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By coupling silver-plated copper wrap wire with silk, D'Addario EJ40 Silk and Steel acoustic guitar strings produce a warm, mellow tone that's ideal for fingerstyle playing. Sweetwater knows that choosing the perfect string is vital to a musician's sound. Excellent for smaller body acoustic guitars, EJ40 Silk and Steel acoustic guitar strings are preferred by many folk guitarists.

D'Addario - Making strings for over 300 years Behind every set of D'Addario strings are over three centuries of fine craftsmanship. The D'Addario family tradition began in the tiny town of Salle, Italy in 1680 where they made assorted instrument strings for over two hundred years before relocating to New York in 1905. As the modern string making industry began to develop, the D'Addario family emerged as innovators by designing the winding machine most string makers still use today. And while their techniques have modernized, the pride that goes into each set of strings dates back to the D'Addario family's earliest roots.

D'Addario EJ40 Silk and Steel Folk Acoustic Guitar Strings Features at a Glance: Light Gauge .011, .014, .023, .028, .038, .047 Designed for fingerstyle guitarists who prefer a warm, mellow tone Silk interwindings deliver a soft, easy feel on your fingers Environmentally friendly, corrosion-resistant packaging ensures fresh strings

By coupling silver-plated copper wrap wire with silk, D'Addario EJ40 Silk and Steel acoustic guitar strings produce a warm, mellow tone that's ideal for fingerstyle playing. Excellent for smaller body acoustic guitars, EJ40 Silk and Steel acoustic guitar strings are preferred by many folk guitarists.

D'Addario - Making strings for over 300 years Behind every set of D'Addario strings are over three centuries of fine craftsmanship. The D'Addario family tradition began in the tiny town of Salle, Italy in 1680 where they made assorted instrument strings for over two hundred years before relocating to New York in 1905. As the modern string making industry began to develop, the D'Addario family emerged as innovators by designing the winding machine most string makers still use today. And while their techniques have modernized, the pride that goes into each set of strings dates back to the D'Addario family's earliest roots.

D'Addario EJ40 Silk and Steel Folk Acoustic Guitar Strings Features at a Glance: Light Gauge .011, .014, .023, .028, .038, .047 Designed for fingerstyle guitarists who prefer a warm, mellow tone Silk interwindings deliver a soft, easy feel on your fingers Environmentally friendly, corrosion-resistant packaging ensures fresh strings

By coupling silver-plated copper wrap wire with silk, D'Addario EJ40 Silk and Steel acoustic guitar strings produce a warm, mellow tone that's ideal for fingerstyle playing. Sweetwater knows that choosing the perfect string is vital to a musician's sound. Excellent for smaller body acoustic guitars, EJ40 Silk and Steel acoustic guitar strings are preferred by many folk guitarists.

D'Addario - Making strings for over 300 years Behind every set of D'Addario strings are over three centuries of fine craftsmanship. The D'Addario family tradition began in the tiny town of Salle, Italy in 1680 where they made assorted instrument strings for over two hundred years before relocating to New York in 1905. As the modern string making industry began to develop, the D'Addario family emerged as innovators by designing the winding machine most string makers still use today. And while their techniques have modernized, the pride that goes into each set of strings dates back to the D'Addario family's earliest roots.

D'Addario EJ40 Silk and Steel Folk Acoustic Guitar Strings Features at a Glance: Light Gauge .011, .014, .023, .028, .038, .047 Designed for fingerstyle guitarists who prefer a warm, mellow tone Silk interwindings deliver a soft, easy feel on your fingers Environmentally friendly, corrosion-resistant packaging ensures fresh strings

Whether you enjoy the vintage quack of a 1967 Clyde McCoy wah pedal, the deep throaty tones of a Macari wah or you simply love the deep synth tones of a more modern wah. The Rippah Q-Wah allows you to dial in your favorite wah tones via the easy to access control knobs. Making your heavenly wah tone that you hear in your head just a turn of a knob away.

The low end of the Rippah Q-Wah has a slightly different characteristic to it than your average wah circuit. There is a little more throat and growl in the low end which makes it ideal for the player that really wants to cut through the mix.

Another advantage to the Rippah Q-wah is if you want to clean it up a bit and tame the growl of the pedal, you can by simply tuning it out.

With just about every wah sound imaginable at your finger tips the Rippah Q-Wah is sure to become an effective weapon in the studio and on stage as well.

Every Rippah Q-Wah comes standard with a Depth of the sweep control at the front of the pedal. This allows you to dial in how deep the sweep in the pedal goes. While it is rather subtle from the mid point to the max it adds a little more throat to the depth of the sweep if you max it out and just the opposite when turning it down.

The Rippah Q-Wah also comes with either a six or twelve position Q position switch. Depending on which model you choose, that allows you to adjust the position of the Q in the sweep. You can adjust it to a deep synth like growl to a high almost envelope filter type of sound.

