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Born to Revolve.

There is something uniquely powerful about the sound of a vintage rotary speaker system. The organic chorusing as the treble horn and bass rotor start speeding up. The grit of the internal tube-driven amplifier, creating additional harmonics that spin around the room. Plug into Lex, close your eyes, and be transported by this classic sound, recreated with astonishing realism and depth for your pedalboard.

Complete Rotary Speaker System.

Lex provides you with a complete, accurately reproduced rotary speaker system: the low-frequency bass rotor, the rotating treble horn, the tube-driven amplifier, finely tuned microphone placement, and all the complex sonic interactions between these elements. Powerful, intuitive controls mean you can quickly dial in just the customized sound you desire.

Classic Sound, New Features.

Our second generation Lex gives you the same rich rotary sounds of our original and adds significant new features, incorporating technological advancements, hardware improvements and design enhancements to give you additional flexibility, power, and ease of use on stage and in the studio.

User Interface - A more powerful and intuitive user interface gives you instant control over mic position and distance, dry level, acceleration speed, volume boost/cut, and easy customization of rotor speed. Everything you need for the full rotary speaker experience is at your fingertips.

MIDI - Full MIDI implementation means you can control just about every switch, knob, and setting remotely by sending MIDI commands from your controller or DAW via Lex’s EXP/MIDI jack or USB-C connection. Rotor speed can be synchronized via MIDI Clock Sync, and the sync setting can be saved for each preset. 300 MIDI preset locations are available for loading and saving your favorite settings.

Hardware Improvements - A premium analog JFET input circuit ensures superb responsiveness to your playing, and you can select mono or stereo input with the flick of a rear panel switch. All this, plus a new ARM DSP chip provides more processing power for every sonic nuance, with less energy consumption on your pedalboard.

Tone Controls

SOUND DESIGN

Our goal with Lex was to create the most realistic sounding, flexible rotating speaker effect ever fit within a pedal. As part of that, Lex features a full suite of practical controls to help you shape your rotary tone to your heart’s content.

A major part of that is Lex’s dedicated Horn Level control, which adjusts the output level of the high frequency rotating horn. Turn it up for added output that will help your rotating effect cut through the mix, or dial things back to mellow out Lex’s higher frequencies.

For this new generation of Lex, we’ve added a Dry mix control, which allows you to add more dry mix to your signal for a cleaner, clearer tone — or go full wet, and truly immerse your signal in rotating speaker goodness.

For added flexibility, we’ve also included a Volume knob for control over Lex’s significant +/-6dB boost/cut — perfect for dialing in the best level for a live or studio mix.

Mic Controls

The smallest changes in how a rotary speaker is mic’d can have drastic changes on its tone. Lex’s offers you all of the flexibility of different mic setups without ever needing to worry about setting one up.

Want a more pronounced rotary effect? Bring Lex’s stereo mic setup closer for more prominent modulation, or back things up a bit for a further mic setup that brings more ambiance and space to your sound.

A dedicated mic position switch also lets you decide between miking the partially covered front of the rotary speaker, for a “woodier” tone — or the exposed rear of the cabinet for a stronger modulation tone.

Our new generation Lex makes it easier than ever to dial in the speed you need.

Seamlessly shift between a slow or fast rotating speed with the dedicated Slow/Fast switch. Want to bring things to a full stop? Press and hold the Slow/Fast switch to gradually brake the rotary system — and let go to ramp back up to your chosen speed.

Lex’s dedicated Ramp switch lets you choose how fast things slow down and speed back up when changing speeds or when braking the rotary system.

Dialing in your individual slow/fast speeds is simple: press the Slow/Fast footswitch to select your desired setting. From there, adjust the Speed knob to the desired speed for this mode. Press the footswitch again to go back to the other mode and set the Speed knob for that mode. Now Lex will smoothly transition between these two speeds when you alternate Slow/Fast modes.

Rotary Brake Press and hold the Slow/Fast switch to put the brakes on.

The Lex rotary will wind down and stop. When at rest, the horn and drum “brake angle” is optimally positioned for consistent results.

Release the Slow/Fast switch and the rotary system will begin to spin again.

Preamp Drive

At the heart of Lex’s rotary speaker is a tube preamp, ready to be pushed to add some grit to your tone.

Lex’s Preamp Drive knob lets you control the drive of the rotary cabinet’s tube preamp and phase inverter stages. Set it to lower settings for a sparkly clean tone, or push things up a little bit to add some tasteful texture to your rotary tone.

Have you ever sat in a barber’s chair wishing your tone was as slick as your freshly shaved upper lip? With the Barbershop Overdrive on your pedalboard, you could keep your moustache and sound good doing it.

Less is more with this simple, original design. Handmade from JFETs matched to specs, this versatile pedal will treat your pickups with the respect they deserve. In return, they’ll thank you with some of them sweet tones.

