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The GOTR (Gentlemen of the Road) Goodtime Banjo is the long-awaited Mumford & Sons banjo, built for their fans to inspire them to be a part of creating music. Modeled after our legendary Goodtime Openback, the GOTR banjo is made in America by Deering in the same factory as our upperline banjos.

While bringing banjo and Mumford & Sons fans the Charity Banjo Campaign, we have received countless requests for a Mumford & Sons banjo that is affordable and inspiring to both learn on and travel the road with. Through much collaboration on what this banjo should be and what band art should grace its neck and skin, it is our great pleasure to present to you the Gentlemen of The Road Goodtime Banjo!

Purpose built to give you more of your instrument and amp, the OD-503 enhances the drive and natural harmonic content of your instrument, effortlessly giving you even more of what you already have and love!

With its extraordinary dynamics and immediate feel, the OD-503 responds naturally and cleans up beautifully with either your pick-attack or your guitar's volume control while adding that "extra something" that makes your rig really sing.

Three simple controls, matched impedances, true-bypass and daisy-chain friendly "industry standard" 9VDC power make mating the OD-503 up to your setup a quick and satisfying affair, and when that red light kicks on the riffs begin to flow!

Every OD-503 is entirely handmade and built-to-last by real people right here in Portland, Oregon, using exclusively premium, top-grade components to ensure superior tone and years of dependable performance.

The Mariposa features an offset lightweight okoume body, a roasted maple neck, and an ebony fingerboard that showcases pearlescent style block inlays. Electronics include two custom wound EBMM humbucking pickups with separate volume control for each pickup, controlled by a 3-way pickup selector switch that allows for variable humbucking combinations when needed. The pickguard is laser etched with an ornate design coordinated to compliment specific finish options.

Continuing our well-established ‘heavenly-bodies’ naming convention, this new model is a Neptune - Baby Jumbo - shape but is differentiated by the all-Mango tonewood choice and the beautiful ‘Blue Moon’ blue-burst finish.

“Patrick Eggle and I have always been intrigued by the wonderful array of woods available in Indonesia,” says Alex Mew, Faith Guitars’ brand director. “We first experimented with an all-Mango guitar a couple of years ago, and really liked what we found. It’s quite a bit different in its tonal delivery to the standard Spruce or Cedar topped guitar, so we were conscious that we needed to secure appropriate grade wood with the correct stiffness before deciding on the final body design. Patrick then settled on the stunning blue-burst finish which helps show off the mango’s natural grain variation wonderfully, and which in turn makes each guitar truly unique.”

With our workshops based in Indonesia, we have long been keen to source as much tonewood close to our manufacturing base as possible. The fruits of this endeavour can be seen throughout the guitar ranges with Indonesian Mahogany, Indonesian Rosewood and Macassar Ebony featuring heavily, plus the use of Javan Trembesi another Indigenous tonewood, used to stunning effect on the award-winning ‘Blood Moon’ series.

In terms of sound, Mango gives a really unique tonal palette, sitting comfortably between Koa and Maple, with good projection in the upper-bass frequencies, and real depth in the mid-ranges. The finish is a dark blue to mid-blue burst finish accented by fibre purfling and solid Flamed Maple binding. Electronics are supplied by Fishman in the shape of the highly regarded INK3 system.

The new Fallout Bass Launch Edition is available in three exciting colors decked out with racing stripes. This 30” short scale powerhouse features a G&L Magnetic Field Design humbucking pickup controlled by a 3-position mini–toggle switch for parallel/split/OMG modes – just like an L-1000 – bringing anything from modern to old school tones to your fingertips. What’s more, players used to a traditional 34″ scale will find this pint size puncher super easy to play.

Other features include an Alder body, Maple bolt-on neck, Caribbean rosewood fingerboard, Saddle-Lock Bridge and Custom G&L Ultra Lite tuners, and La Bella Roundwound short scale strings, .042-.060-.082-.104.

A good idea is a good idea, and when a customer asked us to build a set of Jazzmaster pickups with blade pole pieces for a wider string spacing -resulting in a fuller, fatter tone- we knew it was a good idea!

