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Grab a piece of Eddie's magic with the MXR EVH 90—a collaboration between Eddie Van Halen and Dunlop Manufacturing that represents an updated version of the legendary Phase 90. The EVH 90 will give you the same great spacey swirls and hypnotic warbles that made the Phase 90 famous. But the EVH 90 also features the all-new Script switch that lets you instantly toggle between a vintage, "Script Logo" phase tone and a more modern, in-your-face "Block Logo" phaser. Plus, the EVH 90 sports the greatest graphics in the history of rock: the red, white, and black stripes from Eddie's legendary Frankenstein guitar.

The world’s top-selling stage tuner, the BOSS TU-2, evolves and improves with the debut of the new TU-3. Housed in a tank-tough BOSS stompbox body, the TU-3 features a smooth 21-segment LED meter with a High-Brightness mode that cuts through the harshest outdoor glare. Choose between Chromatic or Guitar/Bass tuning modes, and enjoy visual pinpoint tuning verification with the Accu-Pitch Sign function. The TU-3 incorporates a convenient Note Name Indicator that can display notes of 7-string guitars and 6-string basses, while the Flat-Tuning mode can support up to six half-steps. It’s the new-standard tuner that no guitarist or bass player should be without!

The Strymon Ola dBucket chorus and vibrato pedal was inspried by various analog choruses and one vibrato pedal in a blue box. The Ola pedal features three modulation types (Single Delay-Line Chorus, Three-Phase Multi Delay-Line Chorus, Vintage Vibrato Circuit), three dynamic modes (Normal, Envelope, Ramp), a global Tone control for the overall colour of the modulation, a Mix control for dialing in the modulation intensity, and controllable ramp speed and envelope sensitivity. True bypass electromechanical relay switching for no tone loss when not being used.

Control your volume levels with exacting precision with the revolutionary Dunlop Volume Pedal. The Dunlop Volume Pedal features a patent pending Low-Friction Band Drive that delivers a smooth range of motion with no strings or ratchet gears attached - allowing you to achieve thick, luscious volume swells without the fear of breaking. With fully adjustable tension and high-quality low-noise electronic components, the sound is as clean and transparent as the feel is smooth. Housed in a lightweight but durable aluminum chassis, the pedal features a rocker pedal that is slightly curved for ergonomics, with an aggressive non-slip tread that keeps your foot firmly in place. Great features, smooth, hassle-free performance and crystalline tone make the Dunlop Volume Pedal the smart choice for every musician. Power: passive in-line circuit requires no additional power

The Blacktop Telecaster HH is a no-nonsense dual-bucker Tele that'll blow your mind without breaking the bank. Vintage-style Fender Blacktop alnico humbucking pickups deliver the hot high-gain power of today's most aggressive sounds; other distinctive touches include skirted black amp knobs, reversed control plate, and a vintage-style hard-tail bridge with six grooved saddles for optimum string alignment. Features include an alder body, maple neck, 9.5"-radius rosewood fretboard, 22 medium jumbo frets, gloss urethane finish, and nickel/chrome hardware.

Features * Series: Blacktop * Body shape: Telecaster * Body material: alder * Neck: maple * Neck finish: gloss urethane * Fretboard: Rosewood * Position inlays: white dots * String nut: synthetic bone * Bridge pickup: Hot Vintage alnico humbucking pickup with nickel cover * Neck pickup: Hot Vintage alnico humbucking pickup with nickel cover * Pickup switching: 3-way blade switch * Controls: master volume, master tone * Hardware: nickel/chrome * Tuning keys: standard cast/sealed tuning machines * Bridge: strings-through-body hardtail bridge with 6 cast saddles * Strap buttons: vintage style * Control knobs: skirted amp knobs * Pickguard: 3-ply black * Strings: Super 250L's, NPS (.009-.042 gauges) * Included accessories: truss rod adjustment wrench, saddle height adjustment wrench

Specifications * Scale length: 25.5" (648mm) * Nut width: 1.65" (42mm) * Truss rod nut: 3/16" adjustable hex nut * Fretboard radius: 9.5" (241mm) * Frets: 22, medium jumbo

The BOSS SD-1 produces the warm, smooth distortion of an overdriven tube amplifier while maintaining the subtle nuances of your picking technique. Unique asymmetric overdrive circuitry delivers a genuine overdrive effect for a classic guitar sound. A tone control is also provided for precise tonal adjustment.

The BOSS SD-1 produces the warm, smooth distortion of an overdriven tube amplifier while maintaining the subtle nuances of your picking technique. Unique asymmetric overdrive circuitry delivers a genuine overdrive effect for a classic guitar sound. A tone control is also provided for precise tonal adjustment.

