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Memphis Vibrato was designed as the “small brother” of our Killer V. Lots of our customers have asked for a true pitch shifting amp-like vibrato pedal, without the drive section, and we delivered.

It features all analog LFO and true-to-the-original-amp 2-stage pitch shifting circuit powered from an internal voltage multiplier for high headroom and improved dynamic response. A clean period correct preamp with up to 20db boost takes you back to the late 50s / early 60s.

With the intensity and speed knobs you can add a subtle shimmer , or a pronounced 3D acoustic image and musical feel with ear- pleasing vibrato effect for instant classic Lonnie Mack / Robert Ward sounds!

ALL WET – DRY / WET toggle switch selects between 100% modulated signal or places the dry unmodulated signal in parallel with the modulated signal. The latter setup was found in some of the original amps through “stereo” inputs and yields whirling phaser / vibe sounds.

The Vintage Wah is a faithful reproduction of the classic "Clyde McCoy" wah pedals of the late 1960's. Using NOS and recycled vintage components each part is carefully matched to each individual unit for the optimum tone and performance.

These units are comprised of two pedals - Expression Controller & Head Unit.

The Head Unit contains the circuitry and uses an NOS 1970's CTS potentiometer which controls the sweep of the wah. When the toggle switch is the down position the sweep is controlled by the Head Unit and acts as a "cocked wah / set sweep" for classic cocked wah effects like the guitar tone in "Money For Nothing". It works great as a filter for your guitar tone.

The Expression Control also uses a NOS 1970's Centralab potentiometer that allows you to use the pedal as a standard wah-wah when the toggle switch is in the up position.

Each unit is loaded with a variety of vintage components, so each wah is unique in the parts used, yet the ultimate tone is carefully tested for consistency. So no matter what combination of parts are used in the pedal, they all have passed the tone tests and are verified for equal sound.

These units will contain the following components -

Handwound Halo Inductor

NOS BC109, BC209, BC549 or similar transistors

NOS 1978/9 CTS 100k potentiometer (Head Unit)

NOS 1973 Centralab 100k potentiometer (Expression Controller)

1950-1970's .01uf paper in oil capacitors

NOS green Arco or Mullard Tropical Fish .22uf capacitors

Philips or Sprague 4.7 electrolytic capacitors

1962 Philips / Piher carbon film resistors

True Bypass Footswitch

These units are built to the original vintage specs, so they do not work well with vintage style germanium Fuzz Face pedals after them. There is an adapter kit made by FoxRox called the "FoxRox Wah Retrofit" this can be wired in to add a buffer circuit to the wah which will then allow you to run a germanium fuzz after the wah unit. Running a silicon Fuzz Face works just fine or a germanium fuzz before the wah unit works as well. This is just part of the circuit design and I always stay as true to the original circuit as possible with my pedals.

Each R2RGeMaster features:

Dallas Rangemaster circuit modified with "Range" control

AC107 or OC44 (when available) germanium transistors

Vintage CTS, Centralab, Piher or Stackpole potentiometers

Philips or Sprague electrolytic capacitors

1960's Sprague Black Beauty or Bumblebee (when available) input capacitors

1960's Sprague Black Beauty or Bumblebee (when available) output capacitors

Allen-Bradley 1/2w, 1w & 2w carbon comp resistors

True Bypass switch

Handwired on phenolic terminal strip

Vintage Daka-Ware control knobs

Hammond 125b enclosure in Matte Black finish

The R2R Replica Series are a part for part build of an original Dallas Rangemaster. Each component is an identical to what was used to build the Rangemaster in the 1960's. These Replica units are as close to an original as possible.

Each Replica features -

1960's UK made Mullard OC44 black glass germanium transistor

1960's UK Mullard OC71 transistor also available by request

1960's Egen or Welwyn "Pre-Set" bakelite wirewound or carbon potentiometer

1960's Plessey, Hunts or other UK made 50uf capacitors

1960's Hunts, Erie or Aerovox mouldseal input and output capacitors

1960's Erie type 108 & type 109 carbon ceramic resistors

1960's Philips (Holland) solid core wire

Handwired on phenolic terminal strip

Each One Knob Treble Booster features:

True to original Dallas Rangemaster circuit

AC107 germanium transistors

Vintage CTS, Centralab, Piher or Stackpole potentiometer

Philips or Sprague electrolytic capacitors

1960's Sprague Black Beauty or Bumblebee (when available) input capacitor

1960's Sprague Black Beauty or Bumblebee (when available) output capacitor

Allen-Bradley 1/2w, 1w & 2w carbon comp resistors

True Bypass switch

Handwired on phenolic terminal strip

Daka-Ware control knobs

Hammond 125b enclosure in Blue, Chrome or Raw Aluminum

​

Each Amptop Treble Booster features:

AC107 or OC44 (when available) germanium transistors

Vintage CTS, Centralab or Stackpole potentiometer

Philips or Sprague electrolytic capacitors

6 position rotary input capacitor switch with paper in oil or mylar audio grade capacitors

1960's Sprague Black Beauty or Bumblebee (when available) output capacitors

Allen-Bradley 1/2w, 1w & 2w carbon comp resistors

True Bypass switch

Handwired on phenolic terminal strip

Daka-Ware control knobs

This germanium Pre-Amp boost is a reproduction of a rare 1950's Hofner Preamp unit. It was designed to be used in the auxiliary input of the typical 1950's home's stereo hifi console or tape recorder (all which would be vacuum tube based) and allow a guitar to be plugged in and amplified. Effectively making your home radio into a guitar amplifier. The only modifications to the circuit are a volume control and to remove the shock protection capacitor. That capacitor was in place to eliminate the possibility of being shocked by a "hot chassis" radio. In pedal form it is not needed, so we bypassed that section. the Volume control allows you to dial in the amount of boost this circuit provides.

As a pedal this circuit is a fantastic clean or dirty boost. Into a clean amp and lower volumes, it is a germanium loud button! It just takes your signal and makes it quite a bit louder and sweeter. Into a dirty amp, it pushes the signal into further overdrive. With the volume control ay max into a dirty amp, it sounds like a vintage tweed amp on the verge of imploding into itself.

Each Pre-Amp features

Point-to-point thru-hole construction

Vintage 1960's Philips AC107 transistor

Vintage CTS, Stackpole, Clarostat potentiometer

NOS Philips electrolytic capacitors

1960's Wima TFF capacitor

NOS Allen-Bradley carbon comp resistors

Housed in a hammertone gray 125b enclosure with Fairchild reproduction knob and dial plate

The Treble Booster Professional features my favorite modifications to the Rangemaster circuit. These include larger output cap value for wider frequency range & increased potentiometer value matched with higher gain transistor for "hotter" voicing.

Each Treble Booster Pro features:

Modified Dallas Rangemaster circuit modified with a 6 position tone switch

Mullard OC45 germanium transistor or Mullard OC202 silicon transistor

Vintage CTS, Centralab, Piher or Stackpole potentiometer

Philips or Sprague electrolytic capacitors

6 position rotary input capacitor switch with paper in oil or mylar audio grade capacitors

NOS West-Cap, Astron or other PIO output capacitor

Piher & Allen-Bradley 1/2w, 1w & 2w carbon comp resistors

True Bypass switch

LED on/off indicator

Handwired on phenolic terminal strip

Daka-Ware control knobs

Hammond 125b enclosure in hammered finish

Each 2 Knob Treble Booster features:

Dallas Rangemaster circuit modified with a 6 position tone switch

AC107 or OC44 (when available) germanium transistors

Vintage CTS, Centralab, Piher or Stackpole potentiometer

Philips or Sprague electrolytic capacitors​

6 position rotary input capacitor switch with paper in oil or mylar audio grade capacitors

1960's Sprague Black Beauty or Bumblebee (when available) output capacitors

Allen-Bradley 1/2w, 1w & 2w carbon comp resistors

True Bypass switch

Handwired on phenolic terminal strip

Daka-Ware control knobs

Hammond 125b enclosure in hammered finish

The Si Distorter is a two transistor fuzz, featuring my favorite aspects of both the 1970's silicon Fuzz Face circuit and the 1970's silicon Schaller Fuzz. These two vintage fuzzes were similar in many ways, yet had very distinct tonal differences. The Si Distorter blends them together into a unique fuzz that sounds like both and neither at the same time.

These fuzzes are extremely reactive to changes of your guitar's volume control. You can get tones ranging from crystal clean, to bright overdrive and all the way to massive fuzz sounds all from rolling back your guitar volume.

Each Si Distorter features: ​ Pair of hand selected vintage silicon transistors

*1960's/1970's Siemens BC109B - while supplies last

Vintage CTS, Stackpole or Centralab potentiometers

Philips, Siemens, or other vintage capacitors​

NOS 1960's Piher, Allen-Bradley & Philips resistors

LED on/off indicator

Vintage syle replica circuit board

Fuzz Face style replica knobs

The Ge Distorter is a two transistor fuzz, featuring my favorite aspects of both the 1960's germanium Fuzz Face circuit and the 1960's germanium Schaller Fuzz. These two vintage fuzzes were similar in many ways, yet had very distinct tonal differences. The Ge Distorter blends them together into a unique fuzz that sounds like both and neither at the same time.

These fuzzes are extremely reactive to changes of your guitar's volume control. You can get tones ranging from crystal clean, to bright overdrive and all the way to massive fuzz sounds all from rolling back your guitar volume.