Based on a request originally brought to us by guitar builder, Scott Walker, for a guitar that he was building for Steve Kimmock; our Blademaster pickups feature alnico bar magnets and an extra-long nickel plated steel blade pole piece that extends beyond the width of the strings for more balanced string response and coverage. We've modified the original design a bit, giving it a unique winding that offers a fuller and broader tone than a traditional Jazzmaster style pickup, without sacrificing the clarity of the bass strings. Compared to a standard Jazzmaster design, Blademaster pickups have a higher output, a smoother, fuller bottom end, and increased body supporting the top end while retaining articulation and detail. The Blademaster pickup is a direct drop in replacement for just about any Jazzmaster style pickup.

Features include; vintage style pushback lead wires, RWRP bridge for hum-cancelling operation in the middle position, available with parchment, white, black, or cream covers.

You’ve seen the pictures of this vintage amp — now let Reverb’s Andy Martin show you exactly what it can do. From warm cleans and sparkling highs to an abundance of grit when pushed into overdrive, the 8418 Reissue produces a wealth of tone and brings a piece of American music history back to life.

A wide range of tremolo sounds from classic to modern are available with a set of controls that are easy to use yet offer many options. The Electrochop excels at subtle, smooth tremolo sounds as well as choppy sounds or pattern type tremolo sounds.

The Electrochop has a total of ten waveforms which can be selected with the WAVE Control. Choose from Ramp Up, Ramp Down, Square, Triangle and Sine. Pressing the WHITE button above the WAVE control allows you to select alternate versions of each waveform.

Speed settings from super slow to frenetically fast can be dialled in. The rate of the tremolo can be controlled with either the SPEED control or an external Tap Tempo foot switch. The MULTIPLY control selects the tempo multiplier. (Quarter note division) This allows you to tap a wide range of speeds easily.

The Tap input socket is located on the top of the pedal above the DC socket. A 6.35mm to 3.5mm mono cable is required. (1/4 inch to 1/8 inch) Or a 6.35mm to 3.5mm adapter attached to a standard guitar cable can be used.

The VOLUME control allows you to compensate for any perceived volume difference that can occur when using tremolo.

The LED located next to the foot switch indicates the speed and depth setting of the pedal in both bypass and active modes. The LED colour changes to signify whether the pedal is active or bypassed.

This signature guitar is the result of Fender's collaboration with Japanese all-female band Silent Siren. Based on the custom-made American Standard Jazz Bass, The Silent Siren Jazz Bass has an alder body, maple neck and maple fingerboard. The surf green finish extends to the headstock, and the body features a patterned stripe across it. The two single coils in the bass are Fender’s V-mod single coil Jazz Bass pickups.

This signature guitar is the result of Fender's collaboration with Japanese all-female band Silent Siren. The Silent Siren Telecaster comes fitted with Fender’s Shawbucker humbucker in the bridge, and a vintage-voiced Tele single coil in the neck – controlled by a blade selector switch and master volume and tone knobs. The alder body, maple neck and maple fingerboard are finished in an arctic white, with the body sporting a subtle outline as well as an f-hole design. The bridge is what you might expect on a modern Fender Telecaster, a 6-saddle string-through hardtail.

Across genres and generations, the sound of a half stack pushed hard with drive and boost has become a standard for rock tones. No genre or era of players has been more heavily defined by these iconic sounds than the classic metal and hard rock pioneers of the late seventies and eighties. Think Judas Priest, RATT, Def Leppard, Iron Maiden, Ozzy – their combination of tube heads and drive pedals resulted in some of the most iconic guitar tones of all time.

Diamondhead captures the power and versatility of that era-defining rig in a package that will find a space on any pedalboard. Whether you’re running it into a clean pedal platform amp or into the frontend of an overdriven tube amp, the Diamondhead provides the flexibility and tonal clarity to authentically capture the sound that defined an era.

It all starts with the drive – from breathy and raw medium gain sounds to screaming high-gain harmonics, Diamondhead is deep and three-dimensional, with clarity and touch response.

Three powerful active EQ controls maximize the potential of the gain section. A tightly defined bass control boosts and cuts at 80 Hz, with surgical precision – making the low end huge, but never muddy. A broader mid-range control set right at 800 Hz allows for massive scooped chunk, hyper aggressive modern attack, and everything in between. And the Treble control, set at 6 kHz, adds sizzle, cut, and attack.

