other effects pedals. Infinity 3 is the ultimate tool for writing, rehearsing and performing every style of music.

In collaboration with CHVRCHES, Old Blood Noise Endeavors unveils Screen Violence, an effects pedal inspired by the sounds of the acclaimed album of the same name. Featuring tube-inspired overdrive and a one-knob effect that expresses itself as modulation, delay, reverb, or a combination of all, Screen Violence blends inspiration from decades past and present to create a new stereo effect.

Screen Violence features:

Mono, stereo, and mono-to-stereo operation Saturation section with control over Violence, Gain, Voice, and Volume to access gritty boosts through heavy overdrive Modulated reverb section with control over wet-dry Mix and Screen, a magic knob controlling many parameters at once Order switching to run Screen into Violence or Violence into Screen Soft touch switching and relay bypass for each section Expression jack to externally control Screen Requires at least 100mA 9VDC center negative power Screen Violence is available directly from OBNE and wherever you find CHVRCHES playing live.

CHVRCHES are Lauren Mayberry, Iain Cook and Martin Doherty. Since their 2013 debut The Bones of What You Believe, the Glaswegian band have seen global success, critical acclaim and are considered pioneers of modern synth-pop. Their latest record, last year’s Screen Violence, included the singles ‘He Said She Said’, ‘Good Girls’ and ‘How Not To Drown’, a collaboration with one of the band’s musical heroes and rock icon The Cure’s Robert Smith.

The UAFX Dream '65 Reverb Amp pedal gives you the essential American tube amp used by artists and producers for 60 years, ranging from Muddy Waters to The Beatles to Mac DeMarco. Built on powerful dual-engine processing and world-class UAD modeling, Dream '65 delivers bold cleans, sweet breakup, and divine spring reverb and vibrato.

Deliver Legit Tube Amp Tones, Stage and Studio Whether it's replacing your amp rig and going direct to front-of-house on stage, or recording tracks into your DAW—Dream '65 gives you the inspiring, album-ready tones of an expertly miked “golden unit” tube amp, within seconds.

Lose Yourself in Authentic Spring Reverb & Vibrato Dream '65 is the only amp-in-a-box pedal that faithfully captures the immersive sound of real tube-powered spring reverb and vibrato, making this pedal perfect for soul to surf, funk to punk, blues to bebop … you get it.

Put a Modded Studio Amp on Your Pedalboard Take your vintage amp tone a step further with custom mods and legendary drive sounds made famous by artists like Stevie Ray Vaughan and Steve Lukather. With two iconic mods and a clean boost built-in, Dream '65 lays down sounds that put whiz-bang amp modelers under the bunk bed.

Get the '60s American Tube Tones You've Always Wanted With custom mic and speaker pairings derived from UA’s award-winning OX Amp Top Box, Dream ‘65 gives you inspiring, album-ready studio tones at the flip of a switch.

12" Combo Speaker Models GB25: Vintage Celestion Greenback Oxford: Original Oxford 12K5-6 EV12: Electro-Voice EVM12L

Free Additional Speaker Cabinet Models (Get with the UAFX Control app) Two-Rock 2x12 extension cab w/ Celestion G12-65s Vintage 1966 4x10 Fender Super Reverb cab with original CTS speakers Vintage 1968 2x12 Fender Twin Reverb cab with original JBL D-120F speakers

Customize Your Sound With the UAFX App Dream '65 gets even better with the UAFX Control mobile app. Download custom artist tones, recall and archive your presets, and dive deeper into one of the best American tube amps ever made.

Limelight is a dual channel overdrive developed in collaboration with LA-based punk band Touche Amore. The distinctive bright, clear tones of guitarists Nick Steinhardt and Clayton Stevens form the foundation of TA’s impassioned brand of post-hardcore, letting their riffs morph effortlessly between serene clean passages and cacophonous blast beats. This pedal was originally developed to commemorate the release of their 2020 LP, Lament, but since earned its place in a wide variety of guitar rigs spanning genres.

In preparation for the recording of Lament, we worked with Nick and Clayton to create a new op amp overdrive with equal parts aggression and chime. While loosely based in the “breaker” lineage, we made significant changes to the circuit for superior articulation and a much wider range of gain. An independent front-end boost rounds out the package, perfect for adding power to clean tones or pushing the overdrive side into heavy distortion. While the primary goal was to help the band sound like their best selves, Limelight has a tone for everyone.

