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The Power Soak was the first commercial product by Tom Scholz. It wasn't named "Rockman": this trademark was introduced only in 1982 at the creation of the headphones amp. The Power Soak is therefore "Tom Scholz's Power Soak".

Though the Power Soak was not the first power attenuation device for guitar amps, it was the first to be 100% reliable, the first to respect the sound of the amp. Most of all, it was the first to include a volume control: the previous devices were only dummy-loads without setting.

The Sustainor is the heart of every Rockman rig. It is certainly the most complex and the most charismatic of the Rockmodules: its development required several years from a complete team of engineers, probably working separately on sections of the Sustainor.

Though its sound signature is immediately recognizable, the possibilities and versatility of the Rockman Sustainor are almost endless, still over twenty years later. Certainly the first high-end analog amp simulator ever built, the Sustainor is, still today, an outstanding device, far above the classical preamp image that some people have of it.

There is no denying that John Mayer’s album Continuum is one of the most influential albums for guitarists from 2006 onwards. The killer Strat tone is the result, among other factors, of using pedals like the Ibanez TS10 and the Klon Centaur. And it was the combination of these two classics that resulted in the Continuum pedal, the new release from Collateral FX.

But those who think the Continuum is just an attempt to reproduce the sound of the eponymous album are mistaken. The idea here is to bring the characteristics of two classics into one pedal. We took the best of both the TS10 and the Klon, perfected some details, put our own twist on it, and the result was a powerful tool.

With the Continuum, you can obviously achieve that Strat sound leaning towards John Mayer and Stevie Ray Vaughan, but you can go further, especially if you combine both channels and crank up the gain. You can also leave one of them on to add some color to the sound and push through solos with the other. The Continuum’s proposal is to bring that atmosphere for fans of John Mayer, of course. But if you’re not so keen on his sound, remember that the Continuum is an opportunity to have in one pedal the two most iconic overdrives in history.

Klon (R) & TS10 (L) circuit in one housing, made to obtain those John Mayer WTLI and 2019 tour live tones.

Gravity is our take on two all-time favorite overdrive circuits, the K-style circuit and a TS10 circuit all in one enclosure! A new dual overdrive specializing in mid push, Gravity will give you the ability to cut through the mix in any situation. Our inspiration for this pedal lies in its name, Gravity and also by the later live lead tones of John Mayer. In particular the outro solo tone in his song "Gravity", and intro in his song "Belief", where he stacks these two pedals to obtain that signature tone with a thick wall of mids. The TS10 is often used as the main lead tone and the K-overdrive is added as a second cascading gain stage, either as a pre drive into the TS10, or as a post drive. We have recreated the circuits in each pedal staying true to the original, but added switching options for additional tone shaping. We have kept both buffers that were used in the original designs in order to replicate the exact interaction between the two circuits.

The Gravity overdrive is divided into a side A (left) and a side B (right), separated by the order toggle switch in the middle which is used to flip the internal order of the effects and hence the signal path from guitar to amp.

Side A features the TS10 circuit with external knobs for DRIVE, TONE, LEVEL and a three position toggle switch labeled LOWS. The lows switch changes the bass response of the circuit. Internally you find dip switches (clipping, clarity, brightness and output boost) that further enables you to tweak your tone.

The side B features the K-circuit with external knobs for GAIN, TREBLE, OUTPUT and a two position toggle switch labeled CLIPPING. The clipping switch toggles between a pair of germanium or schottky clipping diodes.

Both sides can be used separately or stacked.

Introducing the Catalinbread Airstrip, a full-featured console preamp based on the Trident A-Range desk that gives you everything from rich cleans to amp-melting fuzz.

The Trident A-Range console dominated the UK recording scene in the late ‘60s to early ‘80s, due in part to just how good it made things sound. The heart of the beast consists of a discrete germanium-and-transformer-equipped preamp that can be adjusted to suit all tastes, from the tones of Lou Reed to the fuzzy freakouts of Frank Zappa. And of course, when pushed, console preamps distort, saturate and heave, dripping with harmonics and other desirable tonal artifacts. Our Airstrip distills these legendary tones into a stompbox-sized console preamp with a handful of extras on offer. A discrete op-amp based on a vintage UREI design pushes the front end of the console into blissful gain if you want it. On the back end, a tasteful treble filter sets the luminosity of the pre to suit your rig and a specially-selected transformer adds a touch of iron to the signal. Capable of every gain sound imaginable from warm, “mastered”-style cleans to gnarly collapsing fuzz, the Airstrip puts the mixing desk on your pedalboard in a much more manageable package.

The A-Range is a 2-channel rack-mountable version of the legendary Trident ‘A’ Range console. Comprising two independent channels, each with a microphone/line amplifier and four band equaliser, it is designed to process level instrument and incoming signals from a microphone or line level instrument and output to a recording device, such as a digital audio workstation or analog multi-track tape recorder.

A gruesome single knob adaptation of the dimed HM-2 chainsaw circuit, we’ve taken the classic death metal tone and tailored it to modern doom, sludge, and drone metal.

Thundering lows, punishing mids, and that unmistakable chainsaw grind, the Doomsaw is a visceral device designed specifically for downtuned guitar and bass.

Designed in collaboration with Nick Williams of Dunwich Amplification.

The HYDRA combines high-fidelity Reverb and Tremolo to add space and dimension to your guitar, bass, or keyboard signal. After the team at Keeley completed the ECCOS, we wanted to craft the perfect companion pedal, the tone of which had to make it impossible to turn off.

Keeley Hydra Stereo Reverb TremoloBathe your sound in Spring, Plate or Room Reverb, then add tap-tempo enabled Harmonic, Vibrato, or Sine Wave Tremolo with the press of a button. You can easily change the order of effects or the character of the Tremolo or Reverb with the HYDRA’s smart Alt Controls. You can even create an Infinite Hold Reverb Trail!

Save up to three presets with ease using our intuitive save feature. Engage Reverb Trails on the fly, no more internal dip switches. The Hydra can be used with pro remote switching systems and offers both TRS Expression Pedal and External Tap-Tempo inputs.

The HYDRA is a complete end-of-pedalboard solution that fits perfectly in any musician’s rig, regardless of genre. Experience next-level processing power in this pedalboard-friendly enclosure. The sky, or more appropriately, the ocean floor, is the limit with the new Keeley Electronics HYDRA!

View, download, and print the HYDRA manual here: Click here to view and download

HYDRA Features: Stereo high-fidelity Reverb and Tremolo effect pedal Dreamy and accurate sounding Spring, Plate, and Room Reverbs Vintage-voiced Harmonic, Vibrato, and Sine Tremolo 3 Preset locations On board or Remote Tap-Tempo Smart Alt Controls for Shimmer, Spring Age, Room/Hall Size Infinite Hold for Reverb trails Expression pedal can be assigned to any knob Effect Order, Reverb or Tremolo first, switchable on the fly True-Bypass or Trails switchable on the fly 9 Volt DC, 146mA ultra low-current design Made in Edmond, USA