The TS9DX FLEXI 4x2 starts with the same chip used in both of Robert Keeley's other modded Tube Screamers (the Baked Mod and Mod Plus): a Texas Instruments RC4558 chip, as used in original TS808 Tube Screamers. Metal film resistors are used for low-noise operation, while stacked metal film capacitors and increased input impedance deliver a crisper, more lively tone that's incredibly transparent.

The TS9DX FLEXI 4x2 Tube Screamer mods don't stop there, however. in addition to standard Drive, Level, and Tone knobs, it has a four-way rotary "Turbo" knob for different overdriven tones on the fly. Combine that with the 2-way gain switch and you've got eight tube-amp like tones at your disposal.

The most advanced modded Tube Screamer!

Keeley's Modded Dunlop Crybaby with Mello Wah Guitar Effects Pedal is the first with Dual Inductors, a Bass response toggle switch, and Blue LED. Every component used in this modification is of the highest quality.

Dual Inductors enjoy a Mello Wah sound or a full Funk Wah sound. The toggle on the toe-end of the wah is the inductor switch. It alternates between using one or two inductors. Turning the inductor switch to the right will give you the Funk Sound position—full and very powerful, with tons of headroom. Turn the switch to the left for the Mello Wah position—one inductor, light yet cutting.

Named after Ney Mello, a world-class player, the Mello Wah will give you top-notch, professional tones. Both inductors are genuine Dunlop Fasel inductors. The red inductor is for high headroom funk sounds and heavy blues. The red and yellow inductor running in parallel give unique, never-heard-before sounds.

The three-bass and resonance booster toggle on the right side of wah is for bass and resonance. The center features the stock wah sound. The other two positions provide two different bass boosts. Use this toggle to select tones ranging from SRV to Clapton to Hendrix and beyond.

The Midrange/Volume Control knob located on the right side of the wah controls how much midrange, as well as volume, that your pedal has. To simulate a stock wah sound, set the control OFF, which is fully counter-clockwise. Turning the knob "up" will result in more volume and midrange added to your tone.

The Keeley Electronics Mello Wah will not steal your tone with the pedal off. This is the main culprit contributing to poor tone. Additionally, Keeley has included an improved stomp switch dampener, the first to offer this feature. In order to make the wah as noiseless as possible (for delicate studio work), Keeley uses a rubber dampener on the stomp switch.

If you have ever wondered why your guitar sounds mysteriously thin, and no adjusting your guitar's tone knob will fix it only to discover that you've left your wah in the on position, then you'll appreciate the signature Keeley Blue LED that is now located at the back of the wah. It will enlighten you.

Sizzling lead wah tones that'll cut through your band's sound like never before.

The original Ibanez Tube Screamer made history, and Keeley's TS9 Mod Plus will have you making tonal history of your own. Used by guitarists including The Edge (U2), Peter Frampton, Jon Herrington (Steely Dan), and Larry Crane (John Mellencamp band), the TS9 Mod Plus has a number of enhancements over the original that give it a sound closer to the Ibanez TS808 Tube Screamer.

Keeley Effects use the Texas Instruments RC4558P chip, just like early Ibanez TS808 Tube Screamers. Additional mods include replacing the carbon-composite output resistors with metal-film types that don't introduce noise to the signal and increasing the bass response for full low-end richness, and increasing the overdrive range. The result is a cleaner sound when turned down, twice the gain and drive when cranked, and stock TS808 sounds in between. The bypass circuitry was also improved, as well as the tone control circuit.

The legendary Tube Screamer taken to the edge of tonal Nirvana!

Robert Keeley's modded Ibanez AD9 Analog Delay with True Bypass takes the amazing AD9's tones and adds true bypass and other functionality to make it even more flexible.

For starters, Keeley upgrades the fidelity and bass response of the AD9. The stock footswitch is modded to operate as an infinite feedback control. Simply hold it down, and your notes go into feedback, just as if you'd turned the repeat control all the way up. Perfect for sustaining notes or adding a bit of craziness to your music. Even with the true-bypass mod, the AD9's dry output still works as it should—something other pedal makers/modifiers don't always promise.

Improved tonal response and true bypass make this modded AD9 a powerful tone tool.

Boss makes a great Tremolo pedal, the TR-2. But Keeley had some ideas of their own on how to solve a long-standing problem in almost every tremolo pedal—the dreaded volume drop. Keeley modified the effect pedal by upgrading the audio circuitry, improving the response, and reducing unwanted distortions and noise. The Keeley Modded Boss TR-2 trem pedal modification gives you a blend between the stock look and the boutique look. Using Boss parts, Keeley redesigned the depth control area to have a volume control, meaning you have final control in the output level. Stomp on the pedal for a nice volume boost during solos and drive your amp into a really cool, retro sound, or set it for an even volume level.