The Explorer is an optical six stage analog phaser, lovingly handcrafted with our hyper detailed approach to usability, and tone. Named after the first satellite put into orbit by the United States in 1958, the Explorer was the first phaser launched by Spaceman. Years later, we are pleased to bring you a small form factor reissue of this classic circuit with all the deluxe features of the original. Sometimes liquidy smooth, sometimes chewy and lush, the fluid frequencies squiggle and flourish like the unrelenting ebb and flow of the sonic tide.

Beginning with the VOL control, you can always dial in the perfect volume for your phase tone. The MIX control is one of our favorites, as it gives you the ability to blend in additional dry signal for a pleasant, subtle phasing effect. This control also has a secondary function: pitch modulation when set to 100% wet. RES adds feedback, which makes for those over-the-top phase tones we all know and love. RANGE offers unique control over the low frequency extension of the phasing. At its lower settings, only the higher frequencies are phased – useful for dialing in vibrato and rotary speaker tones. Turning up the RANGE control stretches the phaser’s reach into very low frequencies which is especially great for slow, deep phasing.

The wide range RATE control allows for both extremely slow, and extremely fast modulation. Five wave shapes are available via the SHAPE control. Sine, Ramp Down, Ramp Up, Triangle, and Square. The sixth position on this control, the Manual setting, disconnects the LFO and freezes the phase sweep. Using the RATE knob, you can then control the position of the sweep manually, for unique tone-shaping possibilities. Saving the best for last, the Explorer includes an CV/EXP pedal input. When using the five LFO wave shapes, the expression input controls the speed of the LFO. In manual mode, the expression input sweeps the phaser directly. RATE sets the highest point while RANGE sets the lowest point of the sweep. This allows for very cool “wah-pedal” style phase sweeping, especially when combined with the RES control.

MORE THAN YOU BARGAINED FOR

Continuing our tradition of extra functionality, additional waveshapes are accessible by applying power to the Explorer with the footswitch depressed. Three arpeggiated waveshapes, a stepped shape, MW shape, and an inverted manually swept mode offer some of the most bizarre and unprecedented phase tones around.

EXPLORER PHASER FEATURES

All analog signal path 6 stages of optically swept phase shifting Wide range LFO with 5 waveshapes Manually swept filtering abilities Up to 24V capable for high headroom use cases CV/EXP options for even more user control Full featured controls in a compact form factor

TRULY HAND CRAFTED Hand-wired and built in Portland, Oregon, the Explorer Phaser features true-bypass relay switching with a soft-touch footswitch. On top of the cast-aluminum enclosure sits a durable, engraved vinyl faceplate and jewel indicator light. This pedal is built to last a lifetime, both on Earth or in the vacuum of space.

Designed in collaboration with Pedaltrain, the Dunlop DVP5 (X) 8 volume and expression pedal is built to be a perfect fit for Pedaltrain’s Metro, Classic, Novo, and Terra Series pedalboards. With its long-lasting low-friction band drive, the DVP5 (X) 8 provides responsive control over volume and stompbox parameters. Additionally, the DVP5 (X) 8 includes a tuner output and internal control for setting minimum effect level parameters and polarity. Guitarists at Sweetwater who use Pedaltrain pedalboards appreciate the DVP5 (X) 8 for allowing them to create efficient pedalboard layouts. However, the DVP5 (X) 8 isn’t just for Pedaltrain boards — it’s a great choice no matter which board you use!

Expression Ramper allows you to pick two expression settings and move between them, either in one motion or as a continuous LFO activated by a footswitch. The mini enclosure size takes up minimal space while creating new sounds out of any pedal with an expression input.

Expression Ramper features:

Triangle, square, and one-shot shapes for movement between A and B expression settings Rate control to set the speed of movement Footswitch activated motion to create modulated effects on the fly or ramp between two presets Configurable output for TRS, TRS reverse polarity, or TS expression inputs LED to indicate which setting is currently active Requires 9V 2.1mm negative center-pin power adapter (not included). mA Draw: 10 NOTE: Expression Ramper is initially configured for TRS active at Tip for compatibility with Old Blood devices, but can be configured for TRS active at Tip, TRS active at Ring, and TS using the internal jumpers. By default, it ships with a 50K digital potentiometer. This potentiometer is socketed and can be replaced with 10K and 100K values if needed (part code MCP41010-I/P and part code MCP41100-I/P respectively).

The SLOTVA Multi Texture Reverb allows players to create lush, modulated, sleepy and ambient soundscapes. Stocked with three different algorithms specifically designed to invoke textures for bringing dreams from your subconscious to reality.

