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THE TONE REVOLUTION Our Classic OC44 Booster is a clone of the legendary Dallas Rangemaster. Used by almost everyone in the 1960’s, the list of Rangemaster users includes Eric Clapton (with the Bluesbreakers), Rory Gallagher, Brian May and Billy Gibbons who uses his to great effect with a Tweed Deluxe.

SET AND FORGET The original ‘set and forget’ effect pedal. Most players would sit their Rangemaster on top of their amp and leave it on for the whole show.

THE BLUES INVASION

The British built amplifiers of the early sixties were very different from their American cousins in many ways. Most amps coming from the USA were using 6L6 or 6V6 output valves which gave them a brighter and tighter sound while the amp manufacturers in the UK tended to use EL84 (Vox) or EL34 (Marshall). These British amps often had a warmer and softer tone. The Dallas Rangemaster was designed specifically to boost the input of these amps and bring the tightness and the brightness back.

The guitar players in new Blues scene that emerged in 1960’s Britain were looking for more bite in their tone and the Rangemaster was the perfect choice. The list of Rangemaster users includes Eric Clapton (with the Bluesbreakers), Jimmy Page, Jeff Beck, Rory Gallagher, Brian May and Billy Gibbons who uses his to great effect with a Tweed Deluxe.

Pistol Slapper by Butcher Pedals

The Pistol Slapper is unlike any other booster or overdrive and responds differently than your standard overdrive pedal. It works great with amps that have limited controls, and can be used like an extra channel. Using the powerful EQ, you can use it to brighten a dark sounding amp or humbuckers and darken a bright sounding amp or single coil pickups. Are you a fan of overdrive and fuzz pedals? Well the Pistol Slapper also stacks well with other pedals. Try it with your other overdrive and fuzz pedals. After a fuzz, try setting the gain to unity, the drive down low, and use the EQ to shape your fuzz tone without losing the sound of your fuzz.

This unit is based on the extremely rare Hawk II Tonal Expander booster made in limited numbers by S. Hawk Ltd. back in the 1970's and used by Rory Gallagher. Butcher Pedals took that effect and improved upon it in many ways while still keeping true to the core tone - the Pistol Slapper was developed alongside an original Hawk II to ensure the positive characteristics remained the same.

Some features of the Pistol Slapper include:

More gain available and much less noise than the original. 3 band independent EQ for cut and boost tone shaping. Footswitchable treble boost. Fine tune the treble boosts frequency and response with the Filter and Select controls. Circuit runs on 18V for maximum headroom and power but still only requires a regular 9V DC power supply. Bi-colour LED. Green is standard mode while red is for treble booster mode. Open, natural and dynamic tone, with no clipping diodes. Here are the controls:

Treble: Adjust the treble content of the pedal. Middle: Adjust the midrange content of the pedal. Bass: Adjust the bass content of the pedal. Select: 3 position toggle switch (previously a 6 position rotary switch on the Maritime Analog version) selects the treble boost's corner cut off frequency. Only functions when the Treble Boost is active. Filter: Fine tune the treble boost's corner cut off frequency. A subtle sounding but useful feature. Only functions when the Treble Boost is active. Drive: Adjusts the amount of gain in the pedal. Level: Controls the overall volume output of the pedal. Boost Switch: Activates the Treble Boost feature of the Pistol Slapper (red LED lit). It also raises up the gain a bit as well. Only works went the pedal is on.

The Pistol Slapper is true-bypass.

This unit does not have a battery compartment and requires a power supply (not included). Power requirements: Regulated 9V DC with 12mA of current via standard 2.1mm connector with center negative (using a supply higher than 9V can result in damage to the unit). As with all boutique effects pedals, a high quality power supply is recommended (such as a ). The Pistol Slapper is safe to daisy chain with other pedals for power, but keep in mind that sharing power supplies with certain pedals can sometimes cause undesirable noise - daisy chaining with digital effects and time-based effects should definitely be avoided.

