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The Kochness Monster is a pared-down, throw-and-go, orange-clad warrior of the sonic night. Four delicious flavors of JAM pedal glory to get the job done in the service of ROCK! – Greg Koch

The Kochness Monster is Loose!

We are proud to share the culmination of a 15-year-long partnership between the legendary Greg Koch and JAM pedals, built on mutual love, admiration, and respect for each other’s work.

The Kochness Monster is Greg’s ultimate on-the-go remedy, designed with ease of travel in mind and equipped with the essential set of effects to get Greg comfortably through any gig or session scenario.

A unique and innovative feature of the Kochness Monster is the ability to sync the Delay Llama’s Tap Tempo to the Harmonious Monk, allowing you to control both units with a single tap. Experiment with the subdivision settings while in sync to create otherworldly rhythmic textures!

KNM SIGNAL CHAIN Lucydreamer Overdrive Eureka! Fuzz Harmonious Monk Harmonic/Amplitude tremolo Delay Llama Delay

Dimensions: L 40cm/15.75" | W17cm/6.69" | H7.3cm/2.87"

Weight: 1.65kgr/3.64 pounds

Power Consumption: 400mA @ 9V DC tip negative (power supply not included)

Ride the Kochness Monster and roam the vastness of tone.

Thanks to our friends at Fishman, we have found a way to outsource the building of the Gristle King III pedals. Tim Jauernig and Greg were involved to ensure quality, both in terms of construction and tone. As a result, we can offer a Gristle King pedal that provides the great clean boost and overdrive features as the handmade T.Jauernig pedals at a reduced price and increased availability. Can you dig it?

The ABR-OD is the only overdrive on earth with the specific EQ, clipping, and tonal balances preferred by guitarists JB Brubaker, Brent Rambler, and Dustin Davidson.

"Over the course of their 20+ year career, the members of August Burns Red have picked up on a thing or two about guitar tone. Together with Tallon Electric, they leaned in on their wisdom and experience to design the ideal overdrive pedal."

Technical Specs:

Soft Click True Bypass 9v DC, 2.1mm center negative power. Does not accept batteries. Power Consumption: 28mA Enclosure Size: 4.7" x 3.75" x 1.75"

This is the "Credence Clearwater Revival" style head; the earliest full-feature head in the Kustom line. If you look at the old CCR photos you will note they used 16-knob heads; the later K200B-4 head has 14 knobs so they were using these early K200A-4 heads. The extra two knobs are the Tremelo/Vibrato mix knob (selects Tremelo or Vibrato effect or a mix of both) and the Clipper Volume knob. Another advantage of these earlier heads is that ALL EFFECTS work on the LEFT CHANNEL unlike the later K200B-4 series where Reverb & Tremelo worked on the left channel and Clipper and Boost work on the Right channel. The Right channel on these early K200A-4 heads has no effects.

Features include: Two-Channels. Left Channel has controls for Reverb, Tremelo & Vibrato Mix, Speed, Intensity, Volume, Bright, Bass, Treble, Boost Level, Boost Volume, Clipper Level and Clipper Volume. Right Channel has controls for Volume, Bright, Bass and Treble. Each channel has High and Low inputs.

ca. 2000-2001 Dealer exclusive for Service Merchandise and Media Play stores Body:

Alder body with carved top Neck:

Set maple neck Rosewood fingerboard with dot inlays Clipped-ear headstock with white "Epi" silkscreen 2-ply truss rod cover with "Epiphone" inscription 22 frets 24.75 scale 1.65 nut width Binding:

Single-ply body & neck Electronics:

2 covered humbucker pickups 2 Vol & 2 Tone controls 3-way selector switch Hardware:

Chrome hardware Die-cast tuners Elevated pickguard Bell knobs Tune-o-matic bridge with stopbar tailpiece

It's an amp. It's a drive. It's a pre. It's a DI. ​It can do clean. ​It can do dirty.

​Micronaut is an incredibly musical and usable mini head. For tone shaping you'll find a tilt EQ tone control and a voice switch with two options. 'Mode I' is a cleaner, slightly scooped voice - very pretty & sweet with enough headroom to run a full pedalboard. 'Mode II' is the dirtier setting and changes the whole response of the amp. This is where the insane harmonic texturing comes out to play. You'll get increased touch sensitivity and an effortless transition from clean to dirty. It has the most complex distortion tones in our lineup ranging from light drive to shoegazy wild fuzz. It's so much fun here.