Also included is a growl knob at the heel of the pedal. This allows you to adjust the amount of bass and gain that is in the circuit. So whether you like to have a lot of deep throat to the sound of the wah or you like a little more quack to your sound the growl knob will help you dial in that sound you hear in your head.

Every Rippah Q-Wah comes standard with a built in fuzz buffer. What this means is that the Rippah Q-Wah will work just as well in front of a fuzz pedal.

Inside the pedal you will notice a small blue trimmer. This is a volume control that controls the out put of the pedal so if you like your pedal at unity gain or you like to boost it up a little for a searing lead the volume control will allow you to get there.

The Rippah Q-Wah operates off of a 2.1mm center negative power supply or a high quality alkaline battery.

It comes with a one year warranty on parts and labor. All of our pedals are true bypass and are built in the U.S.A.

BERSERK takes two of the most central fuzz circuits of the time, the one Jimi used and the one Jimmy used, and turns them into one amazing little unit, solving a bunch of 50+ year old problems and wraps it all up in a package that should work for absolutely any occasion. It's glorious.

OK so let's talk about the issues concerning the good old smiley-boy, liquid sunshine fuzz of our dreams. The input and output impedances of this circuit are flipped as compared to modern practices. This creates a few problems, but it also causes that amazing clean tone you can get when rolling back your guitar's volume knob. However try placing it after a buffer or a wah. No thank you.

Fjord Fuzz to the rescue! Many have used the very cool AMZ pickup simulator trick to solve this and while this does kind of work, it also adds a bunch of noise and definitely impacts the volume knob cleanup. The rightmost push button on BERSERK engages a simple, weirdly biased, single transistor gain stage preamp in front of the original circuit. Gone are the wah and buffer issues, but does it still clean up? Does it still allow you to get that super sticky, thick, asymmetric clipping? YES! It's almost indistinguishable from the original preampless circuit, with none of the problems. Doesn't this turn it into more of a MK2 style fuzz though? Yes and no. Topologically speaking it definitely does, and by dialling back the thickness knob you can get into the MK2 territory, but the intention here was to retain all the tonal characteristics of the smiley pedal and I did. There's a trimmer on the inside to help you match this feature with you specific use case. If you don’t intend to stick this pedal after a wah or a buffer or whatever, you can also use the trimmer to increase gain and chase down that MK2 route even further if that's more your speed!

The control set is simple. In addition to the two push buttons, you have a huge knob controlling gain the same way you would by turning down the guitar's volume knob. There's also an output volume knob obviously, but I think you'll find that third knob to be the most useful of all. It's a thickness control. Turn it all the way up if you want to let through all the bass. Just so much bass. It's wonderful. Unless you intend to use it with a humbuckered guitar, that is. Just turn the thickness knob back a bit and you should have a much more workable fuzz. Same goes for a live situation where you for whatever weird reason don't play in a power trio, through a cranked British half stack. Can't hear yourself through the mix? Just turn the thickness down, friend! Now you can!

Speaking of British half stacks, what about the output section? If you've ever tried slamming head first into a 60s Japanese style chorus/vibrato pedal without a buffer in between them, you may have noticed the output impedance issue of the original smiley circuit. I had to fix this too obviously, but I decided to fix another problem at the same time. The original circuit was intended to have a unity gain output. The main thing that is changed as you engage the pedal is the saturation, not the output volume. This is of course boring and weird. I want loudness with my fuzz! The solution is hidden beneath the second push button. Engage it and you are now running into not one, but two space echo preamp gain stages, running in series! Impedance is now repaired and you should have a bit of an extra volume level kick as well as more pronounced mids. Oh and infinite sustain. There's a trimmer for this section too so you can get as much boost as you need.

Probably the most versatile fuzz in the world. The SiClone was the first pedal produced by Zander Circuitry, and it’s still going strong. There’s always room for improvement though, and the latest version of the SiClone is more versatile and more chaotic than ever. A knob-fiddler’s dream, the SiClone makes fuzz flexible. And it can take you from vintage low-gain sounds all the way through to complete and utter sonic annihilation.

The SiClone started life as modified ‘factory-style’ fuzz circuit, but over the years it’s blossomed into something completely different. Today, it’s an eight-knob monstrosity packed with all the buzz, fizz, and wail that you need, plus plenty of chaotic, unexpected surprises that you never knew you had to have.

With the SiClone, you’re in control of the chaos. Eight controls is a lot for a fuzz pedal, and they make it possible to dial in whatever sound you’ve got in your head – no matter whether that’s a ripping 60s lead tone or something completely unique that didn’t exist before you coaxed it out.

A silicon fuzz with a difference, the SiClone goes well above and beyond simple gain and volume knobs. The extra controls make it easier and more intuitive to pull a wide range of different tones from the pedal, without having to mess around with different battery voltages or combinations of pedals to get a specific sound.

