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The NEW Phasor II is the newest and purest reincarnation of the classic Mu-Tron Phasor II™ phase pedal. The Phasor II provides all the classic swirl in a pedalboard-friendly size and powered by industry-standard 9V DC. We’ve also added true bypass and the ability to externally select between 4 and 6 stages of lush, optical phasing. The Phasor II sounds amazing!

Taking inspiration from Analog Man’s Prince of Tone overdrive, the Harby Noble Tone is based on the same schematic to give you the same organic-sounding tube distortion. Built in the USA with high-quality components. And the best part? No waiting list.

In 2005, Jim Weider produced what would become one of the era-defining overdrive/distortion pedals: the King of Tone. Built as a modified Marshall Blues Breaker (yet distinct in terms of diodes, chips, capacitors, and other components), the pedal is actually two overdrive pedals in a single box, giving guitarists a way to preserve their guitars’ tone clarity while adding substantial amounts of overdrive. To this day, the King of Tone remains Analogman’s most popular pedal.

To gain an audience with the King, though, musicians have to wait their turn. The demand for the King of Tone far surpassed the supply, not to mention the price. These days, a used King of Tone can sell for upwards of $1,700. Then, in 2012, Analogman released the Prince of Tone to help meet demand. Using the KoT’s higher gain circuit option as its base, the PoT maintained its predecessor’s transparency, and its natural-sounding, smooth, tube-style distortion made it an instant success. Today, though, the PoT itself is often out of stock, and Analogman is currently limiting customers to one unit each.

Enter the Harby Pedals Noble Tone. A faithful replication of the original circuit board and schematics, the Noble Tone shares the rich sound that makes both the King and Prince of Tone so desirable. Compatible with almost any amp, the Noble Tone pedal is responsive and lends itself to a wide variety of sounds and applications. Use the low drive settings to clean up the modes and maintain an even level when playing softly, or put it on a higher drive setting to get a brighter, crunchier effect, especially when using the distortion mode. It can easily be stacked with other pedals, but it can also be used by itself to create smooth harmonics.

A modern recreation of the green Sovtek Big Muff (7B/7C models) distortion, sustainer, fuzz pedal. Harby BMF is built using the highest quality components, including; solid anodized aluminum knobs, Neutrik input/output jacks, Japanese capacitors and resistors.

The pedal features volume, distortion, and tone controls. True bypass foot switch. The pedal operates at 9 volts DC using a standard negative center power supply.

Modeled directly after its predecessor’s circuit board, the Klon Centaur, Harby Centauri is built using the highest-quality components to give you that rich, clear Centaur sound without the Centaur price tag.

In 1994, Bill Finnegan made a legendary contribution to the guitar industry: the Klon Centaur overdrive stomp pedal. With a clear, well-articulated sound that’s free from synthetic, solid-state distortion and unnecessary heaviness, the Centaur became a favorite among guitarists everywhere, and its popularity hasn’t declined since.

Not everyone could get their hands on one, though. Finnegan only built 8,000 units, and these days, they command prices in the neighborhood of $7,000. So naturally, many guitarists opened up Centaurs to study the circuit board schematics in order to copy them and build their own. For years, these guitarists were thwarted by a thick layer of epoxy coating every Centaur circuit board. It wasn’t until 2009 that Martin Chittum finally managed to remove the resin from a Centaur and the schematics were revealed.

Like our fellow pedal junkies, we decided to recreate the Centaur to take up less space on your stomp board without sacrificing the original’s clarity and sweetness. Using the original circuit board design and parts that Finnegan himself relied on, the Harby Centauri can be used on any pedal board for a huge range of applications. Use it on its own to juice up your output, get a clean boost with the drive knob turned all the way down, or combine it with fuzz and distortion pedals to add a slightly thicker character to their heavy grit. And with its buffered bypass, the Centauri, like the original Klon Centaur, is never truly off—its mellow, clear tone can always be relied on in the studio and on-stage.

