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The Keeley Electronics Phaser is a 100% analog signal-path effects pedal, with the modern convenience of tap tempo.

The Keeley Phaser boasts a 6-stage analog phasing circuit based on OTA IC's. Phasers with these circuits are known for very rich and deep phaser sounds. The phasing is not as mechanical as their JFET cousins and this contributes greatly to their lush sound. The Keeley Phaser has a beautifully resonant response in the slow speeds and a sonorous shimmer at the faster settings.

The Keeley Phaser's digital speed-control and tap-tempo circuitry was designed to feel like an invisible hand was turning the knobs on your completely analog effect. Your signal is never sampled, your sound never deconstructed, maintaining a 100% analog signal path. It's as if an impossibly good guitar tech adjusted your phaser to the exact speed you were tapping.

In addition to the tap tempo feature Keeley added a ramp that allows you to merge seamlessly between two different speeds, similar to the brake on a Leslie rotating speaker.

The unique Edge knob is one part depth control, changing the phase from a more subtle effect to one that is full-out spacey, and one part envelope filter, changing where the signal is phased the hardest. At the farthest setting clockwise, highs are most enhanced. When turned full counter-clockwise, the low end of your phaser gets the boost.

6-stage Analog Phaser Effects Pedal for Guitar, Bass, and Keyboards with Tap Tempo, Ramp Speed, and Edge Control

Solidbody Electric Guitar with Chambered Mahogany Body, Maple Neck, Maple Fingerboard, and 2 P-90-style Single-coil Pickups

The Keeley Electronics Phaser is a 100% analog signal-path effects pedal, with the modern convenience of tap tempo.

The Keeley Phaser boasts a 6-stage analog phasing circuit based on OTA IC's. Phasers with these circuits are known for very rich and deep phaser sounds. The phasing is not as mechanical as their JFET cousins and this contributes greatly to their lush sound. The Keeley Phaser has a beautifully resonant response in the slow speeds and a sonorous shimmer at the faster settings.

The Keeley Phaser's digital speed-control and tap-tempo circuitry was designed to feel like an invisible hand was turning the knobs on your completely analog effect. Your signal is never sampled, your sound never deconstructed, maintaining a 100% analog signal path. It's as if an impossibly good guitar tech adjusted your phaser to the exact speed you were tapping.

In addition to the tap tempo feature Keeley added a ramp that allows you to merge seamlessly between two different speeds, similar to the brake on a Leslie rotating speaker.

The unique Edge knob is one part depth control, changing the phase from a more subtle effect to one that is full-out spacey, and one part envelope filter, changing where the signal is phased the hardest. At the farthest setting clockwise, highs are most enhanced. When turned full counter-clockwise, the low end of your phaser gets the boost.

The Diamond Phase is a versatile new selectable 2 / 6-stage JFET phaser with full control over depth, feedback regeneration and direct-to-phase signal mix level.

Phase / vibe modes. Ultra-smooth sinusoidal LFO waveform. Expression control for LFO speed. Auto-buffered direct out channel (true bypass when not in use).

Power by external 18 to 24V adapter or pedal power supply.

The Super Radical Delay takes everything we love about the 80s and pumps up the volume. It's like ALF, Peter Venkman and Undead Michael Jackson hijacked the A-Team Van for an Excellent Adventure with Iceman Val Kilmer — all to a soundtrack of Bon Jovi and that song from Dirty Dancing. Strap in. It's about to get bodacious.

Journey with us as we stare into Oblivion, by Alexander Pedals. Oblivion is one, it is all. It is you, it is us. This particular section of the great oracle has given us a real history lesson on analog delay. Listen up, as the Oblivion takes us on a time-traveling journey throughout the wonders of analog delay

The Oblivion is governed by four main modes: Analog, Tape, Oilcan and Multi.

Analog mode emulates the warm, murky repeats of classic bucket-brigade devices. The hidden Tone control adjusts the efficiency of these virtual chips, giving all flavors of the classic effect.