The additional controls that you’ll find on a SiClone are:

Shunt: A gate control of sorts, that tames any unpredictable or unwanted feedback for a sharp, stuttering decay. Squash: Compression on the signal’s attack, which creates synth-like effects when turned up. Starve: Restriction on the amount of voltage supplied to the circuit, to easily replicate the sound of a perfectly drained battery. Bright: A tone stack control made up of a high-pass and a low-pass filter for added EQ tweaking. Body: Restrict the amount of low-end frequencies that pass through the circuit. Punch: Alter the mid-range characteristic of the signal for even more tonal control. To add to the flexibility, the Bright and Punch controls can be bypassed with the second footswitch, for a full, fat sound that’s rich with mid-range frequencies. This is set to a higher output for a boosted level, but there’s an internal trimmer if you’d prefer to set your own balance between the two output levels.

All of the different controls on the SiClone bring their own magic to the equation, but it’s a cohesive organism. Altering one part of the circuit will affect the whole thing, so dive right in and start experimenting.

The SiClone has eight controls to help you initiate complete silicon chaos:

Level: Output volume Fuzz: Gain control Shunt: Circuit gating Squash: Attack compression Starve: Voltage restriction Bright: Tone stack control Body: Low-frequency blend Punch: Mid-range control Then there are the two footswitches:

Fuzz: Turn it on and off Tone off: Bypass the Bright and Punch controls The SiClone also features both momentary and latching switching, which means you can hold down one of the footswitches to temporarily engage an effect and then release it to return to normality.

Not to mention:

Top-mounted in/out jacks Power requirements: 9V DC (center-negative) supply Current draw: 120 mA Dimensions:

(W)67 mm x (L)122 mm x (H)60 mm Please don’t try to power this pedal with anything other than a 9V DC supply. If you do, your shiny new pedal might stop working, and nobody wants that.

The ‘Big M’ just got bigger.

You know it. You love it. You’ve heard it a thousand times on your favourite records and at your favourite gigs. It’s a fuzz/distortion circuit that needs no introduction, but we’re giving it one for our American Geek, which takes the familiar and pushes it in an entirely new direction. Pairing vintage tone with modern flexibility, this beast puts the variables back into the equation, to give you the exact tone you’re looking for. To say there are a lot of ‘Big M’ circuits out there would be an understatement. But despite over 50 years of revisions and reissues, the basic circuit has always stayed pretty much the same (with the notable exception of op-amp alternatives like our Siva). The reason why certain versions sound different is almost entirely down to the different parts used, and what flavour they add to the mix.

That’s where the inspiration for the American Geek came from. We’ve taken the bones of the legend and reanimated them with multiple clipping options and precise control over the EQ, giving you the flexibility and freedom to dial in ‘your’ version of the classic.

EQ is the secret sauce that elevates these types of pedals from good to great. So just like our op-amp version, the Siva, the American Geek comes loaded with two extra Shift controls that alter the capacitance of the tone stack. That’s just a fancy way of saying they affect the filter sweep and cut-off, giving you more control and creativity, along with sounds that this circuit normally can’t reach.

The American Geek also features our signature diode rotary switch, which lets you choose between eight clipping types for added versatility:

Germanium: Smooth, sweet, and classically ‘amp-like’. Silicon: Louder, brighter, and a little bit brittle. LED: Louder again, with less saturation and more punch. Asymmetrical germanium: A more aggressive version of germanium. Asymmetrical silicon: A more aggressive version of silicon. Asymmetrical LED: A more aggressive version of LED. Transistor/MOSFET: Similar to silicon, but sweeter and crunchier. No diodes: Loads of output and much less gain. And for those times where there’s no such thing as ‘too much gain’, the American Geek’s Blast footswitch turns the drive all the way up, and activates a second volume control for seamless transitions between low and high-gain sounds.

There are seven controls that you’ll use to tame the American Geek:

Gain: Gain control Tone: EQ for the output signal Shift 1: Tone shift high pass Shift 2: Tone shift low pass Level: Output volume Blast: Output volume (in Blast mode) Rotary: Clipping diode selector It also has two footswitches:

Engage: Turn it on and off Blast: Activate Blast mode The American Geek features both momentary and latching switching, which means you can hold down one of the footswitches to temporarily engage an effect and then release it to return to normality.

Not to mention:

Top-mounted in/out jacks Power requirements: 9V DC (center-negative) supply Current draw: 126 mA Dimensions:

(W)67 mm x (L)122 mm x (H)60 mm Please don’t try to power this pedal with anything other than a 9V DC supply. If you do, your shiny new pedal might stop working, and nobody wants that.