The SAT Switch (based on our 805 Overdrive) adds a 24dB pre-gain boost that tightens up the low end for more aggressive and defined attack. Subtly rolling off lows and highs, it allows the mid-range to cut through, creating chewy, harmonic saturation. Independent from the Drive section, the Boost (activated with the left footswitch) offers 0 to 15 dB of available gain and can be used as a lead boost or to push an amp on the edge into overdrive. Try using it with a slightly dirty amp as the first gain stage and adding the Drive section for your highest gain sounds.

Diamondhead also shines as a pre-amp. By running it into the effects return of your tube amp, or in front of our PowerStage power amps you’ll be rewarded with a hot-rodded high gain amp tone with body, bite, and character.

If you’ve gone through a pile of overdrives, distortions, and boost pedals searching for that quintessential 80s metal or hard rock tone and haven’t been satisfied, make Diamondhead the heart of your rig – versatile enough to handle any covers set, precise enough to surgically dial in your own tone – it captures the rock n roll spirit of a high gain head pushed to the edge.

When Wampler decides to jump into the multiFX market, they do it in style. 11 custom designed effects blocks, from Flanger to Phaser, Chorus to U-Vibe, Harmonic Tremolo to Envelope Filter, you know everything about it is going to be perfect.

In one incredibly small package, you can control any of the 8 presets via midi, you can assign an expression pedal to control ANY of the main five controls, you can run it in full glorious stereo or keep it in mono... you can even split that mono signal to route some effects to go before your drive pedals, or amp gain, and have the rest follow behind or in your effects loop!

When you put the Terraform into your rig, you know that not only will you get that legendary Wampler tone, but you will get the most easy to use, hugely versatile and best sounding collection of modulations you could ever want!

The ESP LTD Phoenix 204 bass is part of the LTD Standard line which offers incredible features and quality you would expect from instruments far above its' price point. Implementing a basswood body and ESP hardware, including its ESP DB-4 bridge, the Phoenix 204 is light weight and resonates great tone. ESP SB-4 pickups and the ESP ATB-1 active tone boost gives the Phoenix 204 fantastic sound and the versatility that the modern-day bass player needs!

Preamplifier Pedal for Guitars, Microphones, and Line-level Sources, with XLR and 1/4" I/O

In 2012, I had a crazy idea for a tone shaping device that had never been done before in the world of guitar pedals. I wanted to create an effects pedal that replicated the hard to achieve sounds of "direct-in" electric guitar recordings that I loved. Bands like the Beatles, Spoon, Wilco, and Steely Dan had used this technique for years, but it was nearly impossible to recreate live.

I wanted this pedal to transform my guitar rig into the tonal equivalent of a Neve studio console, and that was no small task. After lots of trial and error, experimentation, and re-works, this concept evolved into something far beyond what we had imagined.

In 2014 as we filmed the first demo videos at Abbey Road Studios in London and this idea had evolved into the most unique product we had ever made. The Colour Box was a full-fledged studio-grade preamplifier, EQ, and distortion generator with multi-instrument compatibility. It did what I had always wanted it to do, but it did so much more!

On its release day, I wasn't quite sure how it would be accepted, but I knew that I loved it. As a few months went by, we saw something amazing begin to happen; this pedal was showing up in all types of environments. Producers, engineers, and artists were emailing us, tagging us on socials and showing how they had put the Colour Box to use. Studio vocals, live vocals, kick drums, acoustic guitars, bass, keys, overhead drums, stereo bus's, room mics, synths, re-amps, and some incredibly large stage setups had it on almost every instrument! This unit can be heard on dozens of recordings from U2, Wilco, The National, Spoon, Collective Soul, Muse, to War on Drugs, and Phantogram amongst others. As proud of this pedal as we were, we wanted to make it better, so we did. – Josh Scott

Preamp House is the newly released pedal from JOYO R series, delivering 9 amps’preamps in one pedal! It has 65Twin / JCM900 / AC30 / LONESTAR / DUAL RECTIFIER / 5150Ⅲ / POWERBALL / TH200 / BE100 and more, each amp features clean channel and distortion channel and can be switched by Footswitches(18 tones in all)! Due to the 2 channel design, you can switch easily between Fender’s Clean and Marshall’s Distortion! One built-in cabinet simulation facilitates stage performance. FX LOOP interface for external FX pedal, balanced Output. Preamp House is an user-friendly and stable tone solution for musicians who perform and record frequently.