The toggle switch allows three different reverb modes, Dark (Lower Octave), Rise (Ambient Swell) and Dream (Latching Pad), while secondary functions on the switch change between different wave shapes for the modulation on the reverb trail.

Combine deep modulation with long washy trails and experience, the SLOTVA.

ALGORITHMIS: DARK – Add a lower octave to your reverb trail. Here you'll create deep and wide atmospheric sounds and channel nightmarish soundscapes. X knob sets the level of a -1 octave signal that feeds the reverb. RISE – This is an auto-swell reverb for beautiful cinematic swells. Don't rush it. Let it breathe and gently wake up. X knob sets the amount of time it takes the reverb to swell in after a note is played. Set lower for shorter rise times and higher for longer rise times. DREAM – Here is a lush reverb with a latching pad function. Press the sustain switch to latch signal. Experiment with the X knob to add vibrato over the pad. Press sustain again and pad will decrescendo according to where decay knob is set. X knob sets the depth of vibrato applied to the reverb trail.

The SLOTVA also features 3 different wave shapes accessible by holding down bypass while switching the algorithm toggle.

SINE – Smooth and even pitch up and down modulation. WARP – Asymmetric pitch up modulation similar to a warped record. SINK – Asymmetric pitch down modulation for sinking detune similar to a Bigsby.

The Squier® Contemporary Jaguar® HH ST brings modern features and bold aesthetics to an iconic Fender platform to satisfy today’s most discerning and daring players. At the heart of this guitar is a pair of Squier SQR™ Atomic™ humbucking pickups with coil-split and series/parallel switching on the upper control plate for a wide range of genre-defying sonic settings. The roasted maple neck was chosen for its optimal tone and stability, and a sculpted heel design allows for improved access all the way to the 22nd fret. High-performance components round out the feature list and include a fully adjustable bridge with stop tailpiece (ST) for rock-solid string feel, and a set of sealed-gear tuning machines with split shafts for smooth tuning action and easy restringing. Eye-catching styling cues include lustrous chrome hardware and a sleek painted headstock with chrome logos for a premium look. FEATURES

Squier SQR™ Atomic™ humbucking pickups Coil-split and series/parallel switching Roasted maple neck Sculpted neck heel Adjustable bridge with stop tailpiece

The Squier Classic Vibe Late '50s Jazzmaster is a faithful homage to a Fender favourite with a host of player friendly features! With a pair of Fender designed Alnico single coil pickups, comfortable slim "C" shaped neck and vintage inspired narrow-tall frets, the Late 50's Jazzmaster is undeniably old school and a throwback to a bygone era.

Key Features

Fender Designed Pickups - These Alnico single coil pickups deliver all the classic Jazzmaster tones we know and love. With a healthy top end, the tone is bright and jangly and cuts through nicely in a mix. Slim "C" Shape Maple Neck - This popular neck profile feels incredibly comfortable in your hands and due to the Jazzmaster's iconic offset design, you have unrivalled access to the upper frets. Vintage-Style Tremolo - The floating bridge features barrel saddles which ensure solid string stability and the vintage-style tremolo allows for expressive string bending. Anodised Aluminium Pickguard - This striking gold pickguard beautifully offsets the guitar's finish for a cool vintage vibe. Specifications

Body

Body Shape: Jazzmaster Body Material: Poplar Finish: Gloss Urethane Neck

Material: Maple Profile: "C" Shape Scale Length: 25.5" Fingerboard Material:- Indian Laurel Fingerboard Radius: 9.5" (241mm) Number Of Frets: 21 Frets: Narrow-Tall Nut Material: Bone Nut Width: 1.650" (42mm) Inlays: Pearloid Dots Joint: Bolt-On Hardware

Finish: Nickel Tuner Plating: Nickel Bridge: 6-Saddle Vintage-Style with Non-Locking Floating Vibrato Tuning Machines: Vintage-Style Pickguard: 1-Ply Anodised Aluminium Truss Rod: Head Adjust Control Knobs: Knurled Flat-Top Strap Buttons: 2 Electronics

Bridge Pickup: Fender Designed Alnico Single Coil Neck Pickup: Fender Designed Alnico Single Coil Controls: Lead Circuit Controls (Slide Switch Down): Volume (Neck), Volume (Bridge), Master Tone; Rhythm Circuit Controls (Slide Switch Up): Two Thumbwheel Controls for Neck Pickup Volume and Tone Output Jack: 1/4