The Wilson Wah takes the classic vintage wah circuit and modifies it to increase the bass response on the input of the circuit. This gives the pedal a thick and fat sound. Another modification allows the growl control to have more of a scratchy throat sound that is quite unique compared to the vintage circuit. This wah is fat and spongy sounding right out of the box and can be tuned to cop a variety of other wah tones. The wah features three controls on the exterior. From the front of the pedal that are; Sweep Range - Allows you to control the depth of the sweep. Turning it fully clock-wise and the pedals sweep will be at it's greatest and fully counter clock-wise it will disappear. Q Selector Switch - The pedal features a 12 position selector switch that allows you to choose between darker Q settings and brighter Q settings. Turn the switch clock-wise for darker settings and counter clock-wise for brighter settings. Growl - This knob allows you to thicken up or thin out the bass and gain response of the pedal. Turning it clock-wise will thin out the tone of the pedal (it should be noted that thinning it out too much will cause a drop in volume) and turning it counter clock-wise will thicken and darken the tone of the pedal. Inside the pedal you will find two blue trimmer countrols. You can turn these using a small flathead or Phillips screwdriver. The top trimmer controls the mid-range of the pedal and the bottom one controls the volume of the pedal. The 12 Position Wilson Wah is built with NOS Mullard Tropical Fish capacitors, carbon composition resistors in the wah circuit and BC109B transistors. There is also a built in fuzz buffer that allows the pedal to interact with different fuzzes and overdrives. Each pedal comes equipped with True Bypass and a super bright LED on the side so you don't accidentally leave your wah on. Each pedal also contains a Wilson Effects vintage taper wah pot that was replicated by measuring the taper of a vintage Car taper pot. The Wilson Wah operates on an industry standard 2.1mm center negative power supply or a high quality alkaline battery. All pedals are covered by a one year warranty on parts and labor and is hand built right here in the U.S. If you should happen to have any other questions about the 12 Position Wilson Wah please feel free to contact us via the contact form on the Home page.

A faithful reproduction the vintage WH10 wah pedal that is fuzz friendly and gives you more sweep options Vintage WH10 tones and then some! Get your funk on!

Do you want to get the sound of a vintage WH-10? The Funk Factory is the only pedal that is capable of reproducing those vintage tones and it's built like a tank. With an accurate reproduction of the original potentiometer in a military grade case you are now able to get your funk on without worrying if you're going to break it or not. Each Funk Factory comes with a depth knob and a guitar and bass switch towards the front of the pedal. Also included the Funk Factory comes with an exterior volume control and a four position Q switch that allows you to not only get the original WH10 tone but an additional 6 tonal options when utilizing the guitar and bass switch in conjunction with the Q switch.. This means that if you are a fan of the WH-10 but you're not to keen on the volume boost you now have the ability to turn it down. You can get the same funky tones without the boost in volume! This is due to the output buffer included in the circuit design. If you're a fan of this circuit and always wanted some additional tonal options this is the wah for you! Each pedal comes equipped with True Bypass and a super bright LED on the side so you don't accidentally leave your wah on. Each pedal also contains a Wilson Effects dual gang potentiometer that was manufactured to the original potentiometer specs of the original V1 WH10. The Funk Factory operates on an industry standard 2.1mm center negative power supply or a high quality alkaline battery. All pedals are covered by a one year warranty on parts and labor and is hand built right here in the U.S. If you should happen to have any other questions about the Funk Factory please feel free to contact us via the contact form on the Home page.

The Skreddy Pedals™ ROVER can do that wooly, compressed 60's fuzz tone, but it can also be tight and articulate and well behaved.

The sound is classic Tone Bender* with excellent volume clean-up and touch sensitivity.

You can go sustainy or you can go twangy! The ROVER has the versatility you've been searching for.

The term "Tone Bender" is a trademark of someone else's and is only being used for comparison.

VINTAGE FUZZ TONES WITH MASSIVE RANGE AND VERSATILITY Sustaining wall of fuzz, meaty distortion, and hot overdrive, all featuring excellent volume cleanup and touch sensitivity and no problems getting along with other effects like buffers and wah pedals

SILICON NEVER SOUNDED SO GERMANIUM This is oldschool fuzz you won't have to worry about when you play an outdoor gig--it's stable throughout any survivable temperature range!

POWER Regular 9v negative ground, no special power requirements. 9v battery is not included. If you use a battery, then remember to un-plug the input cable from the pedal’s input jack when not in use to prevent draining (or you can also just plug in a power-supply, which disconnects the battery).

You may supply external power through an AC adapter. All Skreddy Pedals accept the industry-standard 9v DC plug (5.5mm barrel x 2.1mm center coax), negative tip. Please use a quality, regulated, filtered power supply

The Skreddy Hybrid Fuzz Driver™ brings your guitar sound alive.

This is vintage tone. Features a germanium output transistor for warm, tube-like, soft, fuzzy breakup.

Sounds like: Jimmy Page, Joe Perry, Stevie Ray, EVH, and David Gilmour--none of whom, of course, endorse this product.

Skreddy Pedals™ Hybrid Fuzz Driver combines the best aspects of our popular Screw Driver and Lunar Module pedals into a format optimized for humbucking pickups.

To counteract the tendency of some humbuckers towards muddiness, the Hybrid Fuzz Driver (HFD for short) keeps low frequencies from over-saturating. This lets you hear that gorgeous bell-like attack with the woody tone of your Les Paul instead of a brick-wall buzz or excessive coloration.