Going further back, Tape mode recalls a time when players used magnetic tape to make delay lines. The hidden Tone knob in this mode adjusts the fidelity of the virtual tape machine.

Multi mode keeps us within the realm of tape, utilizing a multi-head design to give rhythmic repeats that descent into delay madness. In this mode, the Rate knob gives different configurations of active tape heads.

Finally, going all the way back, Oilcan mode emulates vintage mechanical oil-can delays, the genesis of the effect. The repeats are dark, dirty and just plain viscous. Oil-can delays were notoriously miserly with delay time, so the longer delay times create a very rare delay effect The hidden Tone knob in this mode changes the age of the virtual oil.

In addition to the five knobs on the face, engaging the Shift button accesses new knobs: Mix becomes Boost, Time becomes Wave, Repeat becomes Tone. These knobs allow players to boost or cut the output signal up to 3db, change the waveform shape and the one of any mode-dependent parameters, respectively.

These five visible knobs can also be assigned to an expression pedal—any or all of them. This allows for simultaneous control of five parameters from a single expression pedal. Cool!

Of course, there's a tap tempo switch, along with a Remote jack that is switchable between expression pedal and external tap tempo. Subdivisions are available to switch between, as are presets—up to five, or 128 with MIDI implementation.

Alexander Pedals Oblivion Delay Features:

• Four main modes that are fully controllable and adjustable
• Unique expression control allows for simultaneous use of up to five knobs
• 5 presets, 3 tap tempo subdivisions
• Hand made in USA
• Standard 9v center-negative power operation (adapter not included, 120mA current draw)

The JC-22 Jazz Chorus delivers Roland’s classic JC clean tone and famous Dimensional Space Chorus effect in a compact amp that’s perfect for playing at home. Offering the essential features of the popular JC-40 in an even more scaled-down size, this versatile stereo amp is also great for intimate performances and recording. A high-quality reverb complements the onboard chorus, and there’s also a stereo input on the front panel for plugging in modelers, multi-effects, and stereo stomps. Built to the same standards of sound and durability that the long-running amp series is noted for, the JC-22 makes legendary JC tone more accessible than ever.

The LF+ Mini is the first advanced controller on the market with silent stomp switch technology. Each switch comes with a lifetime warranty (free replacement if they ever should fail), and extremely quiet. You will not hear the typically loud click of normal switches. Instead, you get a smooth fail proof action that is silent when lightly pressed, and very quiet when pressed hard.

All LF+ Series Controllers introduce the next level in midi foot control processing. Each are USB enabled for Windows and Mac OS-X Editors now available.

Lovepedal have decided to enter into the tough world of Vibe pedals but this one has couple of cool tricks up its sleeve. With real photocell vibe circuitry and some extra controls that really let you dial in your sound; the Vibronaut is certainly a vibe pedal worthy of a space on your pedalboard.

Real Photocell Circuitry!

If you look back at some of the best vibe pedals ever created you will see that nearly all of them use photocell vibe circuitry and this is for a very good reason. Photocells are the only way you can accurately get the traditional vibe tone with an analogue circuit. That is exactly what you get with this compact pedal so you know when you plug this in you will be getting some of the best vibe sounds around.

More Controls

While most vibe pedals will just give you the standard depth, level and speed controls needed to control the sound. The Vibronaut has added control thanks to its new Hi and Low controls that let you dial in the tonality of the effect. The high control acts as a cut so I can bring back that sometimes harsh high end while the low control is a boost for when you want a bit of extra punch.

A versatile modulation pedal that captures the essence of classic 80's chorus and much more with all analog circuitry.

The Bellwether is a bucket brigade delay pedal with tap tempo. Offering analog circuity and up to 1000ms of lush delays, the Bellwether ushers in a rich soundscape of long and short trails. It can achieve the warm saturated sounds found in delays like the Maxon AD999 and the coveted Boss DM-2. Inversely, the repeats can also be brightened up with the tone control for more pronounced rhythmic delays. The Analog Chorus Engine allows you to manipulate the depth and rate of the chorus effect applied to your trails; creating a deep soundscape of ambient modulation. Set the time and repeat controls low to get that classic western slap back sound or drag them out to achieve shoegaze perfection. Take it all the way to 10 to achieve a self-oscillating delay.