SAG

The Sag control reduces thevoltage to the amplifiers asyou turn it counter clockwise, giving additional control over the character and feel of the saturation. The lower the Sag, the browner the sound. Full voltage is applied when the control is set fully clockwise. It is at this setting that the pedal has the potential to be its cleanest and loudest.

DRIVE

Sets the interstage gain of theamplifiers. More gain meansmore distortion. The wide op- erating range allows you to go from an almost clean gain to a tasty rich overdrive.

TONE

A 3-position switch allows to select between different flavours of high cut. In the middle, there is no cut, like the classic Barbershop of days passed. To the right, a subtle high cut to tame ever so slightly the feeling of bright- ness accompanied with the Barbershop. To the left, a more extreme cut for those times when you want to delve into your dark side.

VOLUME

Controls the output volume of the pedal while keeping the effect unchanged. This is where you have plenty of room to boost.

NOTES ON POWERING

The Barbershop Millenium Overdrive was designed to operate using your typical centre negative, regulated 9-9.6 VDC power supply. The pedal is protected against reversed polarity. The pedal will function with voltages up to 18 VDC but the char- acter of pedal will drastically change. The higher the voltage, the less drive you will have. Always check your power supply for proper voltage and polarity before connecting. There is no battery connection inside the pedal.

TECHNICALS

input impedance - 1 MΩ output impedance - < 5 kΩ power supply - 9 to 9.6 VDC current draw - 5 mA PHYSICALS true true bypass 1/4” mono input/output jacks 2.1mm DC connector 4.4” x 2.7” enclosure dimensions

Colortone’s ‘Spring Reverb’ pedal is our classic emulation of a Spring Reverb tank.

While NOT actually a real electro-mechanical spring reverb, neither is it a clean digital reverb. The Colortone ‘Spring Reverb’ pedal emulates the warm vibe of a 70’s style classic tank verb, a little grainy and analog in texture, adding a color, depth and liveliness to your tone.

‘Spring Reverb’ mimics the early acoustic reflections of a tank unit with an initial reflection time of around 0.5 seconds.

Available with a white or black powdercoated aluminium base.

CONTROLS

BLEND Mix/adjust the amount of reverb in the output signal TONE Control the brightness of the reverb effect from a bright decay to something a little darker and full bodied. DECAY Adjust Decay time between 0.5 and 3 seconds

BUILD

Switchcraft 1/4” Jacks Hand crafted Etched faceplate Brushed Silver knobs Black or White Powdercoated aluminium enclosure avaliable True Bypass FootSwitch with brushed aluminium nut Red Indicator LED

TECHNICAL

9V DC (Centre Negative) Power (No Battery) Input Impedance = @ 100k Output Impedance = Less than 10k Power Consumption = 110mA NOTE: External 9V DC power Only. Does Not take a 9V Battery POWER SUPPLY NOT INCLUDED

Because the pedal designs are Acid Etched by hand each unit is a unique creation.

The process, by its ‘hand crafted’ nature, bestows each pedal with its own unique charming defects, adding a sense of nostalgia and something ‘re-found’ to the resulting design.

Our flagship fuzz pedal can be found on thousands of pedalboards around the world and has rocked countless stages from stinky suburban basements to Madison Square Garden. Twice.

The Hoof is loosely based on the classic green Russian fuzz circuit and features a hybrid Germanium/Silicon design, pairing maximum tone with maximum temperature stability not found in finicky and expensive vintage units. We hand-match our NOS Germanium transistors to exacting specifications for pedal-to-pedal consistency, taking the guesswork out of your fuzz purchase, and guaranteeing that your Hoof delivers the same smooth, natural, and harmonically-rich sustain as all your friends’ Hoofs. All your friends have Hoof fuzzes, right?

Shift: This adjusts the mid content, clockwise for scooped mids, counterclockwise for boosted.

Tone: Bass to the left, Treble to the right.

Level: Use this control to make the Hoof louder or quieter.

Fuzz: Clockwise for heavy, counterclockwise for light.

If there’s one pedal that captures the history of sonic rebellion and the soul of classic rock, then the Fuzz Face is it. Bold and raunchy when fed power chords, velvety smooth and angelically soaring when presented with lead lines and with an almost too-good-to-be-true volume knob cleanup, which allows for the best clean tones you’ve ever heard, the Fuzz Face is truly a multi-faceted tonal treasure. Jimi Hendrix, Eric Johnson, Stevie Ray Vaughan and Pete Townsend all carved their undying legacy with this iconic fuzz machine and with our If 6 Was 9 MKII, you can instantly tap into those legendary tones or go far beyond to discover your own saturated signature sound.