With single coils, you get all that lovely chime and with a nice, hot top end that makes your Strat's in-between settings really sparkle and pop out like you've always wished they would. This is great news for those of you with RWRP middle pickups: No more dark, un-usable out-of-phase settings!

Headroom, openness, and clarity are all increased. You will hear the TONE OF YOUR GUITAR, with its natural eq and attack, coming through--not a fuzz tone superimposed upon it; no thinning out or muddying up, and no excess compression or congested feel.

Guitar volume clean-up is superb, No change in tone as you roll off your volume--it just cleans up gradually and predictably.

The pre-gain control has been converted to a mid boost

The output volume is increased to match unity gain of high-output pickups more easily

The tightness control is mild and well-balanced, with no excess bass boosting at counter-clock-wise but just low-mids, for a denser, thicker tone. And of course extra tight jangliness--but still not too thin--at clock-wise. Neutral eq is noon (of course).

TIP: The bass will be rolled off at low volume-knob settings when playing with your amp at living-room volume. If it sounds thin, turn the pedal's volume a bit higher. You might find unity gain at about 1:00 o'clock or so (maybe even higher than 2:00 o'clock if you have very loud pickups). At gigging levels, there will not be a problem with bass content. Were I to boost the bass content for living-room volumes, the overall effect would be to create a more modern, scooped eq, which would spoil the vintage mojo it has going on with the mids. So please do take a few seconds to find where unity gain is with your guitar. This will ensure that you are getting the proper bass content.

Lets you play in that magical zone between clean and dirt, between overdrive and fuzz

Works great with ALL types of pickups (especially humbuckers) and specifically intended for guitar-volume cleanup. You're only getting half of this pedal if you never play with your volume knob rolled back.

The term "hybrid fuzz" refers to a silicon transistor--in this case a BC109C--driving a germanium transistor--in this case an AC127. There's also a 3rd transistor, which is the input stage: a BC109C set up with tight bass response and boostable mids.

Controls: Volume, Fuzz, Tightness, Presence, and Mid Boost.

The Tightness control dials in the amount of bass going into the distortion section, to tighten up your sound or allow its natural fatness to come through.

The Fuzz knob controls the tamed-down hybrid fuzz section (old-school silicon into germanium) and takes you from clean through touch-sensitive overdrive all the way to light but sustaining fuzz.

The Presence control lets you get a lot more brilliance and bite or make it darker and smoother, to suit your amp and taste.

The Mid Boost control sets the gain of the oldschool silicon input stage, and is set to boost mids rather than full range boost. Gives you more aggression and compression but not more wooliness and bass. Almost cocked-wah sounds at max!

The Volume control is set up so that high-output pickups should achieve unity gain between noon and 2:00 o'clock.

Unity Gain: Since any dirt pedal will compress your signal, you'll get roughly the same volume no matter how hard you hit the strings, when it's on, yeah? So here's how you figure what constitutes "unity gain" with the HFD pedal: turn it to bypass and hit a chord LOUDLY. Now turn the pedal on and do the same thing. Turn up the volume of your HFD until its volume roughly matches your bypassed volume when you are hitting a loud chord.

Optical* Phase Shifter With a Classic 1969 Voice

Chewy, lush, watery, vibe-style phaser with superior clarity and frequency response compared to a vintage specimen or a clone

Gorgeous and addictive tone, just swampy enough

The sweep has been optimized for the fullest possible range and intensity without going "over the top." Perfect balance between a smooth, symmetrical and a throbbing, asymmetrical waveform. This is not a bashful effect, but your guitar's tone will still shine through loud and clear.

Extremely low noise and low distortion, maintains neutral eq and volume footprint

Plenty of headroom. Fuzz friendly, before or after

Big knob for easy foot control

• "Optical?" Does that mean it has a real photocell? (BTW, it's not called a photocell, which is something that converts light to electricity, it's called a light-dependent resistor.) Yes; it has five of them! Four for the phase shifting and one for the speed controller. (Because an LED/LDR combination does a better job at smoothly sweeping through speeds than a reverse-log-taper pot does.)

Controls:

(1) Speed

Goes from almost standing still to super fast rotary spin

LED Indicators:

Bypass (Green) indicates when circuit is active, off when in true-bypass

Speed (Red) indicates the speed of the sweep, always active

Signature vibe sounds Thick, vocal modulation, sweet, other-worldly, moving phase shift, and rotating speaker emulation

Whether you set the speed to slow and subtle movement or throbbing, 3-D, shifting tones or rapid spinning, you'll groove as the Skreddy Swirl™ beautifies your guitar sound with its hypnotic and oldschool authority.

You can use this for any classic vibe effect, but you'll come up with lots of new uses for it; sure to inspire!

Is this a "real" vibe or a phaser?

Okay, a vibe is a phaser that's made with discreet transistors and optical electronics. The input stage of a vibe is similar to a simple discreet op-amp circuit, and each phase-shifting stage is made with a darlington pair with "bootstrap" positive feedback for high impedance (again, op-amp-like) which feeds both a negative and a variable phase-shifted positive signal to the next stage. At the end of four of these stages, the original dry signal is mixed together again at the output.