The Keeley TR-2 tremolo pedal acts as a volume boost, adjustable by the improved volume control knob. In addition to tackling this issue, Keeley took care of the noise and distortion. The last thing you want when you stomp on your tremolo pedal is for it to begin hissing and breathing before you've actually given it a signal. Using expensive audiophile parts, you get an upgraded audio signal and improved overall response, making the TR-2 a truly inspiring musical tremolo guitar pedal.

Pulsing tremolo without the dreaded volume drop.

The Boss DS-1 has a very heavy metal timbre to start with. Keeley's many modifications take the distortion pedal to a full metal jacket sound. Every component changed or added is of the highest-quality. Metal film resistors are used for a low noise floor; this is essential for a high-gain pedal.

The Keeley modded DS-1 distortion pedal has a lower noise level than the stock pedal. Metal film and poly capacitors are used in the coupling sections to provide the true midrange and high frequency transparency your guitar tone needs while increasing the bass response.

It goes without saying that the note definition has been improved. The final result is an awesome distortion pedal that provides more gain and volume while losing no note definition. Perfect for driving Marshall stacks and other high-powered gear. The DS-1 effect pedal has been modified to have asymmetrical clipping, which gives you second-order harmonic distortion. In addition to lending a very musical sound, the Boss distortion pedal produces an octave-type effect at very high saturation levels.

The Boss distortion pedal has been modified to have the Seeing Eye LED. There is an LED located in the "O" of the word Tone. This LED is not just a visual effect. It's part of the circuit that clips the signal and gives it that full, distorted sound. The heavier you play, the brighter the LED illuminates, providing more distortion. The Extra LED increases the volume output of the pedal a bit, great for using the Boss DS-1 as a preamp to push the amp or to fine tune a low distortion sound on the DS-1 pedal.

The Boss DS-1 distortion pedal's ultra mode has an even fatter, more robust tone. This is designed to give you the "Wall of Marshall Amplifiers" tone. This is perfect for beefing up a Strat or pushing an amp hard so that you get more natural tube amp distortion.

This Boss distortion pedal has a mode switch to dictate the different tones you use. With the switch positioned up, you have the Seeing Eye operation mode. With the DS-1 distortion pedal's switch down you have the Ultra mode.

More gain, more volume, and enhanced note definition.

There are two parts to Robert Keeley's mod of the Boss DD-3 digital delay pedal. First, he adds switchable analog feel to this industry-standard compact delay by incorporating two different smoothing capacitors. Use the small three-way switch to select between these caps or the original stock sound of the DD-3.

The second mod takes the DD-3's direct out and turns it into an effects loop, allowing you to add any external effect just to the DD-3's repeats. Add slight chorus or phase to the signal to simulate tape effects, or experiment to find whatever your imagination wants!

Modded for analog feel and incredible tonal possibilities!

11 Years of Boutique Tone from one of the best overdrive sounds Boss created. The Keeley mod has been used on dozens and dozens of chart topping songs. KEELEY BD-2 MOD IS A TONE MONSTER! Used by John Mayer, Steely Dan (Jon Herrington!), Brad Paisley and even The Edge of U2! The BD-2 Phat Mod is Transparent Overdrive with Full Range sound. Honestly one of the neatest sounds ever put in a stomp box. For tone-purists, this is it! It's not simply a distortion pedal but rather a tone tool that adds to your guitar tone, supplying really nice lows, crystal clear high frequency, great picking response and detail. For those wanting to set their amp on fire but not change the tone of their system, this is the pedal. The BD-2 is not the same as a TS9 pedal. It has a more FULL-RANGE sound and is much more TRANSPARENT. When cranked it offers a grittier/more-edgy tone.

Sometime in 2013 Andy Timmons purchased an Angry Charlie from a guitar shop in Texas, and it became his main dirt channel soon after. Having a chat with him at Winter NAMM 2015 we set out to tweak it a bit to his personal tastes and needs so that it could fit even better into his live rig. The rest is history and the JHS Pedals “AT”, AKA “The @“, was born. Let’s take a look at its controls and function.

The AT has four knobs and a three position toggle switch. The “Volume” control controls the overall output level of the effect. The “EQ” control is a high pass filter that very naturally allows you to darken and brighten the overall tone of the pedal. The “Drive” control adjusts the amount of gain/distortion that you desire. The “Air” control is another high pass filter, but it is focused only on the high treble frequencies. This allows for “The AT“ to perform perfectly with virtually any amplifier as you can adjust in fine detail along with the corresponding “EQ” control.

The 3-Way toggle is called the “Headroom” toggle. In the down position you have what we refer to as the 50 watt mode. The middle position is 100 watt mode and the up position is the 25 watt mode. These replicate different wattages of a tube amplifier, so just like a real tube amp, the 100 watt is loudest, the 50 watt is in the middle and the 25 watt has less overall volume but more drive on tap. The middle 100 watt mode is clean, loud and full of power. With this mode and the drive knob under 50% you can achieve nice overdrive tones that set single coil pickups on fire with huge low-end and a powerful punch that the original Angry Charlie can’t achieve. The down position 50 watt mode gives you nice crunch/distortion that has a full frequency response. This mode is perfect for those looking for that classic British gain stage of the JCM800. The up position 25 watt mode reaches all the way into distortion territory and has rich harmonics, enhanced mid’s and more of a cutting presence. If you love gain, this is the mode for you.