The MACH100 100W (50W/50W) Stereo Pedal Amplifier is designed for the modern guitarist who wants a compact high output amplifier that fits right on the pedal board. Use the stereo 2 channel amplifier to drive two guitar cabinets with 16, 8 or 4 ohm impedance. The LINE IN jack allows you to insert a backing track into your performance. Using the PHONES output, you can monitor the amplifier output using a 3.5mm stereo cable. The LEVEL control allows the user to adjust master volume of the amplifier. The MUTE switch lets you instantly control the output of the amplifiers with the press of the switch. Step up to the next level of compact amplification today.

Welcome to the first day of the rest of your life. Have your ever yearned for a simple, one-click solution to boost your leads? One single pedal that engages a pure, transparent volume boost, sparkling clear reverb, and smooth, ambient digital delay with a tap tempo AND a modulation switch? Yearn no longer. The Dunable Eidolon is the one stomp stop for all things lead guitar, and also serves as a beautiful sounding reverb/delay for any non-lead situation.

This idea was brought to Dunable by guitarist Dave Davidson, someone who has traveled the globe playing over a thousand gigs with his bands REVOCATION and GARGOYL. He was lamenting the cumbersomeness of carrying clean boost, reverb, and delay pedals just to accent his solos, not to mention having to click three pedals on and off at the same time. He wanted just one box that turned it all on, and realized there was not another pedal on the market that did what he needed. After over a year of development, we have finally gotten the design exactly where he wanted it, and together we now proudly present it to you.

Packed with knobs that let you control everything from tight, radically fuzzy sounds that gate off instantly when you stop playing, to intermodulating oscillations that fight for control of your guitar as your notes decay, to shortwave radio sounds, ripping velcro and octave-like fuzz.

Polaris is a dynamic medium-gain overdrive, with incredibly flexible tone-shaping capabilities. Featuring a 2-pole resonant filter, fully controllable via expression pedal for filter sweeps and out-of-this-world overdrive tones.

The Tensor is a noisebox that gives users live reverse and tape stop effects, pitch-shifting, time-stretching, and hold functions in a pedalboard-friendly enclosure. With its knob-controllable intelligent randomization, the Tensor can produce anything from occasional stops, stutters, and rewinds to massive pitch jumps, random slicing, and rhythmic repeats.

Westwood is a touch sensitive translucent overdrive manipulator as clean and pure as the breeze which blows through a grove of Douglas Fir trees, and as hot as a damn fine cup of coffee.

This mild-mannered light- to medium-gain overdrive with active EQ controls will still knock the socks right off your trusty low-wattage combo amp, pushing it into anything from cutting, edge-of-breakup rhythm tones, all the way to articulate, singing lead tones stacked high with pleasing even-order harmonics and sweet, sweet sustain. And if you pair it up with your favorite head and cab, you should probably call the neighbors first, because the Westwood’s Level control has enough output on tap to alert the proper authorities. Even the FBI.

Each and every Westwood is a real Blue Rose case, hand built by a team of special agents in the Black Lodge of Akron, Ohio, USA, where the owls are not what they seem, there’s always music in the air, and the birds sing a pretty song.

This one sparks joy! Our SOMERSAULT™ is the chorus-y/vibrato-y/faux-rotary device our customers have asked us to make for years. So now it’s time. From seasick wobbles to glitchy bleep-bloops and “I think I can” huffs and puffs, the crazy sounding stuff was actually the easy part for us. So once you’re done maxing out different settings to hear what kinds of bizarre wowie-zowie sounds you can make with this thing, we encourage you to explore the subtleties of how each control interacts with the others, and the remarkable range of sounds that you can quickly and intuitively dial in. Gentle, lagging vibrato, 1980s style choruses, and even some doubling effects are possible…and then, turn up & go wild again. SOMERSAULT™ applies a similar framework as our popular KILOBYTE™ and MÉTÉORE™ pedals. While the digital chip sets the delayed wet signal, the initial gain stage, dry signal, LFO, control set and output mixing stage are entirely analog. The end result sounds rich and fat, with the same robust feel and power our customers have come to expect from our work. The Somersault features controls for offset, speed, depth, and mix, and switches for the tone and shape of your modulation. The Somersault also features a special havoc button that pushes the speed of the pedal all the way up so that you can have quick access to any momentary mangle that your song may call for.