Each Ge Distorter features: ​ Pair of hand selected vintage germanium transistors

*1960's Siemens AC151 / AC121 - while supplies last

Vintage CTS, Stackpole or Centralab potentiometers

Philips, Siemens, or other vintage capacitors​

NOS 1960's Piher, Allen-Bradley & Philips resistors

LED on/off indicator

Vintage syle replica circuit board

Marshall style replica knobs

​

he Supa MKII Fuzz is my take on both the Sola Sound Tone Bender MKII* and the Marshall Supa Fuzz*. These pedals represent my favorite combination of component choices and modifications of these two classic fuzz circuits.

The Professional model is built to the exact specs of the original, but in a more pedalboard friendly Hammond 125b enclosure. This model features modern updates like - True bypass switching, DC jack and led on/off indicator light. Just like the original this pedal has an external Q3 Bias control for a wider array of tones.

Each Supa MKII Professional features:

3x Black Glass OC71 NOS germanium transistors

Vintage CTS, Centralab or Stackpole potentiometers

Philips or Sprague electrolytic capacitors

1960's Wima TFF, Philips Mustard Cap or ERO Foil capacitors

1960's / 70's Piher 1/2 carbon film resistors

True Bypass Footswitch

Handwired on phenolic replica PCB

Red LED On/Off indicator

The MKI Professional is a pedalboard friendly version of my MKI Fuzz, with a few expanded features

These pedals are still 100% vintage & NOS parts, hardwired point-to-point on eyelet board.

Added features include a MKI / Zonk Machine switch, 9v dc jack, led on/off indicator & pulldown resistors to eliminate pops when switching

Each MKI Pro Features:

3x germanium transistors

*OC75, 2G308, 2G378B when supplies allow

*OC71, 2G308, 2G308

1960's CTS or Stackpole 500k & 50K potentiometers

Hunts / Sprague Input capacitors

NOS ERO KT1801 .1uf capacitors

NOS Piher & Allen-Bradley resistors

True-bypass footswitch w/ pulldown resistors

Replica Zonk Machine Knobs

The MKI Fuzz is as close as possible to recreating the legendary MKI Tone Bender*. Each part is carefully hand selected and matched to bring you the finest vintage tone.

Each MKI Fuzz features: ​ 3x germanium transistors - Philips OC75, Texas Instruments 2G308, Texas Instruments 2G378B

1960's CTS or Stackpole 500k & 50k potentiometers

1960's Hunts or Aerovox mouldseal input capacitors

1960's Hunts or Wima .1uf capacitors

1960's Erie Type 109 & Type 9 / Allen-Bradley resistors

Vintage style Carling footswitch

Replica wedge enclosure in hammered green / textured black

AC-30 HAND-WIRED GUITAR AMPLIFIER In the search for the essence of the classic vintage AC30 amp sound, we conducted a detailed analysis and study on mint condition AC15 and AC30s from the 1960s to truly uncover and understand the inner workings of these legendary amplifiers. The culmination of these efforts has resulted in the emergence of the new VOX AC Hand-Wired Range of amplifiers: the greatest VOX amps we have ever produced.

The rarity of vintage amplifiers contributes significantly to their high value, but equally impactful is the distinctive sound inherent in vintage amps. Despite the AC30 being manufactured with nearly identical circuitry since the 1960s, the character of vintage units is often described as being almost beyond description, possessing a rich and musical quality that i s equally unmistakable and mysterious. We aimed to unravel the secrets of this sound, bringing the vintage magic to the musicians of today.

The Hand-Wired series reproduces the vintage VOX tone through meticulous research. A diverse lineup caters to the individual preferences and needs of discerning guitarists. The series includes a 30W combo is available featuring Celestion Alnico Blue speakers.

1. Searching for the classic VOX Vintage Sound

1.1 Revision of the Power Supply Circuit Contemporary power supplies aim for stability by minimizing voltage fluctuations, resulting in a reliable power source. In contrast, vintage amplifier power supplies exhibit fluctuations that respond to the large movement of speakers, giving the distinctive “compression” and “sag” sensations associated with vintage amps. In our research, we measured the power supply circuit of many vintage AC30s and used these to help design an entirely new power supply to replicate these vintage tone and performance characteristics.

However, merely mimicking the vintage characteristics can lead to the generation of undesirable tones, particularly”ghost notes”–extraneous pitches unrelated to the actual played notes especially at high volumes. Faced with the dilemma of prioritizing sound quality or addressing ghost notes, the previous AC30CC2 model incorporated a switch to toggle the power supply’s smoothing circuit. With the newly designed power supply circuit, the new VOX Hand-wired amplifiers address ghost notes without compromising sound quality and responsiveness, navigating the delicate balance between the two considerations in a truly musical way.