Four tap division options are offered to control the rhythm of your repeats: quarter notes, eighth notes, dotted eighth notes, and triplets. Expression control options are offered to swing either the time or repeat controls back-and-forth. Manipulate the time control to get that Johnny Greenwood oscillation or use it on the fly to manipulate the repeat control; adding long tails to your diamonds.

The original Klone Centaur by Bill Finnegan is one of the most sought-after effects pedals ever. Its creamy and dynamic overdrive is appreciated and loved by countless professionals and it is also often used as a Clean Boost for warming up the signal.

In the last three years, Finnegan has been working on its successor, which enters the market in new housing.

The new Klon KTR Centaur corresponds in terms of sound to the original and also features a switchable buffer.

The Carbon Copy Bright Delay has everything that the standard Carbon Copy Delay is revered for, but it’s been tuned for a brighter sound. Where the standard version repeats have a dark, mellow wash, the Bright’s repeats are more defined with a distinct vocal quality. The two sounds are great companions—we saw to it that they play nicely together. Engage the modulation section, and your repeats will sing with shimmery beauty as strummed chords ring out even longer than before.

With 600 milliseconds of delay time, an enhanced frequency range, a vibrant delay path and true bypass switching, the Carbon Copy Bright Analog Delay is for players who’ve been searching for an all-analog delay with a more present and articulate tonal palette.

Two delays in one with so many tonal possibilities that might make your brain hurt.

The Disaster Transport Sr is the much anticipated and updated reissue of the limited run Ghost Disaster pedal from 2010. Unlike the first version, which combined our Ghost Echo and Disaster Transport Jr., the Disaster Transport Sr was designed from the ground up to create an intense wash of lo-fi swirling tape styled echo. While it may look intimidating at first glance, it's actually pretty easy to navigate. The top row of controls are for delay A and the bottom row of controls are for delay B. Delay A is a 600ms delay with modulation and delay B is a 300ms delay with reverb. Both delays can be run separately, in parallel, in series or in series/parallel. To take it one step further, there are also expression controls for the repeats on delay A as well as bleeding delay A into delay B. The switching was designed so each delay can be used individually or in tandem with both true bypass or trails.

In addition to being used as a straight delay, straight reverb, rhythmic delay, modulated delay and old school tape-style echo, the Disaster Transport SR can also be used to create a wide variety of wild sounds ranging from warped records, clanging flange, smooth chorus, echoed out squalls and various other-worldly effects that will blow your mind, man. If you are a fan of old school tape delay and crazy lo-fi sounds, you will get hours of enjoyment every time you plug into the Disaster Transport Sr.

Hand made one at a time in sunny Akron, Ohio USA.

Two delays in one with so many tonal possibilities that might make your brain hurt.

The Disaster Transport Sr is the much anticipated and updated reissue of the limited run Ghost Disaster pedal from 2010. Unlike the first version, which combined our Ghost Echo and Disaster Transport Jr., the Disaster Transport Sr was designed from the ground up to create an intense wash of lo-fi swirling tape styled echo. While it may look intimidating at first glance, it's actually pretty easy to navigate. The top row of controls are for delay A and the bottom row of controls are for delay B. Delay A is a 600ms delay with modulation and delay B is a 300ms delay with reverb. Both delays can be run separately, in parallel, in series or in series/parallel. To take it one step further, there are also expression controls for the repeats on delay A as well as bleeding delay A into delay B. The switching was designed so each delay can be used individually or in tandem with both true bypass or trails.

In addition to being used as a straight delay, straight reverb, rhythmic delay, modulated delay and old school tape-style echo, the Disaster Transport SR can also be used to create a wide variety of wild sounds ranging from warped records, clanging flange, smooth chorus, echoed out squalls and various other-worldly effects that will blow your mind, man. If you are a fan of old school tape delay and crazy lo-fi sounds, you will get hours of enjoyment every time you plug into the Disaster Transport Sr.