All that said, we’d never claim that the Centauri is a perfect sonic match to any Klon. Finnegan himself said that the sound varied from Centaur to Centaur, due to the nature of the clipping diodes he used. We’ve simply attempted to replicate the Centaur’s quality and richness through a faithful reconstruction according to Finnegan’s specifications. The results speak for themselves.

The NEW Mini Mu is the newest reincarnation of the classic Mu-Tron III™ envelope filter. The Mini Mu provides all the classic Jerry tone and Bootsy funk, in a pedalboard-friendly size and powered by industry-standard 9V DC. The MINI MU is a simple but effective and versatile envelope filter. Whether it’s guitar, bass, clavinet, or synths, the MINI MU will help you get the funk out. Although the MINI MU has less bells and whistles than its big brother the MICRO-TRON IV, this pedal still packs a mighty quack that is amazingly expressive and fun to play. The MINI MU sits well after clean boost and octave effects and before modulation, delay, and reverb. Overdrive and distortions may work well pre and post MINI MU and we encourage players to find the best combination for their taste in music and their style of playing. The MINI MU has the same quality, ruggedness, and reliability that makes Mu-Tron the first choice of professional musicians.

The Mu-Tron DISTOR-TRON++ is a diode based clipping effect which has great range of distrotion sounds. The DISTOR-TRON++ has both Germanium and Silicon diode pairs to allow for a more vintage distortion or a more modern distortion. The DISTOR-TRON++ also provides cpntrol to “sag” the voltage rails to the LM741 operational amplifier. This allows for an asymmetrical clipping stage which provides an even wider array of distortion sounds. The pedal is very flexible in terms of combinations between tone and saturation. The DISTOR-TRON++ sits well after wah-wah and octave effects and before modulation, delay, and reverb. While the DISTOR-TRON++ is designed to push the tubes on traditionally clean amps such as Fender blackface types, it can also push a Marshall into hyperdrive or even be used to “beef-up” the front end of sterile solid-state type amplifiers or mixing consoles. The DISTOR-TRON++ has the same quality, ruggedness, and reliability that makes Mu-Tron the first choice of professional musicians.

The Mu-Tron TREMU-TRON is an optical tremolo effect which can be used as a “clean boost”. It features the famous Mu-Drive preamp from the original Mu-Tron III envelope filter. By utilizing an 18 volt dual-rail internal power supply, the TREMU_TRON provides a crisp, clean signal and high headroom. The TREMU-TRON utilizes Mu-Tron’s patented opto-mod technology to provide classic, hi-fidelity attentuation without extra noise artifacts. The TREMU-TRON is designed to make non-tremolo tube and solid state instrument amplifiers to have the same rich tremolo found in vintage Fender and Vox amplifiers.

Treble Boost, Overdrive, Gain Pedal The Mu-Tron TUBETRON is an op-amp based overdrive effect which can be used as a transparent “clean boost” or as a “tube screamer on steroids”. The TUBETRON utilizes Mu-Tron’s patented opto-mod technology to create a “push-pull” type of parametric tone stack. It allows the pedal to be very flexible in terms of combinations between tone and gain. The TUBETRON sits well after wha and octave effects and before modulation, delay, and reverb. While the TUBETRON is designed to push the tubes on traditionally clean amps such as Fender blackface types, it can also push a Marshall into hyperdrive or even be used to “beef-up” the front end of sterile solid-state type amplifiers or mixing consoles. The TUBETRON has the same quality, ruggedness, and reliability that makes Mu-Tron the first choice of professional musicians.

Features: Treble Boost clean drive to push amplifier. Clipping and overdrives tones with accented mid-range hump.. Parametric treble and middle range EQ. LED (light-emitting diode) indicators to show the operating status of effects. 9V DC powered in rugged Mu-Tron enclosure. Controls: Middle controls low and mid-range EQ simultaneously. Treble controls the brightness and presence of signal. Drive controls the amount of “dirt” or “grit” applied to signal. Level controls overall output level of signal. Specifications: 1/4″ Input Jack 1/4″ Output Jack 9V DC Weight: 1 lb Dimensions: 4.75″ x 2.5″ x 2.25″ 1 Year Limited Warranty Made in the USA

Wombtone is back with some new tricks.