Main Features:

Silicon Fuzz pedal Based on the Dallas-Arbiter Fuzz Face circuit Uses two BC183 transistor – for soulful fuzz tones between mushy compression of Germanium and brash sound of Silicon Variable voltage pump supplies power between 5 to 15VDC internally Thick balanced bass response and tight fuzz tone Tone toggle switch chooses between tight and thick fuzz voicings Bias knob for varying the operational voltage – for a huge range of tones from compressed and nasty to big and bold Saturation control trims the circuits input for better cleanup or impedance matching Soft-touch True bypass switching and top-mounted jacks Hand-made in Montreal, Canada Powered by opt. 9V DC PSU (centre -, 2,1 mm, 20 mA current draw) It’s been at least 10 years since we launched our original If 6 Was 9 BC183 and improving on this solid design was no small feat. SGFX’s pedal pays tribute to all the players who contributed to the pantheon of rock, with specially selected components to get your mojo working. We put two BC183 devices in each one, which is widely regarded as a happy medium between the potentially mushy compression of germanium and the brash sawmill-like fuzz of silicon. The tone of the If 6 Was 9 MKII is just that - smooth and refined, without falling apart on chords and with loads of sustain on single-note work. The MKII includes all the soulful fuzz tones of the original BC183, but incorporates a variety of new features aimed at bringing this vintage inspired design into the modern age.

What really sets the new If 6 Was 9 MKII apart is the power supply. Fuzz Face tone has been whittled down to such a precise science that players now know what voltage at which they prefer their Fuzz Face to be run. Eric Johnson famously kept a box full of batteries drained to various degrees. We have equipped this fuzz with a variable voltage pump, supplying anywhere from 5 to 15VDC from a single 9V power source. No need for a box full of questionable batteries anymore, just set the knob to your preferred supply voltage and get as much fuzzy compression or meaty breakup you desire consistently, every time.

This, in conjunction with the bias control, will allow for any shade of fuzz ranging from gated and sputtery, to smooth and dynamic, then all the way to bold and punchy. The new saturate control trims the circuit’s input for better cleanup, signal chain integration or impedance matching, ideal for use with a wah pedal. Finally, soft-touch true bypass switching and top jacks really bring this fuzz face into the 21st century.

That was a lot of tech babble, we know. At the end of the day If 6 Was 9 MkII is just here to help you with what you do best: plugging in and rocking out!

The Vortex is a fantastic sounding, open and transparent boost with a gain range that can cover tones from super clean to overdrive. The ability to mix in the Echo circuit is great for adding ambience and space to your tone. The combination of the boost and echo together can really help your tone feel and sound bigger under your fingers.

A total of six controls makes it easy to dial in your desired tone. The Gain control spans a range from clean to gritty. Higher gain settings add increased sustain and harmonic richness which is great when playing leads/solo’s. The Tone control allows you to go from bright to smooth and warm and the Volume control has plenty of level available to drive any amp. Time, Mix and Repeat controls give you plenty of options for dialling in delay settings that range from slapback to short echo.

The boost can be used without the Echo simply by turning the Mix control down. Having two effects housed in one enclosure with top mounted jacks and DC socket is a real space saver on pedalboards. Also, the ability to engage both effects with one foot switch makes the Vortex easy to use on stage.

The Vortex has the ability to accept higher voltages up to, and including, 18V. Higher voltages offer increased headroom which can be beneficial for boosting. The Vortex has a high input impedance and low output impedance to help ensure compatibility with other effects in your signal chain.

Features:

Volume, Gain, Tone, Time, Mix and Repeat controls High input impedance and low output impedance 9V-18 DC centre negative adapter powered True Bypass switching Reverse polarity protection Top mounted Jacks and DC socket Limited Edition 100% Handmade

The Black Moon is a Fuzz Face clone with expanded features that allows for classic fuzz tones in a more convenient and versatile pedal.

Loaded with a pair of selected and tested Germanium NOS transistors.

In addition to the original Volume and Fuzz controls that the original Fuzz Face had, the Black Moon has Bias and Input control as well as three position Low toggle switch.

The Input control alters the signal level and impedance at the input of the fuzz circuit. Fully clockwise (all the way to the right) is the original Fuzz Face setting. Turning the Input control down affects the overall gain and impedance of the circuit. This results in a difference to the feel and eq of the fuzz and can also allow other pedals, such as a Wah, to interact better with the fuzz.

The Bias control affects the electronic tuning of the transistors. This control can be useful to compensate for differences in temperature which can affect the transistor bias of a Fuzz Face. (This only applies to Germanium transistor versions.) Additionally, the Bias control can used to intentionally alter the sound of the pedal. Different settings provide different tones and a different feel to the fuzz. It is worth spending some time experimenting with different settings of the Bias knob.

The Low toggle switch controls the amount of bass being fed into the circuit. This can help tighten up the low end and provide more tonal options.