​​The really special part of this amp is it's unique line out. It's not taken from the preamp stage or resistively off the speaker tap like other amps - this one has a whole dedicated winding on the output transformer isolating it from the rest of the signal and it's own level control. The line out works together with an isolated reactive load whether a speaker is plugged in or not so you get the full power drive signal and response of the amp with all the natural EQ peaks and dips no matter what you plug it into (another amp, a pedal chain, a mixer, a DAW, etc)

One of our favorite uses is to run it in sort of a pseudo wet/dry stereo setup. Run your instrument into a cranked Micronaut feeding a dedicated 8 ohm speaker cab for 'dry' -- then take the line out and use it to drive a pedalboard full of modulation effects into another amp for 'wet'. It's crazy good.

Whether you're using it for DI as a perfect desktop pedal platform or to blast your favorite amp into huge power tube fuzz territory - it will be tons of fun. ​Micronaut touts the same level of high end parts and attention to detail as the more expensive silktone amps - Charles even spent a weekend visiting Soursound to workshop ideas with Bryan Sours and spec out the transformers needed to bring this amp to life. Beyond the hand-wound paper layer transformers you'll find real film & foil capacitors and custom heavy gauge solid core wiring all hand wired to a turret board and built in Sacramento, California.

Output: ~4W @ 8 Ohms Tubes: 1 x 12AX7, 1 x EL84 ​Transformers: Soursound Controls: Gain, Tone, Voice switch, Line out volume (rear) Dimensions: 9" x 7.75" x 6" @ 6.5 lbs

“What is there to say about an overdrive? They’re everywhere. Didn’t want to re-invent the wheel, just wanted to make a wheel that could sound beautiful... or rip faces off. I’ve always maintained that the best drive pedal is the one that drives you to the store to get p90s and a real amp. I wanted to make one that made me eat my words.”

-Charles Henry

The overdrive+ is an original circuit with a whole range of both familiar and unique tones - from low gain always-on tonal enhancer to ripping high gain lead machine. With a combination of JFETs, op-amps and a few diodes inside it really covers a lot of ground.

The op-amp is used for gain and buffering and is raised to around 30 volts so it never clips, even when another pedal is stacked in front. All clipping is crafted from the JFETs or the diodes.

​In addition to standard VOL, TONE, and GAIN controls you'll find a bass cut switch for perfectly tightening things up and a clipping mode switch to swap between symmetric or asymmetric clipping styles (symmetric is smoother, asymmetric is more natural and textured).

The strangle/raw boost is where it gets really cool. Think of this as the + part of overdrive+. It’s a very colorfully voiced dirty boost that adds gain and a ton of 2nd harmonic distortion to the signal. STRANGLE uses a resonant filter for a subtle cocked wah thing and RAW removes this filter turning it into a full range boost.

POWER INFO: Use a center-negative 9 volt DC power supply. Do not supply more than 9 volts. Current draw: ~30mA

The Silktone Fuzz has been updated with a lot more available gain and some cool new features:​ tone controls - these are part of the cleanup circuit so they shape the tone before heading into the fuzz. The bass shape goes from a tight and forward sound when turned down to full and round when turned up. The treble shape subtly rolls off the high end for a softer fuzz tone. The shaping is much more apparent at cleaner settings too. second footswitch - engages RAW mode bypassing the cleanup knob and tone controls to bring you back to full raw fuzz. This makes it a sort of dual fuzz to get a huge variety of sounds. updated taper of the “Cleanup” control is much smoother compared to the old version and the “Fuzz” control is much more usable now too allowing you to set post gain and shape the sound a bit or to set max fuzz level when cleanup is bypassed in raw mode. higher output volume than the original fuzz so it can be used to hit your amp harder whether in full fuzz or when cleaned up as a colorful germanium boost. updated power supply so the Fuzz+ can accept any 9V DC power source (center negative) and can be daisy chained with other pedals. An isolated power supply is no longer required.

The Nobels Sound Studio 1 is a portable stereo headphone amp with a selection of different sounds and effects. It’s an all analog guitar headphone amp that you could use as a preamp as well : – mono/stereo in and out – 5 different "channels“ : normal (clean without speaker emulation), clean 1 and 2 (two different eq/speaker emulations), OD and DIST, you can add the A440hz to the normal channel if you want to tune. – Driver and compression settings (on the right side of the box) – two analog effects that you can seperately turn on and set the level of : a slapback delay and a chorus, all analog with BBD chips. – main volume slider – SEND/RETURN effects loop and footswitch connector to switch the dist channel on and off. – powered by a unusual +6V/0/-6V power supply, or with 8 AA batteries – belt clip, of course, because it’s from the 80’s