The Skreddy Swirl is made with op-amp gain stages in a very similar configuration and optical electronics, also in a very similar configuration (except I use LEDs instead of a light bulb, and I vary the degree of phase shift rather than the intensity of the phase-shifted signal in each of the four stages). The Swirl is dialed in to the same frequency response as a real vibe, and it sounds like a real vibe. I'd say the distinction between vibe and phaser is maybe a little arbitrary or perhaps a bit fuzzy, depending on how you look at it.

Classic Mid 70's Aggressive Sustain

The Skreddy Pedals™ BC239 FUZZ is a throwback to the late "rams head" era. The BC239 transistor will tend to render less bass, resulting in a more biting and articulate muff tone. Add to that the fact that the later rams heads employed plastic film capacitors instead of the softer, grittier tone of ceramic discs used in the triangle knobs and earlier rams heads, and you get a clear, cutting top end. You'll hear every detail of its velvety distortion. I'm preserving articulation by keeping the gain in check just enough and not letting it get too mushy or syrupy. Nice and hot with ample harmonics and of course great sustain. Rather than a round, fluty tone, you'll get a meaty grind even in your high notes.

Guaranteed to inspire you to play some evil, doomy metal licks.

I went full circle on this one; no pretty, carefully sculpted, balanced tones. Just pure vintage nostalgia--let it sing in its original voice with all its original color and charm.

For the tone stack, I copied the era that used a milder mid scoop than most. When you flip the mini toggle, you'll get a midrange hump that will propel your solos through the loudest band mix. This will take you back

Remember that "holy grail" muff that you wish you had never sold? .

Now you can have that sound again, but without the over-sized box, and with true bypass, led, Boss(tm) style power jack, and Skreddy's own angry demon face graphic to goad you on.

Edgy, Aggressive Silicon Fuzz

The Skreddy Pedals™ Lunar Module was designed for "that" certain silicon fuzz tone guitar solo I fell in love with on a best-selling 1973 album. I intentionally voiced this thing aggressively so it will cut through any mix. Very satisfying and addictive "vintage" fuzz tone.

Unlike typical silicon fuzzes, which can sound thin and raspy, the Lunar Module has a dark, brooding character.

Classic late 60's/early 70's fuzz tones with extra control, versatility, and added noise reduction. Using 3 transistors instead of 2, a pre-distortion bass control, and a post-distortion treble control, the Lunar Module yields a multitude of uses.

Old-School Fuzz in a New, Modern Design

Great classic silicon fuzz tones

Gets along with other effects

Reliable, consistent, and controllable--quite useful and not touchy or temperamental

Huge range, from tight, aggressive overdrive/distortion to spitty, sustaining, slightly sick fuzz

Of course true bypass, LED, DC power, and small size

Controls:

VolumeThis sets the output volume. You can adjust your Skreddy Pedal to roughly the same volume as your bypass signal (i.e.; “unity gain”) or you can boost your signal for a fatter tone. Fuzz takes you from gritty, touch-sensitive overdrive all the way to aggressive, saturated, slightly sick fuzz. Warning: it can get noisy at high settings. Body aka Sharpness dials in the amount of bass going into the fuzz section, for everything from tight overdrive to full-voiced distortion to thick, nasty fuzz. Warning: it can get noisy at low settings. Brite aka Presence trimpot accessible via a hole in the left side of the pedal. It's set somewhere around 75% or so by me, and you can get more brilliance and “hair” or make it darker and smoother, to suit your amp and taste. Rangeaka Pre-Gain trimpot accessible via a hole in the right side of the pedal. It sets the gain of the input transistor. Turned all the way up, the Lunar Module will be fuzzier and more aggressive, but also noisier. Turned lower, there will be a darker, tamer response. I tend to like it about 20% backed off from max

The first pedal in the new Pettyjohn Electronics Core Series, the RAIL is a true full range fuzz machine. In traditional Pettyjohn fashion, we have brought rigorous engineering, creative design and a passion for tone shaping to craft a versatile fuzz for everyone at unmatched value.

The RAIL circuit takes a unique approach to generating fuzz which does not rely on clipping diodes or finicky vintage transistors. Instead, the pedal literally boosts the signal with extreme levels of gain into the voltage rails and hence the origin of the name ‘RAIL’.

The RAIL features a simple but powerful four knob control set: Level, Gain, Lows and Highs. Explore each in detail below along with our Pettyjohn Custom Shop options only available from Pettyjohn online. Explore all that RAIL has to offer below.