STEREO PREAMP/DISTORTION/VIBRATO/PHASER

A stereo pedal version of the preamp section from a vintage Revox reel-to-reel tape recorder, with our Model 33 Smooth vibrato built in to get some seriously wobbly tape sounds. Due to the popularity of the Reel Dealuxe as an "always on" sound for many Templo users, it became clear it was necessary to offer a stereo version aimed squarely at those using its unique sound for recording purposes.

So I put two Reel Dealuxes in the same box, got rid of the footswitches and added a few funky extras, including the two new switches, one of which reverses one of the vibrato's sweep direction and the other links both vibratos together to get some interesting unstable pulsing and lurching.

The PHASE switches add dry signal to the vibrato to get a phasing effect for more "swoosh" than "wobble"

Additionally, there is an "overload" light that responds to the signal, and gets brighter the more distortion is introduced.

This circuit is really special and adds a lot of color and fullness. It sounds great with guitar, bass and vocals, lending a warm vintage texture to anything that passes through it.

The Reel Deal has tons of volume on tap, and can drive tube amps into beautiful feedback. Capable of dirty fuzz, distortion, and sparkly clean. just don't expect it to sound like anything else you're used to.

Plug in a single mono input in either channel and it will be duplicated to the other channel.

You may also use a single TRS cable in either output to get stereo output from a single cable, or use separate TS cables for dual mono out.

Includes poster/instruction sheet.

DIMENSIONS: L94mm X W120mm X H50mm

Runs on standard 9V center negative power

Based on a classic coveted effect console from the 60's, this unit has kept the original analog flavor, while adding some much needed footswitch functionality.

Combining many unique effects in a handy, pedal-board friendly version, the Templo T2 has the following features:

PERCUSSION

-A percussion synthesizer with 4 different sounds that are triggered by the instrument attack.

BASS STRINGS

• A sub-octave generator with quick decay on initial pick attack

FUZZ

• A fuzz effect with parallel dry-blend option (Natural Amp)

WOW WOW

• A triggered filter effect with two fixed (cocked wah) color tone positions

ECHO REPEAT

• A percussive tremolo that resets with each note played giving the illusion of a delay effect.

The main advantage to this unit over a vintage unit (besides availability and price) is the handy footswitching arrangement:

The CANCEL footswitch true-bypasses the entire pedal.

The FUZZ footswitch toggles the fuzz effect, and:

-When the fuzz is bypassed, the Natural Amp setting is always on.

-When fuzz is engaged, the Natural Amp rocker switch toggles a dry blend in parallel with the fuzz

The WOW footswitch bypasses the modulation section, comprising the WOW-WOW, ECHO REPEAT and COLOR TONES 1 and 2 effects. These can be selected for use with the rocker switches and then bypassed using the footswitch.

This pedal is very fun, funky and colorful, imparting a vintage, somewhat lofi vibe to your sonic signature.

The T2 operates on a standard 18V DC center negative power supply.

We recommend running it from a dedicated power supply, as it may sometimes have issues with a multi-output supply.

All analog construction, with mechanical true bypass switching.

Only 200 will be made in this run.

Handmade in Canada.

ANALOG VIBRATO/ PHASER

A stereo version of our beloved Model 33, brought back fresh with stereo input/output jacks and dual XLR output.

A beautiful authentic analog vibrato that gives you everything from a slow warp akin to old VHS tapes or a Leslie cabinet, all the way to ultra-fast wobble. Goes down to ultra slow speeds, and up to an ultra-fast pulse.

Implements a sinusoidal LFO, for authentic vibrato, there is no delay involved.

Use the phase pot to mix in dry signal and get a phaser sound.

The red light jewel pulses to the speed of the vibrato,

Runs on 9VDC center negative standard power supply

DIMENSIONS: L120mm X W67mm X H56mm

Soft touch switching / buffered bypass

Hand Made in Canada

STUDIO STYLE DIODE COMPRESSOR (CLEAN, SMOOTH)

Sometimes you just need to get the job done. You don't need a million knobs or disco lights or a little fan that blows your hair back.