NOTE: Like the original Fuzz Face, the Black Moon has a vintage style input and output impedance. The Black Moon sounds best if placed before any buffered pedals in the signal chain.

FEATURES:

Top mounted Jacks and DC socket NOS Germanium transistors Volume, Fuzz, Bias and Input controls Three position bass response toggle switch Polarity reverse circuit Standard 9V DC adapter operation True Bypass Handmade

The Double Feature is a fuzz and fixed wah pedal with striking looks and stunning sound.

The Fuzz side of the pedal features a raunchy, original design fuzz that is powered by a pair of stable vintage Russian germanium transistors which are driven into fuzz by a specially selected and slew rate limited opamp. The result is a fantastic, focused fuzz with plenty of output volume and sustain. Volume, Tone and Gain controls offer plenty of pleasing tonal flexibility.

The fuzz has a high input impedance and low output impedance which makes it play nice with buffered signal chains, wireless units and switching devices.

The filter side of the pedal is a fixed wah. Many classic lead tones were recorded with a wah left in one position instead of being rocked back and forwards. This is commonly referred to as ʻfixedʼ or ʻparkedʼ wah.

Unlike a traditional, large Wah Pedal where you have to move the pedal around to find the exact tone you are looking for when playing, the Double Feature allows you to dial in the ʻSweet Spotʼ using the Frequency Control. You can then access this tone by simply turning the pedal on and off using the Filter foot-switch

Simble Overdrive has a natural organic tone, unsurpassable touch sensitivity, sweet tube-like compression and built in inspiration. This natural sounding pedal works as a clean boost, ”on the edge” crunch, or a sweet singing overdrive, always retaining the tone of your prized guitar.

The Simble pedal is happy with either single coil pickups or humbuckers and thanks to the pedals wide bandwidth also works great with bass!

Simble Overdrive is great for Robben Ford or Larry Carlton tone and much more!

Use our new Red Remote with select JHS Pedals to remotely activate the on-board toggle found on the pedal itself. By connecting the Red Remote to a Red Remote equipped pedal with any 1/4” instrument cable, this essentially acts as an on-the-fly switcher to give you more tonal options in any setting. The Red Remote is currently compatible with the following JHS Pedals:

Morning Glory V4

SuperBolt V2

Twin Twelve V2

When using the Red Remote, the remote itself will act as the toggle, therefore disabling the pedal's onboard toggle switch. For example, if you have our Red Remote plugged into the SuperBolt, the SuperBolt's "GAIN" toggle will be deactivated and the Red Remote will switch the toggle on/off as you step on the footswitch.

To use the Red Remote, plug the remote into the jack of the pedal labeled "REMOTE..." ...this jack will have a red washer to denote it is the appropriate jack to plug the Red Remote into.

NOTE: You can use any latching amp style footswitch or build your own too!

A classic sound achieved with an organ speaker and amplifier, rotary speaker effects have become an integral part of modern music. Featuring three different rotary speaker voices, including our very own Vibratone effect, The Pinwheel makes it easy to add this swirling sound to your tonal toolbox. Switchable Slow and Fast speeds let you spin up the perfect sound for your music, while the onboard Overdrive adds some texture to your tone. The Sensitivity control allows modulation rate changes based on your playing dynamics—dig in and the effect gets more intense.

Features: -Rotary speaker pedal -Switchable Slow/Fast speeds -Onboard overdrive; dynamically responsive modulation rate -Stereo inputs and outputs -Selectable guitar and keyboard voicings

The PolyTune 3 Noir Mini manages to pack all the pedal-tuning and tone-preserving power of TC's full-sized PolyTune 3 into a miniature pedal format. The TC Electronic PolyTune 3 Noir Mini is just as fast, dependable, and intuitive as ever, boasting accuracy within 0.02 cents and delivering a no-nonsense approach to guitar and instrument tuning. Strum all strings* to see which ones are out of tune at a glance, or tune up one string at a time. The PolyTune 3 Mini automatically switches between mono and poly modes based on the incoming signal. And thanks to its built-in, high-quality-analog BonaFide Buffer (switchable to true bypass), the PolyTune 3 Mini can even improve your tone over extended cable runs. This means you get a bite, presence, and transient response that's much closer to plugging directly into an amp. But that's not all that's cool about the TC PolyTune 3 Mini. Alternate tuning modes make it fast and easy to explore new ways to craft your art, even in the middle of a frantic set. And an improved auto-dimming, 109-LED display makes tuning more comfortable in any environment, indoors or out.

*Polyphonic tuning mode is accurate to within 1 cent.