FEATURES

Versatile, full range fuzz and distortion circuit with tones for everyone. Unique 8-way rotary GAIN switch for higher gain. Unique INFINITY gain setting featuring a musical gating effect and our highest gain fuzz. Buffered Level control for no tone suck or loading with other pedals. Re-designed LOWS circuit that sweeps from 30Hz to 1kHz before the GAIN stage, which interacts with the fuzz. Re-designed sweepable HIGHS control, comes after the gain stage with a wide sweep from 22kHz down to 1 kHz, it can powerfully shape the harmonics content. High headroom with internal doubling from 6v-18v power input drawing under 100mA. Quiet bypass relay based true-bypass system for quiet switching. Designed for guitars, bass and keys. Hand made in Oregon, USA. New enclosure by GORVA design. GAIN CONTROL The gain is set by a unique eight position rotary switch and provides an inordinate amount of tone shaping while being intuitive to use. This is due to the rotary switch providing an increased range of gain which can not be found in standard pots. With this extra gain the RAIL provides significantly improved processing on the high levels at each increment of gain.

Step your way from low gain distortion (which cleans up nicely) all the way up to Infinity mode. Infinity mode simulates infinite gain and is by far our craziest fuzz setting we have ever engineered, complete with a light musical gating effect.

This effect is made even more fun thanks to our dual power rail design, which can scale from +/-6v to +/-18v, with the internal supply mirroring whatever input voltage you apply via the external power supply. Lower the voltage, lower the headroom and increase the clipping amount. There is a sweet spot for everyone, so experiment to find your perfect fuzz tone.

LEVEL CONTROL The level control has been carefully placed in the circuit to control the overall level of the signal and help deal with the huge amount of gain.

It is also fully buffered from the outside world and will not load or tone suck, making the RAIL one of the few fuzz pedals that actually likes being stacked. Be sure to adjust the level control for each gain step and for each operating voltage.

LOWS CONTROL The lows control has been re-designed for the RAIL and features an active 18 db/octave High Pass Filter with a huge sweep range from sub 30Hz to beyond 1kHz, for precise and powerful control over the low frequencies.

This control is located before the gain stage and greatly impacts how the fuzz engine overloads, so keep this in mind as you experiment with the control at the extremes and you’ll find a vast array of distortion and fuzz tones just by sweeping the low control.

HIGHS CONTROL The high control has been re-designed as well for the CORE series and is now fully buffered against any external loading making it more robust than ever.

The RAIL generates a huge amount of high end harmonics and you can easily tame it or unleash the wrath with this active 18 dB/octave, Low Pass filter that sweeps from 20kHz down to 1kHz.

HIGH VOLTAGE POWER The CORE Series is built with an updated dual rail internal power supply that mirrors whatever power you apply. It works great from 6v up to 18v, doubling whatever you put in.

Since the RAIL works by essentially slamming the circuit into the power rails, the voltage you put in greatly affects the character of the distortion and fuzz as well as the output level.

POWER REQUIREMENTS Clean, regulated, isolated power from 9v-15v (200mA) center tip negative jack (standard pedal adapter).

*Please note that we can not guarantee perfect operation of every power supply. Some are not well regulated and may cause extra noise if used. One known example is many of the voodoo labs power supplies have a high current, non-regulated output that will dip below 9v if used and cause high noise floor. Most customers report it works fine on the 12v outlet. If you hear a high noise floor, try another power outlet!

QUIET BYPASS The RAIL features a big update first introduced in our flagship Foundry MKII line: our quiet bypass switching system. It is a true bypass, relay based system for minimum pop when engaging the effect.

If you happen to use a true bypass looper and want state memory we offer the pedal with Hard Click True Bypass via our custom shop as a post-purchase mod or at time of purchase via our online shop.

PEDAL SPECS

All Core Series pedals are designed and hand assembled by our team in the beautiful Pacific Northwest, USA.

Dimensions: 2.5”W x 4.75”L x 2.5” H

Weight: 1 lb

The first pedal in the new Pettyjohn Electronics Core Series, the RAIL is a true full range fuzz machine. In traditional Pettyjohn fashion, we have brought rigorous engineering, creative design and a passion for tone shaping to craft a versatile fuzz for everyone at unmatched value.

The RAIL circuit takes a unique approach to generating fuzz which does not rely on clipping diodes or finicky vintage transistors. Instead, the pedal literally boosts the signal with extreme levels of gain into the voltage rails and hence the origin of the name ‘RAIL’.

The RAIL features a simple but powerful four knob control set: Level, Gain, Lows and Highs. Explore each in detail below along with our Pettyjohn Custom Shop options only available from Pettyjohn online. Explore all that RAIL has to offer below.

FEATURES

Versatile, full range fuzz and distortion circuit with tones for everyone. Unique 8-way rotary GAIN switch for higher gain. Unique INFINITY gain setting featuring a musical gating effect and our highest gain fuzz. Buffered Level control for no tone suck or loading with other pedals. Re-designed LOWS circuit that sweeps from 30Hz to 1kHz before the GAIN stage, which interacts with the fuzz. Re-designed sweepable HIGHS control, comes after the gain stage with a wide sweep from 22kHz down to 1 kHz, it can powerfully shape the harmonics content. High headroom with internal doubling from 6v-18v power input drawing under 100mA. Quiet bypass relay based true-bypass system for quiet switching. Designed for guitars, bass and keys. Hand made in Oregon, USA. New enclosure by GORVA design. GAIN CONTROL The gain is set by a unique eight position rotary switch and provides an inordinate amount of tone shaping while being intuitive to use. This is due to the rotary switch providing an increased range of gain which can not be found in standard pots. With this extra gain the RAIL provides significantly improved processing on the high levels at each increment of gain.