Well, this is that pedal. Like a good sound guy, you don't notice him when he's doing a good job.

The Outer Limit is a studio-style diode compressor using a charge pump to get 18V internal voltage and achieve very smooth, very linear compression, all the way to limiting.

It sports only two knobs to keep things simple. Input volume adds tons of clean volume, and determines how hard the compressor is triggered. Output volume simply attenuates the total output of the pedal after compression.

While it may be simple, there is still tons of flexibility. The three slide switches each have three positions, allowing for a wide range of combinations.

Attack controls how quickly the compression is triggered after the initial transient (string hit or loud signal)

Release controls how long the compression keeps the volume down for, with very quick and quite slow speeds.

The Dynamics control affects the ratio, or severity of the compression. At the top position it acts as a limiter, in the bottom switch position more as a subtle peak attenuator.

For a modest gentleman, it still has a bit of showmanship, as the light flashes along with the compression, allowing you to see when and how the effect is acting. For longer release times, the light stays on longer, for harder compression the light gets brighter.

Top-mounted power, 1/4" input and output jacks.

On the left side is our standard low impedance XLR output, to allow more useability.

Buffered bypass.

Uses standard 9V center negative power

(NOTE: Has a charge pump chip inside, so if used with other effects with a charge pump without isolation may cause interference noise or other issues)

Hand Built In Canada

DIMENSIONS: L120mm X W67mm X H56mm

COMPRESSOR After 3 years of research and development, it is finally ready!

Inspired by the joy experienced while using high-quality compressors when recording, this device is meant bridge the gap between guitar pedal and a rackmount unit.

For: • recording in the field, at home or in the studio • smoothing out podcast vocals for a professional sound • on your guitar or bass pedalboard The heart of it is a low-noise, high headroom, completely analog OTA compressor which alone is a versatile tool. What really makes the PSC an indispensable piece of gear are its features.

Equally adept at handling instrument and microphone signals, it features a combination input jack that accepts either standard 1/4" instrument cable or XLR.

Likewise, the OUTPUT allows you to use either instrument or XLR cable, even both at once.

With the addition of switchable +48V Phantom power, those attributes alone make this device a veritable multi-tool for music making, taking on the roles of preamp, active D.I, Mic-to-instrument converter AND condenser mic power supply before we even get to the compression function.

The compressor itself features: Completely analog circuitry, no digital simulations here!

• Attack, Release, Threshold, Ratio Controls

• Optional sidechain High Pass Filter (HPF) to reduce low end triggering.

• Bright switch to reintroduce lost high frequency content after compression

• LED VU that displays the sidechain response in real time

• DRY mix pot to blend compressed with uncompressed signal for parallel compression

• 1/8" Sidechain link jacks, to connect two units in stereo, use effects in the sidechain (EQ) and to use another signal to trigger the compression (sidechaining / ducking)

• BYPASS footswitch and top mounted jacks make for smooth pedalboard use.

Made of rugged folded steel, yet compact enough to snuggle into even tight pedalboards, the Pocket Studio Comp is a serious device designed to last

POWER: To ensure maximum utility, the PSC can be powered by filtered DC power supplies from 9-12 Volts of ANY POLARITY. This means you most likely have a power supply for it within reach in most music spaces.

It also can be powered by an internal 9V battery or the NOMAD amp's 9V power output for smooth field recordings.

Designed with utility and sonic quality in mind, the Pocket Studio Comp is going to be your new secret weapon.

DIMENSIONS: L125mm X W72mm X H65mm

A pedal version of the preamp section from a vintage Revox reel-to-reel tape recorder. This classic edition Reel Deal preamp faithfully recreates the phenomenal preamp from a Revox reel-to-reel tape recorder.

To the original circuit, I have added a tone switch called "Tape speed" that either:

• allows full frequency,

• cuts bass to focus on the mids, or

• cuts more bass to make a treble booster effect.