Crystalline digital delays up to 1.5 seconds without nasty self-oscillation. Luscious reverbs that seem to last forever, like a collect call from beyond the fourth dimension. Ethereal ambient soundscapes that drift off into outer space like a psychedelic shooting star. Over ten thousand pickers, grinners, heshers, singers, shredders, ivory ticklers, trumpeters, bassists, and synthesists use the Dispatch Master to make and receive music in all genres - anything from thick swatches of reverb and delay, to a quick chicken-pickin’ slapback, or even just to add a little bit of room sound to a signal that’s a tad dry.

The delay signal is clear and strong, with no gross digital artifacts or tonal degradation. The reverb is massive and cavernous. With a twist of the “Mix” knob, you’ll hear everything from subtle ambient spaces, making the Dispatch Master a useful “always on” pedal; to cavernous reflections and echoes with near-infinite repeats.

The Dispatch Master is designed to be a little more hi-fi than the Ghost Echo or Levitation, for those players looking for clean, articulate time-based effects in a versatile yet still compact footprint. The Delay and Reverb effects may be used separately or in tandem. You just have to answer the call.

The Dispatch Master is true bypass, and built one at a time by retired telephone switchboard operators in Akron, Ohio, USA, the Clark Kent of the Midwest.

The Monument returns in a smaller form factor with new features, like assignable expression control and rate ramp up.

Changes to the V2 are as follows:

• Converted to smaller enclosure • Expanded capability of side jack: now supports external tempo or can function as expression control over Rate, Depth, Shape, or Tap Multiplier and is assignable on the fly. See manual for details. • Improved tremolo response across all rates. • Top mounted jacks.

Inspired by the beautifully jagged, red-sand desert landscape of Monument Valley, the Monument Tremolo is both a harmonic, and standard tremolo that produces a rich, luscious, warm pulsating modulation capable of peaks and valleys as smooth or as jagged as the real ones that our dear mother nature created long ago.

With different combinations of the rate, division and shape knobs and tap tempo, everything from traditional tremolo to inspiring unique waveforms will help you carve new paths that you won’t hear anywhere else.

Harken back to vintage tones inspired by Fender Brownface amps in Harmonic mode. A low-pass and high-pass version of your guitar signal is modulated opposite of each other, or 180º out of phase (high and low frequencies rise and fall opposite of each other). The result is a warm, almost “chewy” tremolo.

The Division knob can be set to quarter, triplet, eighth and sixteenth.

Wave shapes can be controlled via the Shape knob. You can move between Sine, Square, Ramp, Lumps and Monument Mode (random).

A special feature on the Monument is the bypass switch also has a momentary function. When the switch is in off position, press and hold to temporarily activate the effect to add a moment of texture. Releasing the switch turns the effect off.

When the pedal is on, press and hold the bypass switch to ramp up the tremolo rate. Release the switch and the rate will ramp down to previously set tempo.

Setting the depth knob at 0 and the volume knob above unity creates a clean boost.

Welcome to the pure analog, Versa Vibe™ by DLS Effects™! This new effect is called “Versa Vibe” for a reason… it is more versatile than most vibe effects out there! DLS innovation includes Optical Technology plus industry New controls such as; Bass Throb, Wet-Dry, and Waveform pots to dial in any Vibe sound imaginable! There is even a new internal Brightness pot to adjust brighter or darker Chorus (Vibe) Tone.

Switch between Vibrato & Chorus for pitch bending vibrato, or signature Trower and Gilmour vibes. Dial in that classic Jimi & SRV sound, or vintage Magnatone® amp vibrato, not to mention some new radical vibes like double pulse throb sounds. Select Vintage for more intense, thicker, traditional sounds, or switch to Modern for brighter tones.

A charge pump circuit increases the analog voltage so you get warm, dynamic, high headroom pure analog sound without clipping! An Expression pedal input jack is available for rate with a foot pedal. True switch bypass and non polarity 9vdc input put the Versa Vibe over the top.

Features:

-All analog circuitry! -Optical Technology produces extremely warm sounds with versatility. -Waveform: Controls the personality of the vibes from smooth to abrupt -Wet/Dry: Use to adjust the Chorus or Vibrato from liquid to dryer sounding chorus and vibes -Bass Throb: Adjusts how much bass throb from mild to heavy bass throbs -Depth: Controls the depth of the Vibes -Rate: Controls the speed of the Versa Vibe -Rate LED: Red LED blinks at the Versa Vibe rate -Modern~Vintage: set for 60s style thick vintage, or brighter Modern sound -Vibrato~Chorus: set for pitch bending Vibrato or Liquid Vibes -Output Volume: Volume output on OUTA (from mild to boost levels for leads) -Internal Brightness Pot: Adjust brighter or darker Chorus Vibes -On/Off LED: Green LED lit when the effects is ON -On/Off Switch: Engages the effect when ON, Switched bypass when OFF. -INA jack: 1/4" jack, instrument input -OUTA jack: 1/4" jack Output to amplifier -Expression Input: Plug expression pedal to control Rate (recommended Yamaha FC-7, Roland EV-5, Boss ) -Internal INA Pot: Adjusts the input gain level of Input A -9vdc input: 2.1mm jack, any polarity (Worry free if using your 9volt pedal board supply) -(Input voltage 9vdc to 14vdc, Input current is 30ma at 9vdc) -Internal charge pump: increases voltage for pure analog sound with high head room to prevent clipping -Small Size: 5”L x 4”W x 2.5”H -All steel enclosure, steel pots, and steel jacks -Powder coated enclosure (more durable than standard painting)