Hand made one at a time in sunny Akron, Ohio USA.

Reverb that reverberates.

The Afterneath is an otherworldly reverberation machine that uses a swarm of short delays to create wild and cavernous reverbs and scattered, short rhythmic delays with bizarre characteristics. The reverb created is beyond massive and goes well beyond the territory of most reverb pedals. The controls allow you to stretch, smudge, swell and even self-oscillate into messy ambient washes of sound.

The Length control adjusts the decay of the reverb; anything from shorter hall through endless plate style reverbs can be achieved. The Reflect knob controls the regeneration, basically feeding the output back through to create an even deeper otherworldly dreamscape. The Drag control lets you pull the reverb through time by slowing down or speeding up the reverb. The Diffuse knob adds control over spread of the reverb ranging from identifiable attack to a wash of smooth reverb. The Dampen control adjusts the tone of the reverb, both stinging bright tones and warmer swell.

The end result is an ethereal, ambient wash that goes from hall to an infinite glitched-out orchestra pit warming up in a canyon at the bottom of another canyon inside a well. The Afterneath is true bypass with an all digital reverb engine, all analog dry signal path and hand made one at a time in Akron, Ohio.

Reverb that reverberates.

The Afterneath is an otherworldly reverberation machine that uses a swarm of short delays to create wild and cavernous reverbs and scattered, short rhythmic delays with bizarre characteristics. The reverb created is beyond massive and goes well beyond the territory of most reverb pedals. The controls allow you to stretch, smudge, swell and even self-oscillate into messy ambient washes of sound.

The Length control adjusts the decay of the reverb; anything from shorter hall through endless plate style reverbs can be achieved. The Reflect knob controls the regeneration, basically feeding the output back through to create an even deeper otherworldly dreamscape. The Drag control lets you pull the reverb through time by slowing down or speeding up the reverb. The Diffuse knob adds control over spread of the reverb ranging from identifiable attack to a wash of smooth reverb. The Dampen control adjusts the tone of the reverb, both stinging bright tones and warmer swell.

The end result is an ethereal, ambient wash that goes from hall to an infinite glitched-out orchestra pit warming up in a canyon at the bottom of another canyon inside a well. The Afterneath is true bypass with an all digital reverb engine, all analog dry signal path and hand made one at a time in Akron, Ohio.

The Tiny-Vibe is the reduced version of the Original Funky-Vibe. It's a pedal with a Leslie-type rotary effect and a replica of the popular Shin-ei Uni-Vibe. Its sound is reminiscent of well-known songs and artists like Jimi Hendrix, David Gilmour, Robin Trower and so on. Its unique surround effect brings us back to the classic sounds of the Uni-Vibe and Phase Shifters of the 70s. The Tiny-Vibe provides a similar effect to a Leslie amplifier with an internal speaker rotating at multiple speeds, according to the settings of the controls.

The unit has 2 modes: Chorus and Vibrato. In Chorus Mode, we get a wet sound. The more speed, the more psychedelic the sound, from univibe to a truly psychedelic effect.

In Vibrato Mode, we get a dry sound. The more speed, the faster the vibrato, from a Leslie-type rotary effect to an absolutely fast vibrato.

7" Rubber Pickholder for Standard Mic Stands

A must for every performing musician. Made of high-quality rubber to ensure a firm hold. Available in 7" and 12" lengths

The Ergo Lok Strap offers a low-cost protection alternative that doesn't require any installation or modification to your guitar.

7" Rubber Pickholder for Standard Mic Stands

The Nemesis was created as the end-all, be-all delay, but with a very serviceable twist—its user-friendliness. The pedal has a million different settings and functions, but you’d never know it by looking at the front panel. Trust us—there’s so much going on with the Nemesis that you may never buy another delay.