The Billy Strings Wombtone collects multiple styles of phasing in one place, using a rich, all-analog signal path. You can now control the phasing directly with your playing, for responsive and tightly-synced movement. If there’s a phase sound you’re dreaming of, it’s probably in here.

Made with Billy Strings

The Billy Strings Wombtone is our first and only signature pedal.

A couple years ago, we discovered that Billy had started collecting every Wombtone pedal he could find. It had become a part of his core sound back in 2014, before we discontinued it.

“I wanted to make sure that until I am an old man, I will have one of these.” – Billy Strings

We decided to work together to bring it back, and make it even better.

The Billy Strings Wombtone follows the loudness of your playing and uses it to manually control the phase.

Explore reactive ripples and wobbling waves, all tight-synced to the dynamics and nuance of your fingers. Or route the envelope to control any (or multiple) of the Wombtone’s knobs.

The Billy Strings Wombtone features advanced connectivity and customization options including Envelope control, MIDI, CV and Expression control, presets, and internal modulation of any or all its knobs.

What started as a revision to our Del Mar Overdrive, quickly took on a whole new character - something altogether unique. A pedal that was more than worthy in its own right. Introducing ‘Breakers Overdrive’ by Bondi Effects.

‘Breakers’ was inspired from our namesake, Bondi Beach. 'Bondi’ is aboriginal for “the sound of waves breaking on the rocks”.

While we could try to impress you with fancy cliches like "natural and amp-like", or "rich, focused, smooth overdrive", or maybe something really obscene like "transparent and organic” - and while we do feel the Breakers Overdrive is all of these things - we’d rather let you decide for yourself by watching the demo videos below.

FEATURES Clean Boost, Overdrive or a blend of the two. Dynamic and natural, responsive to your pick attack or volume knob. Internally boosted to 18 volts for maximum headroom and clarity. Toggle switch controls the amount of headroom and character of the drive. Powerful active tonestack, capable of 15dB of boost or cut Soft touch true bypass switching Current Consumption ~65mA

The Squish As is the compressor you can rely on to preserve all of the richness of your tone while bringing out nuance you might never have noticed before.

At its core, the Squish As features a best-in-class Blackmer® Voltage Controlled Amplifier (VCA) and True RMS Detector. Optical and JFET compressors are popular for their musical character; however, this character often comes with increased distortion, limited dynamic range, and a somewhat unpredictable transfer function. The high-end VCA and True RMS Detector deliver natural, high-fidelity dynamics processing. Use it to make notes sound more consistent, tame peaks, and boost subtleties; or add depth to your tone with parallel compression by setting the Ratio high and rolling back the Blend control. The Squish As is the perfect always-on compressor.

Full audio frequency bandwidth and a Sensitivity range of -6.3dBu to -46.3dBu make the Squish As suitable for a variety of input signals including bass guitar, high output pedals (up to +12dBu), and synthesiser. The -96dBu noise floor is low enough that the Squish As can be used anywhere in the chain. The variable Ratio from 1:1 (no-compression) to ∞:1 (limiting) can take you from transparent smoothness to brick-wall limiting. Up to 20dB of makeup gain on the Output control and a tilt-style Tone control will ensure that nothing is lost along the way.

The LEDs are not just for pretty colours. I've found that to understand what a compressor is actually doing, the most helpful thing is visual feedback. That's why I have added a gain reduction VU meter to the Squish As. The VU meter indicates the amount of gain reduction in decibels that is happening at any time. Squish As is the compressor you can actually understand.

The Squish As Compressor’s Attack rate is programme-dependent, meaning that the Attack is automatically set to a very musical rate based on the player’s input. Put simply, the harder you play, the faster the attack. The mathematics behind this are fairly complex, but some useful rules of thumb for Attack are:

3dB gain reduction will take approx. 42ms 6dB gain reduction will take approx. 20ms 10dB gain reduction will take approx. 15ms 20dB gain reduction will take approx. 5ms The Release will always be slow relative to the Attack, at a fixed rate of 125dB/s or 8ms/dB. Some useful rules of thumb for Release are:

3dB recovery will take approx. 24ms 6dB recovery will take approx. 48ms 10dB recovery will take approx. 80ms 20dB recovery will take approx. 160ms The resulting attack and release rates mean you will always have a slower release relative to the attack.