Additionally, there is an "overload" light that responds to the signal, and gets brighter the more distortion is introduced.

This circuit is really special and adds a lot of color and fullness. It sounds great with guitar, bass and vocals, lending a warm vintage texture to anything that passes through it.

The Reel Deal has tons of volume on tap, and can drive tube amps into beautiful feedback, just don't expect it to sound like anything else you're used to.

Includes poster and sticker.

DIMENSIONS: L120mm X W67mm X H56mm

LOWEST PRICE EVER! $100 OFF! NOTE: ONLY AVAILABLE IN NORTH AMERICA FOR NOW DUE TO LITHIUM BATTERY SHIPPING RESTRICTIONS.

Play it Everywhere, bring it anywhere.

This revolutionary Battery-Powered-Amp is changing the game. For those electric guitar players who love small tube amp sound but want something more rugged, portable and with modern updates, this ultra powerful solid-state amp has a warm JFET pre-amp into a vintage-style spring reverb. With additional input for a mic and a 9V output to power your pedals, performing anywhere just got that much easier.

CURRENTLY IN STOCK!

• 50 Watts of audio power

• Ultralight 10" Neodymium Speaker

• Two parallel instrument inputs, XLR input

• 9v 2500mA outlet with included cable to power your pedals

• CONTROLS:

Guitar volume - guitar tone - reverb mix - mic volume - reverb selector switch

• Real spring reverb

• Reverb switch determines if effect is applied to guitar, mic or both

• REVERB FOOTSWITCH jack

• LINE OUT for recording,to connect to a P.A. system or use as the FX loop out

• FX LOOP return to insert effects between preamp and power amp

• 19v Lithium-Ion Battery with charge percentage display, overcharge and reverse polarity protection.

• Custom Fast-Charger with international adapters

• Birch plywood cabinet

• Removable back panel for tone shaping and battery access

• Weight: 5.7kg (12.5 lbs)

Purchase Includes :

1x NOMAD Amp

-1x Lithium-Ion Battery 19v 8Ah

-1x Charger with international plug set

-1x 9V DC power cable to connect pedals

DIMENSIONS: 12"W x 14"H x 7"L

From the studio, to the stage, to the beach, to the street: play your guitar wherever you are.

A pedal version of the preamp section from a vintage Revox reel-to-reel tape recorder, with our Model 33 Smooth vibrato built in to get some seriously wobbly tape sounds. I have added a tone switch called "Tape speed" that either:

• allows full frequency,

• cuts some bass to focus on the mids, or

• cuts more bass to make a treble booster effect.

A pedal version of the preamp section from a vintage Revox reel-to-reel tape recorder, with our Model 33 Smooth vibrato built in to get some seriously wobbly tape sounds. I have added a tone switch called "Tape speed" that either:

• allows full frequency,

• cuts some bass to focus on the mids, or

• cuts more bass to make a treble booster effect.

The Limit switch introduces an optical compression of some of the higher frequencies to give a more squashed, muffled sound reminiscent of tape compression.

Additionally, there is an "overload" light that responds to the signal, and gets brighter the more distortion is introduced.

The Invert switch adds dry signal to the vibrato to get a phasing effect for more "swoosh"

This circuit is really special and adds a lot of color and fullness. It sounds great with guitar, bass and vocals, lending a warm vintage texture to anything that passes through it.

The Reel Deal has tons of volume on tap, and can drive tube amps into beautiful feedback. Capable of dirty fuzz, distortion, and sparkly clean. just don't expect it to sound like anything else you're used to.

Internal switches allow you to add more fuzz, and to connect both footswitches together so both effects are activated/deactivated simultaneously.

NOW INCLUDES AN ULTRA-LOW IMPEDANCE XLR OUTPUT!

Includes poster/instruction sheet.

Uses standard 9V power

LIMITED EDITION OF 50 hand made units ever. IN STOCK

FUZZ/OVERDRIVE/COMPRESSOR/EXPANDER

Starting from the visual inspiration of old gear and a vintage DIY circuit, the INCANDESCENT delivers a unique type of saturation. This pedal makes your harmonics shine!