This is an extremely versatile pedal that covers a large range of gain territory. If you need a single pedal that can achieve the saturated tones of a real British tube amplifier with a 4x12 cab, the Andy Timmons signature pedal is where it’s “AT.“

Oh yea, you can safely run “The AT“ at 18 or 9 volts.

Go from mild pitch tuning to creating wild HardTune alien effects. Chain the C1 with other VoiceTone singles to define your personal onstage sound.

TheGigRig TimeLord is an adapter that as been designed to deliver all the juice your Strymon pedals need to operate at their best. The TimeLord works as part of TheGigRig Effects Modular Power Supply which gives you unsurpassed amounts of power and configurations, delivering the most flexible professional effects power supply solution on the planet. The TimeLord is also the perfect source to deliver clean, isolated power to your Whammy 5.

From fat crunch to ultra high-gain distortion, the ST-2 Power Stack delivers famous BOSS distortion with a stunning amount of power that’s akin to coveted tube amps and professional amp stacks. The SOUND knob simultaneously blends gain amount and sound character, so you can quickly dial up anything from vintage crunch and punchy drive to full-assault distortion. To add further detail to your tone, simply tweak the onboard two-band EQ to taste. The ST-2 is one very unique distortion pedal, calling on BOSS’ years of amp modeling research to bring you real stack sounds in a compact stompbox.

The Vanguard was designed to create evolving beds of sound; from thick and sweeping harmonics to symphonic tidal waves. It operates as a series phaser system – two phasers working together to give unimaginable texture. The user has three selectable modes to shape the series phaser, sending your signal through a single 10-stage phaser with the option to pass through a second phaser. The second phaser, found on the second row of rotary controls, offers three different phaser voicings at the flip of a toggle switch; 10-stage with regeneration, 6-stage with pitch bend, and 4-stage with filter. This generates anything from slow phased foothills to untamed and violent sweeps. The Vanguard gives you eight controls in total. Though it offers many options, it is simple and intuitive to use. If you desire to use only one of the four phasers on the Vanguard (one main phaser with the top controls and three selectable phaser voicings on the bottom row of controls), simply set the undesired phaser’s controls to zero and set the desired phaser’s controls to your unique setting. On the topside of the Vanguard the user can run one input (stereo with TRS-Y cable), two outputs, expression control, and a Remote input to use of an auxiliary momentary switch to both switch the pedal on/off and/or save presets. If you already have a crowded pedal board, you can set your Vanguard at the back of the board and run a small footprint dual SPST switch to the front of the board so you don’t lose valuable real estate. The Remote input requires a TRS cable to be used. The expression pedal control works with most on-the-shelf expression pedals. This feature allows the user to set the high and low parameters for any control and then fade between those settings by moving your foot up or down on the expression pedal. The Vanguard comes in a copper colored enclosure featuring original artwork of two patrol men on horseback in a post-apocalyptic world. They are stuck between two phases: humanity’s past and humanity’s future. Hear the tension of their existence when you plug in your instrument. Exact size of the hardy enclosure is 5 ⅝” x 4 ⅝” x 1 ½”. Power requirements are 9VDC (150mA minimum)

The Descent is a reverb with -1 and +1 octave options. There are three modes to shape the reverb; Hall, Reverse, and Shimmer.

The Janus is a true bypass, dual joystick controlled Tremolo/Fuzz pedal that allows you to create a landscape of distorted textures.

A realization of our own inspiration to combine a Ross Compressor and an MXR DynaComp (hence the name !)

The Dyna-ssoR can be used, either as a "squashing" compressor for tight single-coil-fuelled funk grooves, or as an infinite sustainer for soaring, overdriven humbucking tones.

Smooth, sweet and transparent vintage Phaser, inspired by the not so famous MXR phase45, which the people at JAM happen to love, but with many alterations on the original design. The result, is a truly unique phaser pedal with a great "vibey" tone, that JAM is very very proud of!

Vintage Distortion based on the legendary original RAT. Made with carbon comp resistors for a pure vintage sound! The classic RAT sound, made for those who seek an original vintage distortion sound ! Featuring the NOS and rare chip : LM308N (just like in the original vintage RAT).

The Delay Llama+ is a fully analog, lo-fi delay with a maximum delay of 600 ms.

Where the Delay Llama+ differs is in the addition of a Hold button that infinitely loops while held down and an expression pedal input which let's you sweep the delay time with your foot.

The expression pedal is proprietary.