Electronics: Technology: All analog circuitry! Power: 9vdc, 60ma, 2.1mm jack *Our internal circuit will accommodate any polarity of input jack.

Mechanical: Enclosure: Solid heavy gauge steel (5"L x 4" W x 2.5”H) Controls: Steel switches, pots, and ¼” jacks

The OCD pedal is the only pedal that uses 2 x Mosfets configured as hard-clipping to 'Voltage reference" instead of the usual way: to ground." The earliest OCDs used 2 x Mosfets plus 1 x Germanium diode, but very quickly these diodes became harder and harder to find, and they became expensive.

Recently I stumbled across a reasonably large stash of the right kind of Germanium diodes so I ponied-up and bought all of them. So I decided to do a run of the ultimate OCD: a Custom Shop offering with a few circuit tweaks using 2 x Mosfets plus 2 x Germanium diodes, and one hell of a beautiful paint job... Metallic Teal with a chrome undercoat! This beauty morphs between blues and greens depending on the light and angle. And what would the ultimate OCD be without a Blue LED? The sound? Great definition, more tube-like feel, a bit wider dynamic range, more sustain, and a more focused single-note tone. And as with all Fulltone pedals... 100% Built in the USA.

One of the models to add variety to our LP59 Deluxe Electric Guitars. It features a Gold coloured Top and 2 Cream coloured P90 Style Pickups.

The Artist LP59GT90 guitar is our top of the line guitar whether it be for gigging or recording and is definitely one of the best guitars on the market in relation to quality and price. This guitar has a great rock/ blues sound that easily produces that big fat fluid sound so typical of any good quality guitar.

The body consists of a AAA grade Mahogany top that is finished off with a single-ply cream binding over carved basswood and a back of solid mahogany. The plain sawn set neck is made of mahogany and has an eco-rosewood fretboard. The 22 fret neck is a comfortable "C" shape with trapezoid mother of pearl inlaid into the eco-rosewood fretboard. With the typical 24.75" scale length you are sure to bend notes as well as any blues or rock player going around.

The guitar is finished with an impressive Gold Top while the back is a clear polyurethane finish. The deluxe hardware consists of chrome locking tuners, lock-down-post Tune-O-Matic bridge with roller saddles, and an aluminium Stop Tailpiece.

We also use the best electronic parts to reproduce the classic wiring configuration. 2 Volume and 2 Tone Control, standard 3-way toggle switch, Japanese Split Brass Shaft 500K Pots, 0.022uF,400V ceramic capacitors, and 1/4" Input Jack.

The factory strings are standard D'Addario EXL110 strings.

The Tech Features Brand: Artist

Model: LP59GT90

Type: Right Handed Electric Guitar

Body:

Single cutaway Mahogany Back Single-ply cream binding on body top Neck:

One-piece plain-sawn, Set-in, Eco-Rosewood Fingerboard with single cream binding, Trapezoid Mother of Pearl Fingerboard Inlays, 12 Fingerboard Radius, 22 frets, Bone Nut 1 11/16 wide, 24.75" Scale, C shaped

Finish:

Gold Top with Polyurethane Finish. Hardware:

Nickel Chrome Plated Parts D-Style Locking Tuners Lock-down-post Tune-O-Matic Bridge with roller saddles Aluminum Stop Tailpiece, Gold top-hat ("bonnet") shape knobs Weight: 3.5kg - 4.2kg approx.

Pickups:

Neck: Stacked P90 Style, 10K, 7.0H Bridge: Stacked P90 Style, 16K, 7.6H

The Superlux PROH7E is a dynamic super-cardioid microphone with great performance and a classic appearance. Those customers who fondly remember the past, particularly the 50's and 60's golden age of jazz music, will find this microphone especially appealing. Though the PROH7E looks like a vintage instrument, its technical performance is substantially modernized with very advanced specifications adapted to a variety of vocal miking uses.