The starting point is a CMOS overdrive with built in compression expansion from the same chip. After some tone tweaking and the addition of a powerful MOSFET boost on the input, it sings with rich harmonics and subtle tube-style warmth and sag.

Set the BIAS knob at its lowest setting for an almost-clean drive with bite when you dig in. Once you turn up the gain however, it gets aggressive quickly, without missing out on clarity.

The EXPAND/CONTRACT switch allows you two choose between two distinct voices.

In EXPAND mode, you will hear a crisper, clearer distortion sound that swells slightly with your pick attack, think the opposite of a compressor. Great for cutting through a mix or some searing lead tones.

CONTRACT mode is slightly more overdriven, and has a subtle pick-responsive compression similar to a tube amp sag.

And with the new DI out plus CABSIM (active EQ) you can get direct out sounds straight to a P.A. that sound more like an actual amp than our standard DI out.

OVERDRIVE light turns on a low brightness to indicate bypass, and then gets brighter to match your signal.

COMPONENTS:

GORVA mechano true-bypass stomp footswitches Gold-plated circuit traces High quality brand-new filter capacitors Vintage thru-hole resistors and capacitors. CD4007 CMOS chip BS170 MOSFET transistor RUNS ON STANDARD 9V DC center negative.

Mono input and output. XLR output

ONCE THEY ARE GONE NO MORE WILL BE MADE, however a standard (surface mount component) version will be made next year in larger quantities.

This is the Sycamore from Lantern Manufacturing.

At its core the Sycamore is a hard-clipping op amp-driven circuit, with a unique active EQ design. This pedal uses a standard 9VDC center negative power supply (no batteries). The controls are as follows:

Volume: controls the overall volume of the pedal. With any amount of distortion unity volume is somewhere around noon, without any distortion unity volume is found by turning the knob fully clockwise.

Distortion: controls the overall level of distortion added to the signal. Barely crack it open for overdrive-like tones, or open it up and be devoured.

Bass: a shelving EQ that affects frequencies between 74-600Hz, averaged around 100Hz. Turning the knob to the right or left from noon will boost or cut this range.

Middle: a standard EQ that peaks around 1100Hz. Turning the knob to the right or left from noon will boost or cut this range.

Treble: a shelving EQ that affects frequencies between 1900-13000Hz. Turning the knob to the right or left from noon will boost or cut this range.

Enjoy!

This is the White Oak from Lantern Manufacturing.

The White Oak is a dual/parallel fuzz with two uniquely voiced circuits, with a general emphasis on the middle frequencies (though not always). This pedal uses a standard 9VDC center negative power supply (no batteries). The controls are as follows:

Volume: controls the overall volume of the pedal. With any amount of GAIN unity volume is somewhere around noon. This may need to be adjusted depending on blend or GAIN settings.

Blend: controls the balance between the two fuzzes, Turning the knob to the right or left from center increases or decreases the presence of the comparator/square wave-style fuzz (left), or a vintage-style harmonic fuzz (right). Depending on your GAIN settings this may not be an even split between both fuzzes. Adjust to taste.

GAIN 1: controls the overall level of gain for a comparator (square wave) fuzz.

Tone 1: an EQ with a gentle mid boost at noon, and a bass or treble boost by turning the knob to the left of right, respectively.

GAIN 2: controls the overall level of gain for a vintage-style harmonic fuzz.

Tone 2: a unique EQ that isolates a mid-frequency band when turned to the left, and opens up the rest of the frequency spectrum when turned to the right. You can go from thrashy to completely burly. An easy way to remember this control is min = thin, max = fat.

Enjoy!

This is the Meadowsweet from Lantern Manufacturing.