1.2 Output Transformer The output transformer contributes significantly to the classic vintage VOX sound. Even if the specifications are the same, saturation distortion in the transformer section can add to the pleasant harmonic components of vintage amplifiers. However, as this distortion cannot be precisely measured by the specifications of the transformer, we embarked on a program of extensive prototyping to develop custom transformers with the essential vintage sound characteristics required

1.3 Cabinet We carefully examined the thickness of the materials used, as the vintage AC30 employed slightly thinner cabinet materials, contributing to a rich and expansive midrange. Our new cabinet design employs the same thickness of material as the vintage amp, helping to deliver a faithful sound reproduction.

2.Practical Features While it was important to get as close as possible to the specifications and sound of the 1960s models, our approach was to maintain simplicity while incorporating practical features for contemporary guitarists.

2.1 Spring Reverb In contemplating what could enhance the immersive quality of a guitar amp, a very high-quality spring reverb unit was considered a “must-have” to achieve that magic vintage sound.

2.2 FX Loop Modern guitarists love to combine various effects to create their individual sound. However, issues can arise when combining distorted amps with spatial, modulation, and pitch-shift effects. Distorting these effects can muddy the sound. To address this, an FX loop was integrated, allowing for a clean output of effects.

2.3 Speaker Out A relatively simple yet significant addition was made to the AC15 and AC30 equipping the built-in speakers. Easily removed collection cables allow for the straightforward connection of an attenuator-perfect for situations where lower volume levels are required.

AC-10 HAND-WIRED GUITAR AMPLIFIER In the search for the essence of the classic vintage AC30 amp sound, we conducted a detailed analysis and study on mint condition AC15 and AC30s from the 1960s to truly uncover and understand the inner workings of these legendary amplifiers. The culmination of these efforts has resulted in the emergence of the new VOX AC Hand-Wired Range of amplifiers: the greatest VOX amps we have ever produced.

The rarity of vintage amplifiers contributes significantly to their high value, but equally impactful is the distinctive sound inherent in vintage amps. Despite the AC30 being manufactured with nearly identical circuitry since the 1960s, the character of vintage units is often described as being almost beyond description, possessing a rich and musical quality that i s equally unmistakable and mysterious. We aimed to unravel the secrets of this sound, bringing the vintage magic to the musicians of today.

The AC-HWR series reproduces the vintage VOX tone through meticulous research. A diverse lineup caters to the individual preferences and needs of discerning guitarists. The series includes the AC10HWR1 compact combo amp, designed for lower output use.

1. Searching for the classic VOX Vintage Sound

1.1 Revision of the Power Supply Circuit Contemporary power supplies aim for stability by minimizing voltage fluctuations, resulting in a reliable power source. In contrast, vintage amplifier power supplies exhibit fluctuations that respond to the large movement of speakers, giving the distinctive “compression” and “sag” sensations associated with vintage amps. In our research, we measured the power supply circuit of many vintage AC30s and used these to help design an entirely new power supply to replicate these vintage tone and performance characteristics.

However, merely mimicking the vintage characteristics can lead to the generation of undesirable tones, particularly”ghost notes”–extraneous pitches unrelated to the actual played notes especially at high volumes. Faced with the dilemma of prioritizing sound quality or addressing ghost notes, the previous AC30CC2 model incorporated a switch to toggle the power supply’s smoothing circuit. With the newly designed power supply circuit, the new VOX Hand-wired amplifiers address ghost notes without compromising sound quality and responsiveness, navigating the delicate balance between the two considerations in a truly musical way.

1.2 Output Transformer The output transformer contributes significantly to the classic vintage VOX sound. Even if the specifications are the same, saturation distortion in the transformer section can add to the pleasant harmonic components of vintage amplifiers. However, as this distortion cannot be precisely measured by the specifications of the transformer, we embarked on a program of extensive prototyping to develop custom transformers with the essential vintage sound characteristics required

1.3 Cabinet We carefully examined the thickness of the materials used, as the vintage AC30 employed slightly thinner cabinet materials, contributing to a rich and expansive midrange. Our new cabinet design employs the same thickness of material as the vintage amp, helping to deliver a faithful sound reproduction.

2.Practical Features While it was important to get as close as possible to the specifications and sound of the 1960s models, our approach was to maintain simplicity while incorporating practical features for contemporary guitarists.

2.1 Spring Reverb In contemplating what could enhance the immersive quality of a guitar amp, a very high-quality spring reverb unit was considered a “must-have” to achieve that magic vintage sound.

2.2 FX Loop Modern guitarists love to combine various effects to create their individual sound. However, issues can arise when combining distorted amps with spatial, modulation, and pitch-shift effects. Distorting these effects can muddy the sound. To address this, an FX loop was integrated, allowing for a clean output of effects.