Classic and elegant in appearance with a contemporary performance Shock-mounted cartridge for minimized mechanical and vibration noise Self-tensioning swivel mount permits tilting 45 toward as well as up to 80 away from an audio source for greater flexibility External on/off switch Polished chrome finish for long-term operation and appearance Applicable for lead vocals, backup vocals and spoken word Built-in microphone stand connection point 5/8in to 3/8in microphone stand adpter included (If your microphone doesn't attach to the stand, remove the adapter) Please Note:

These microphones have an internal thread adaptor that can be added or removed to fit different mic stands. Simply unscrew the adaptor from the thread of the microphone to receive a larger thread fitting. (5/8" to 3/8")

The Tech Features Brand: Superlux

Model: PROH7E

Impedance: 300 ohm

Sensitivity: -55 dBV

Frequency Response: 50Hz - 15kHz

Maximum SPL (Sound Pressure Level): 134 dB

Product Weight: 0.52 kg

ROHS Compliant: Yes

Twin Bender uses the same circuit of the Sola Sound Tone Bender™ MKII Professional that Jimmy Page and many others have made famous, and adds several exciting features.

The Twin Bender is really 2 'Benders in one pedal, with a switch that transforms it into a MK1.5. MK1.5 mode uses one less transistor for less fuzz, and cleans up nicely with your guitar's volume control. It also features a 3-way tone switch, bias control, a charge pump to make it compatible with shared power supplies, an impedance knob which can make it more buffer compatible and act as a “pre-gain” control.

Twin Bender is hand-built with tested and matched NOS (new, old stock) germanium transistors. It uses Mallory 150 capacitors and audiophile quality components selected for great tone and low noise.

All Ramble FX pedals feature relay based true bypass switching. We build each pedal by hand.

After the Asir-Vanir war came to a truce, from it a man was born, the wisest to ever live, Kvasir. Upon his death, his blood was mixed with honey to form the Mead of Poetry, an elixir that will make any person who partakes in it a poet and a scholar. A little more recently than this, Fjord Fuzz started taking off. Before that, it had for many years been my own little personal space for exploring studio and live music production ideas through the medium of electronics. All my current creations came about the same way. I needed a specific device for a specific purpose. Some of these experiments failed, others stayed around. I used to make small runs of ideas and solutions to problems and just post them here on Reverb and elsewhere. These days my responsibilities have increased. I can't just release a quick run of completely revisioned ODINs or maybe change away from my copper control plates without warning. I have to do careful planning. There's simply too many people to disappoint and enrage with what are indeed my most pressing antics. Yet somehow my drive towards creating new solutions to new and old problems remains the same. So here’s the KVASIR! What is it? It came out of the enormous amount of prototyping I did for BERSERK this year. BERSERK is, at its heart, a Fuzz Face. I mean that in a strict electronic components-topology way, but also in that it sounds and behaves the way you expect a Fuzz Face to sound, even with all of its tricks engaged. However, a Fuzz Face can be so many other things. Dreadful things, weird things, beautiful things. There's a bunch of ways to make a Fuzz Face turn into something quite different. KVASIR tackles one of the oldest online arguments there is: should it be germanium or silicon? Turns out it could actually be that it should've always been Silicon Power Transistors. KVASIR uses two dirt cheap D882 power transistors "suited for the output stage of 3 watt audio amplifiers". So how does it sound? Well that depends greatly on the collector voltage on the second transistor in the circuit, all of it glorious, so I made that feature one of its three knobs. It'll do everything from special occasions only buzzing bee sounds to thick and honey-like lead tones, hence the name. There's also a Thiccness knob, a trick I've used on many of my devices to help you better match the input woof with your particular choice of pickups and amplifiers and a big old volume knob. The power transistors are different from regular silicon transistors, with a less bold and strong character, but with less of an abrupt cleanup as compared to germanium transistors. Not really a happy medium, as we have learned to look for, but rather a different sound altogether. I've made a limited run of 50 of these. All of them will be numbered and hand signed. So exclusive! So cheap! Will there be more in the future? Maybe, but don't expect them to be exactly the same! Fjord Fuzz is a journey and you are invited to join in this adventure. Together we will find the best tone.

MFT, is a cascading Mosfet overdrive that can do low gain drive to fuzzy texture overdrive.

Controls: Gain - Controls the overall gain of the overdrive Texture - A voltage control, cleans up the fuzziness or increases it Volume - Overall volume control for the pedal

Top mounted power and jacks, True Bypass switching.

Power requirements - 9v center negative. Boss style. This pedal will not operate with any other type of power. Using the wrong power requirement or supply will destroy the pedal!!! No battery operation.

These are handmade one at time. In the State of Rhode Island.

V-3 features the same options as the V-2, so it’s basically the same product in the context of secondary options. However, we played around with the complex opto-system a lot. The main difference between V-3 and V-2 is in the modulation EQ. V-2 modulates just a slight part of the main tone (mid-range focused modulation), while V-3 blends in nicely with the main tone and modulates it without changing the EQ. V-3 has a wider modulation and brings more depth.