The Meadowsweet is a “dimensional” chorus based on a quad pt2399 design - a chipset that was intended for echo and delay applications, but never chorus. You can use it for such of course, but you have to treat it just right. Since the Meadowsweet uses four pt2399s, that means it has four distinct voices, each with their own individual chorus/delay times (two shorter, two longer). This effectively makes the Meadowsweet a chorus ensemble - and a lush one at that.

The Meadowsweet also employs a standard and inverted LFO signal, with one of each set of pt2399s receiving a standard and inverted LFO signal, giving the modulation a sense of motionlessness. This is where we get the term "dimensional chorus".

The Meadowsweet achieves all of this using conventionally and readily available components, not BBDs or DSP (there's nothing wrong with either of those, I'm just not smart enough to figure them out). There are a wonderful number of pedals that can do what the Meadowsweet can do (and more!), but none that I know of that do it quite like it does. Simply put: it's not what the Meadowsweet does, but how it does it.

This pedal uses a standard 9VDC center negative power supply (no batteries), drawing roughly 137mA during operation (powering up may take more current). The controls are as follows:

Rate: controls the speed of an LFO and its inverted signal. Turn the knob to the right or left to increase or decrease the speed accordingly.

Depth: controls the depth of the chorus effect. Turning the knob to the right or left increases or decreases the strength of the chorus effect. A more subtle effect can be achieved by keeping the Depth knob below noon, and a lush soundscape opens up beyond this.

Bend: controls the delay time of the two PT2399 chipsets with longer delay times (one signal inverted from the other). Turning the knob to the right or left will increase or decrease the overall delay time. From fully counterclockwise up until around noon enriches the chorus effect, while past noon adds proportional reverb and delay to the signal just beyond the range of ‘slap back” echo. This control is called “Bend” because of its ability to create a tape-like “wow” effect when the Depth and Bend knobs are both set past noon clockwise. Essentially, the “wow” effect is dependent on the interplay between the Bend and Depth knobs - more Depth equals more “wow”, and vice versa. Adjust to taste.

Tone: controls a low pass filter that will cut out high frequency content as you turn it clockwise, darkening the tone of the delay lines (but not the dry signal).

Blend: controls the dry/wet balance of the effect. Dry signal is fully counterclockwise, chorus is at noon, and vibrato is fully clockwise.

Enjoy!

This is the Rowan from Lantern Manufacturing.

The Rowan is a “dynamic” flanger, capable of a multitude of unique effects from standard flanging and chorus, inverted flanging and chorus, “through-zero” flanging with standard and inverted signals, and even slapback echo and reverb with the ability to add gain or distortion to the pre-modulated signal for greater harmonic content.

The Rowan uses a unique non-BBD delay/echo chipset to achieve its modulation effects, with the delay times ranging from about 6msec-45msec, effectively making the Rowan a “high” flanger, with its assorted controls more than making up for the lack of lower (read: faster) flanging times.

This pedal uses a standard 9VDC center negative power supply (no batteries), drawing roughly 60mA during operation (initial power up may require more current). Power is required to pass signal, even when in bypass (a la Boss-style pedals). The pedal may also take a few seconds to power on - this is normal. The controls are as follows:

Rate: controls the rate of the flanging/chorus effect. The speed of the effect increases as you turn the knob to the right.

Depth: controls the depth of the flanging/chorus effect. The effect deepens as you turn the knob to the right. In general with flangers, it is preferable to have the Depth and Rate controls in opposite positions (low Rate, high Depth, and vice versa), but this is merely convention.

Manual: controls the delay time of the two delay/echo chipsets in unison (this will be explained in the “Zero” section). The Manual knob is calibrated in such a way that below noon (counterclockwise) you have your standard flanger time range, while above noon (clockwise) brings in chorus and slapback echo effects.

Regen: controls the amount of feedback for the delay/echo chipsets. Turning the knob to the right will increase feedback into self oscillation when beyond 3 o’clock.