The PETE CORNISH G-2™ has been hailed as the most original sounding distortion unit available to guitarists in the Rock Arena. It features a four stage overdriven discrete transistor Class A circuit with additional Germanium components that generate much warmer sounding harmonics than anything else on the market. Within the huge tone generated by this unit, the original guitar sound and dynamics are present creating a much more musical effect than any other distortion pedal.

The G-2™ gives a higher level of overdrive for that classic cranked up Marshall sound found on most British rock records of the 70s (Led Zeppelin, Free, Bad Company etc.). The G-2™ with its warm Germanium qualities and higher gain starts at around the rhythmic crunch stage of the SS-3™ and continues through in controllable degrees to a rounded but dynamic lead.

The input to this unique device is our universally acclaimed High Impedance, Unity Gain, Class A, Buffer Preamp with it's superior RFI rejecting capability (to eliminate Radio Station interference) and Low Impedance output, allowing the use of extended cable runs from the G-2™ in bypass mode. The fixed High Impedance load presented to the Guitar allows the pickups to operate at their optimum, even when several effects units are connected after the G-2™. The Unity Gain Buffer also prevents "Ghost Distortion" being audible in Bypass Mode. This effect unit gets the most benefit from being fed into a clean, full frequency response amplifier and I recommend that when you receive your pedal you connect it up without anything else in line, just Guitar/Pedal/Amp, and discover the way the controls interact, both with themselves and the guitar/amp controls. Then adding the rest of your effects, you may find that you need to make slight adjustments to these as they are now being fed with a constant signal when the G-2™ is in Bypass Mode.

The PETE CORNISH SS-3™ is great for crunchy rhythm and a nice thick bluesy lead; the sound is very much like an overdriven vintage valve amp. The SS-3™ is currently being used by Noel Gallagher of Oasis, and is also a firm favorite of David Gilmour of Pink Floyd and Lou Reed. It has the best bottom end retention ever heard in an effect, whilst the mid-range is sweet and very transparent. The SS-3™ retains all the tonal nuances of your guitar and will make it come alive. It is subtle and yet capable of amazing power and sustain. Using the SS-3™ with a clean amp it is possible to progress from subtle overdriven amp sounds, through rhythmic crunch, up to a blues' lead. The tonal characteristics and dynamics of the guitar are maintained even when using this pedal at its maximum gain.

The input to this unique device is our universally acclaimed High Impedance, Unity Gain, Class A, Buffer Preamp with it's superior RFI rejecting capability (to eliminate Radio Station interference) and Low Impedance Audio output, allowing the use of extended cable runs from the SS-3™ in bypass mode. The fixed High Impedance load presented to the Guitar allows the pickups to operate at their optimum, even when several effects units are connected after the SS-3™. The Unity Gain Buffer also prevents "Ghost Distortion" being audible in Bypass Mode. Our effects get the most benefit from being fed into a clean, full frequency response amplifier and I recommend that when you receive your pedal you connect it up without anything else in line, just Guitar/Pedal/Amp, and discover the way the controls interact, both with themselves and the guitar/amp controls. Adding the rest of your effects, you may find that you need to make slight adjustments to these to compliment the constant signal provided by the SS-3™.

The LO-CUT control provides an attenuation of -20dB at 60 Hz when set fully Counter Clockwise. Set fully Clockwise the lo-cut control returns the frequency response to that of the original SS-2™.

The HI-CUT facility on the SS-3™ has been designed to provide an attenuation of -14dB at 6KHz when set fully Counter Clockwise. Set fully Clockwise it provides a +6dB Boost to the Harmonic Content of the signal. Settings of the HI-CUT andLO-CUT in-between CW and CCW will provide varying amounts of boost and attenuation: experiment to find your optimum settings.