It’s hard to believe that 10 years has passed since we started our journey into the wonders of the beautiful Uni-Vibe. Looking back to the time when we started our experiments with that three-dimensional sound, everything was very different from today.

It was a simpler time in the pedal world. There were several big, well-known companies that produced most of the classic pedals and a handful of smaller boutique builders. At that time, most new pedals could easily get into the spotlight, to be explored and talked about. It was the beginning of a golden era for the world of guitar pedals. Back then, only a few Uni-Vibe clones existed, most following the same circuit recipe as that used by the wonderful Shin-Ei, they were mostly big, bulky and rather expensive.

When we decided to take a shot with our Uni-Vibe, we wanted something different and more practical. We wanted The Sound, but we also wanted to make ours much smaller than any other Uni-Vibe on the market. In 2011, when the Vibe Machine V-1 was born, it was the smallest ever photocell-based Vibe pedal in the World retaining all the features of the classic Uni-Vibe. People loved it, and they still do.

A few years later, after extensive development, with tons of new experience, and with feedback gathered from our amazing customers, forum members, reviewers, demo guys and fellow musicians, the Vibe Machine V-2 arrived. It looked very similar to its predecessor, but it was much more complex under the hood. Besides all those added features, The Sound was greater than ever and it rocked the vibe community around the world! As one of the best Uni-Vibe effects available today, the Vibe Machine has received many awards from the Music Industry and we’re extremely proud of it!

The V-3 version

Several months ago, we wanted to find a special way to celebrate our upcoming 10 Year Anniversary and we decided to pull out our Vibe Machine breadboard. We played extensively with the complex opto-system and one specific setting sounded out of this world. We tried tons of different settings, but we kept on coming back to this particular one.

It was like re-mixing your greatest album. You know it’s great, but you wanted to add some magic touches to make it even more special. We didn’t expect that our breadboard experiment would result in a completely new version of our Vibe Machine, but this one is really something else and we couldn’t just keep it to ourselves. We wanted to share it with the World.

V-3 has its own colorful magic going on. Is it better than its predecessors? With such a unique sound presence, it’s really a matter of personal taste. V-3 is simply different and it sounds beautiful.

The main difference between V-3 and V-2 is in the modulation EQ. V-2 modulates just a slight part of your main tone (mid-range focused modulation), while V-3 blends in nicely with your main tone and modulates it without changing the EQ. V-3 has a wider modulation and brings you more depth. The Intensity’s character has also changed.

Additional options

V-3 features the same versatile custom sound options as V-2. There are 6 ‘set and forget’ side trimmers: CHORUS, GRIT, CUSTOM, SYM, RANGE and VOLUME. All these controls come with initial factory settings. Check the manual in the support tab for more detailed descriptions, but to begin playing you don’t need the manual or to adjust anything, just plug in and enjoy!

The CHORUS trimmer adjusts the depth of vibe modulation so the user can adjust the swirl/watery/chewy character of the Chorus sound. The CHORUS trimmer also affects the low end frequencies of the Chorus throb.

With GRIT you can set the overall brightness, it acts as a low pass passive tone control and also defines the output impedance. Try a fuzz/dirt pedal or just an amp after the V-3 and with GRIT you can find your tonal sweet spot with whatever is next in chain.

The CUSTOM trimmer adjusts the input impedance when the three way ORIGINAL/BRIGHT/CUSTOM switch is set to the CUSTOM position. If you switch guitars on stage, sometimes you may want to flip this switch to balance your guitar’s brightness.

The SYM and RANGE define the light bulb bias and character/response of the Vibe movement.

With the VOLUME trimmer at its maximum setting, it boosts your volume above and beyond unity gain.

The V-3 can be used with any passive expression pedal with a linear pot. Also, the V-3 has several functions that are controllable with the DryBell F-1L footswitch or any other simple footswitch. With the footswitch you can engage the CANCEL function, TAP TEMPO feature, Fast/Slow with adjustable Leslie® ramp delay or a Two speed function.

CANCEL function – Just like on an original Uni-Vibe®, a warm & darker sounding preamp (Cancel on original Uni-Vibe®) is available using an expression pedal. Please refer to the Options manual for more information.

Just like on V-2, there are a couple of ‘set and forget’ options like different footswitch type compatibility, expression pedal pot taper adjustment and more. Check the V-3 options manual to see all of its features.

10th Anniversary

Throughout the years, The Vibe Machine continues to be a shining star on countless great pedalboards. It is a very specific ingredient in a musical color palette and we’re confident that this new V-3 version will very much inspire people to continue making great music with it.

We’re extremely proud of the fact that we can be a part of keeping the legendary sound alive. There’s no doubt in our minds that the V-3 is one of our highest achievements and a great way to celebrate our 10th anniversary!