Readily apparent are the 12 available modes—Degrade, Shifter, Helix, Reverse, Sweeper, Rhythmic, Slapback, Digital, Diffuse, Analog, Tape and Noise Tape. Not readily apparent are the 12 ADDITIONAL delay algorithms once you hook the Nemesis to Source Audio’s Neuro App. These 24 total delay engines offer every single type of delay you could imagine, plus plenty you couldn’t.

Most of the controls are self-explanatory as far as delays go:

Time controls the length of the delay repeats, from very little to longer than you’d ever use. The Tap switch overrides this control.

Feedback controls how much of the repeats are fed back into the delay for reprocessing. Turning the control up increases the number and intensity of repeats.

Mod and Rate control the modulation capabilities of the delay engines. The range of modulation is pretty drastic, and at higher settings, it gets downright experimental.

Intensity controls a different parameter depending on which mode the Nemesis is in.

Mix offers a wet-dry feature. When all the way down, only the dry signal is heard. All the way up, and only the repeats are heard.

A Subdivisions toggle switch changes how the Tap switch operates: quarter, dotted-eighth and triplet subdivisions are available.

The Tap switch can also be used as a “freeze” control, which grabs the repeat and holds it in place. This feature excels in modes with heavily modulated repeats.

The edges of the Nemesis contain just as many goodies as the engine—full MIDI capabilities (In and Thru), an auxiliary pedal jack with an expression slide switch, USB mini jack, Hot Hand control input and full stereo in and out round it out. The stereo ins and outs can be reconfigured as an effects loop for external effects processing.

Up to 128 presets are savable and recallable via MIDI, but the unit itself features eight presets, accessible via the lower-center portion of the control panel.

The Nemesis wouldn’t be a Source Audio pedal without full Neuro App customization, and the Nemesis has these features in spades. The Neuro App contains 12 additional delay engines, plus a deep editor for you true tweakers out there. Each of the additional 12 patches can be “burned” to the main unit, overwriting any existing algorithm you use the least. You can also share and download fine-tuned presets with other Neuro users.

The Mr Black Eterna is a stunning simmering reverb that as they put it 'sounds as if 10,000 angels were singing exactly what you were playing'. This pedal even without the shimmer mode turned up sounds large and can go on for quite some time with a luscious sound that will work with a bunch of styles.

Shimmering Reverb

The idea behing a shimmering reverb is that behind your guitar you have a pitched up version of your guitar that is also heavily reverberated. This pedal like all Mr Black pedals likes to take things up a notch and does so by creating a sound that sounds like it has a whole choir behind your guitar. This works amazingly well with large swells and slow chord sections that can take advantage of the long reverb.

It Goes On and On

Most reverbs will trail off within a second or so at most apart but the Eterna has a lush trail that can go on for 40 seconds. That is not a typo it realy goes for up to 40 seconds! Of course you can still get a shorter reverb when you need it but this pedal is at its best when given plently of room to breath.

Distortion Pedal with Top Boost and 3-band EQ

The extremely popular Nendoroid figure of Ryuk, the shinigami who essentially caused all the events of Death Note, is being brought back for another run! With articulated wings and mouth, this figure makes it possible to recreate all of Ryuk's silly poses from the show, and the included apple and Death Note make for an extra dose of his ridiculousness. The included pedestal even allows for a flying pose! As is the norm for the Nendoroid series, this figure is of the highest quality, and should satisfy any fan's Ryuk craving.

A very special collaboration between Fender and Chicago Music Exchange has resulted in the limited edition American Special Jazzmaster. We have taken the standard American Special Jazzmaster appointments and added two American Vintage '65 pickups, a hardshell case, and a limited finish, making this a truly unique Jazzmaster. This is a very limited edition, so be sure to grab yours early.

You'll want your playing to be heard. That's why we amplify the sound of this beautiful tube driven preamp with a 120 watt output stage, that can deliver into a 4 ohm load, allowing you to connect up to a 4x12 as well as the two internal Super 65 Drivers.

Analog Rotary Speaker Simulator Pedal with Tremolo and Chorale Modes; Color, Intensity and Speed Controls