Invert: controls the phase of the delayed/flanging signal. To the left is a standard flanger that is in phase with the dry signal and has a more subtle effect, while to the right you have a broader, more modern flanging sound. With the control set at noon you will effectively stop the modulated signal, which can be useful when using the Rowan as a resonant distortion. It is best to set this control either fully to the left or to the right for the “greatest” effect.

Push: controls the blend between your dry signal (counterclockwise) and a set gain distorted signal (clockwise) before the delay/echo chipsets. Flangers tend to “work” best when they have more harmonic content to filter out, so the more distortion in your signal before the flanger the “greater” the resulting flanging is. Adjust to taste.

Zero: a footswitch that, when engaged, will route the dry signal through an unmodulated delay line set in time with the modulated delay signal, which effectively eliminates your dry signal but allows for what is known as “through-zero” flanging, a sound which is actually more in line with what the original flanging effect sounded like. With the Zero footswitch engaged and with the Manual knob at or below noon and the Invert knob to the left (standard phase) your signal will drop out in time with the Rate, while having the Invert knob turned to the right (inverted phase) will bring out an incredibly lush wall of sound. The LED will be red when the Rowan is in standard mode, and blue while in Zero mode.

Enjoy!

This is the Marigold from Lantern Manufacturing.

The Marigold is a “daydream” phaser, capable of a multitude of unique effects from standard phasing, inverted phasing, phase shift vibrato, stair-stepped modulation, and tones ranging from classic to modern. Try it with a gain pedal of your choice before it in the signal chain to really push what the Marigold can do.

The Marigold uses OTA technology to achieve its phase shifting effects, modulated by an exponentiated triangle LFO when in standard mode, and a stair-step patterned exponentiated triangle LFO when in Steps mode, with cycle times ranging from roughly 15 seconds per cycle at its slowest, and around 200msec (5 times per second) at its quickest. The Marigold also features a unique “soft turn” rotary-like selector for its Stages and Paths controls, which allow you to create unique combinations of phase shifting and feedback not often heard in other phaser effects.

This pedal uses a standard 9VDC center negative power supply (no batteries), drawing roughly 30mA during operation (initial power up may require more current). Power is required to pass signal, even when in bypass (a la Boss-style pedals). The controls are as follows:

Mix: controls the balance of the dry signal (fully counterclockwise) and phase shifted signal (fully clockwise). Phase shift “vibrato” or Uni-Vibe-like sounds can be achieved by turning the knob to the right.

Stages: controls the selection of the number of phase shifted stages to be employed utilizing a “soft turn” rotary-like selector. Stages may be chosen between 4, 5, 6, 7, 8, 9, 10, or 12 stages, with each incremental selection increasing the number of notches in the phase shifted signal. Classic phaser tones can be achieved by selecting lower phase shift stages, while increasing the number of phase shift stages will “modernize” the sound, adding complexity.

Path: controls the selection of the number of stages to be regenerated or fed back to the beginning of the phase shifted signal utilizing a “soft turn” rotary-like selector. Stages may be chosen between 4, 5, 6, 7, 8, 9, 10, or 12 stages. Selecting between even or odd-numbered feedback stages in relation to the phase shift stage will create differing resonances, allowing for “through zero”-like tones. Unlike conventional phasers, where the feedback path is taken from the end of the phase shifted signal, the Marigold also allows you to select feedback stages from earlier in the phase shifted signal than the phase stage selection, which can create unique, hollowed-out resonances or “degeneration”.

Rate: controls the rate of the phasing effect. The speed of the effect increases as you turn the knob to the right.

Depth: controls the depth of the phasing effect. The effect deepens as you turn the knob to the right.

Regen: controls the amount of feedback for the phaser. Turning the knob to the right will increase feedback.

Steps: a footswitch that, when engaged, will put the standard triangle LFO under the control of a 32:1 square wave sample & hold circuit, giving the modulation a stair-step pattern. This can help create faux arpeggiation, ring mod-like tones, and atmospheric stutters depending on how you have the other controls set. The LED will be red when the Marigold is in standard mode, and blue while in Steps mode.

Enjoy!