MOOD is a two channel granular micro-looper / delay. Designed to be playful and immediate, it is a study of interaction. MOOD is internally collaborative, allowing audio to freely pass back and forth between its two sides, evolving and transforming over time. Drolo FX is behind the loop channel, a collection of always-listening micro-loopers, and old blood noise endeavors offer us the wet channel, a suite of live spatial effects.

We have three different options for how the channels are internally routed. Run a time-stretched loop through a cloud of delay taps, re-record it and carry on. Overdub, freeze, dissolve, smear. The device’s heart is the clock control, which slows or accelerates both sides simultaneously in harmonized steps. Instantly turn a loop into rolling chirps, or divide a reverb down into atmospheric noise. And naturally, we have full MIDI, dip-switch, and preset implementation.

With the first iteration of the Tumnus, Wampler perfected their take on the sound of THE mythical overdrive. With the release of the Tumnus Deluxe, Brian has set the new standard. Thanks in large part to the design’s articulate-sounding buffer, all of the clarity, punch, and detailed breakup of the original Tumnus are still there.

If you prefer the sound of true bypass performance, just hit the switch on the side of the pedal for uncolored tonal purity. Brian also injected the Tumnus Deluxe with a level of tonal flexibility not previously available on this style of drive. Active bass and mid controls, as well as a treble control, the same as the pedal it was inspired by, encourages you to sculpt the tone from this pedal to the demands of your rig. Whether you’re boosting a driven amp or another pedal, using the pedal as a stand-alone overdrive, or crowning it your “always on” tonal sweetener, you’ll find the Tumnus Deluxe’s wide-ranging controls make it much more than just another clone. The Tumnus Deluxe delivers all the string-to-string clarity, high-headroom output, and amp-like breakup that made this style of overdrive pedal so iconic. But its 3-band EQ will enhance your tone with warm low end, instantly identifiable midrange, and just the right amount of top-end sparkle. Unlike some other similarly voiced pedals, the Tumnus Deluxe has enough tonal control to perfect your sound through any rig.

The BE-OD overdrive pedal captures the tone of the now legendary Friedman BE-100 amplifier which has graced the stages of world class musicians the world over. The BE-OD delivers authentic tube amplifier sound from a compact pedal with the controls needed to shape your tone including volume, gain, tight, bass, treble and presence. These responsive knobs will take you from light, slightly broken up overdrives to straight up gain nirvana. Built in the USA and designed to withstands decades of abuse the BE-OD is a must have pedals for any tone enthusiast.

Based on the Selmer Buzz Tone. This project is a collaboration of our two pedal companies... we started with the classic three germanium transistor fuzz sound and mashed our fingerprints all over it. It's good to have friends, it's good to have dynamic germanium driven distortion... this pedal is the sum of both.

Call in the Army, the Navy, Scottland Yard, your Mom, and the Mario Brothers! You'll need all the help you can get to stop this endless wall of fuzz from raging! This kill all circuit explodes the meanest, nastiest, balls out distortion to make you the ruler of the fuzz universe.

This Death By Audio pedal has all the corners cut on the graphix but not on the components and sound. This gives you a high-tech fuzz mutilator at an affordable price. Now with three knobs it can create a multitude of ultimate fuzz, boost, overdrive, distortion sounds. Listen for yourself and you will see, this is the thickest sounding sustaining fuzz pedal we have ever heard.

Dingus ¼” Feed-Thru adds easy-access audio cable connectivity to a Voodoo Lab Dingbat® pedalboard. This handy add-on works for both mono and stereo connections and installs beneath either side of a Dingbat pedalboard. From simple guitar and amp connections to more complex stereo and effects loop setups, Dingus makes cable routing clean and convenient.

Looking back on an inspiring year of collaboration with Datachoir, Old Blood Noise Endeavors created Minim, a new pedal built from the foundation laid out by Rêver. Inside is a newly voiced reverb with harmonic tremolo, a modulated delay with nearly infinite repeats available, and a reverse section selectable between normal speed or double speed. Sat next to the Rêver, it’s like a long lost sibling. Put both on your board and see how well they get along.