Step your way from low gain distortion (which cleans up nicely) all the way up to Infinity mode. Infinity mode simulates infinite gain and is by far our craziest fuzz setting we have ever engineered, complete with a light musical gating effect.

This effect is made even more fun thanks to our dual power rail design, which can scale from +/-6v to +/-18v, with the internal supply mirroring whatever input voltage you apply via the external power supply. Lower the voltage, lower the headroom and increase the clipping amount. There is a sweet spot for everyone, so experiment to find your perfect fuzz tone.

LEVEL CONTROL The level control has been carefully placed in the circuit to control the overall level of the signal and help deal with the huge amount of gain.

It is also fully buffered from the outside world and will not load or tone suck, making the RAIL one of the few fuzz pedals that actually likes being stacked. Be sure to adjust the level control for each gain step and for each operating voltage.

LOWS CONTROL The lows control has been re-designed for the RAIL and features an active 18 db/octave High Pass Filter with a huge sweep range from sub 30Hz to beyond 1kHz, for precise and powerful control over the low frequencies.

This control is located before the gain stage and greatly impacts how the fuzz engine overloads, so keep this in mind as you experiment with the control at the extremes and you’ll find a vast array of distortion and fuzz tones just by sweeping the low control.

HIGHS CONTROL The high control has been re-designed as well for the CORE series and is now fully buffered against any external loading making it more robust than ever.

The RAIL generates a huge amount of high end harmonics and you can easily tame it or unleash the wrath with this active 18 dB/octave, Low Pass filter that sweeps from 20kHz down to 1kHz.

HIGH VOLTAGE POWER The CORE Series is built with an updated dual rail internal power supply that mirrors whatever power you apply. It works great from 6v up to 18v, doubling whatever you put in.

Since the RAIL works by essentially slamming the circuit into the power rails, the voltage you put in greatly affects the character of the distortion and fuzz as well as the output level.

POWER REQUIREMENTS Clean, regulated, isolated power from 9v-15v (200mA) center tip negative jack (standard pedal adapter).

*Please note that we can not guarantee perfect operation of every power supply. Some are not well regulated and may cause extra noise if used. One known example is many of the voodoo labs power supplies have a high current, non-regulated output that will dip below 9v if used and cause high noise floor. Most customers report it works fine on the 12v outlet. If you hear a high noise floor, try another power outlet!

QUIET BYPASS The RAIL features a big update first introduced in our flagship Foundry MKII line: our quiet bypass switching system. It is a true bypass, relay based system for minimum pop when engaging the effect.

If you happen to use a true bypass looper and want state memory we offer the pedal with Hard Click True Bypass via our custom shop as a post-purchase mod or at time of purchase via our online shop.

PEDAL SPECS

All Core Series pedals are designed and hand assembled by our team in the beautiful Pacific Northwest, USA.

Dimensions: 2.5”W x 4.75”L x 2.5” H

Weight: 1 lb

The Clusterfuzz Jr. is the smaller brother to our Clusterfuzz. It’s the same circuit under the hood, with a few less features to allow it to fit into a standard 125B-sized enclosure. It uses the same types and values of components as its bigger brother, we simply scaled it down to a smaller footprint based on feedback from our customers. You asked; we listened!

As with all Function f(x) pedals, the Clusterfuzz Jr. sports a soft-touch, relay-based true bypass switching system.

Three clipping options for different saturation levels: No diode clipping, LED, and silicon diodes Volume, Tone and Fuzz knobs An “8-Bit/24-bit” switch to toggle between tight fuzz and square-wave velcro sounds Soft touch (true) bypass Top mounted jacks Laser-etched artwork 9v DC operation (industry standard) 20mA current draw (10mA when bypassed) Enclosure size: 4.78″ x 2.61″ x 1.6″ (12.14 x 6.63 x 4.05 cm) Weight: 10 oz (283 g)

BIFROST is the delay I always wanted.

I've always found it useful adding a bit of drive at the end of my pedal chain, just before going into the delays and reverbs, so I added a very cool fuzz that takes you from crispy, clean preamp tones, to very heavy and bold fuzz. You can also disengage it completely via internal push button switch.

Furthermore, my favourite trick with delays has always been turning the feedback to max and playing the pitch with the time knob, but this leads to two obvious challenges:

1: the feedback becomes so loud you start worrying about blowing up your amp. 2: you have to actually bend over and fiddle your knobs with your hands.

I fixed both of these issues. The feedback has a hard limiter installed, helping you avoid volume issues, but it also squeezes the repeats in a really cool way. This is important for one very special feature: I added a secondary feedback knob switchable via foot switch and an expression pedal input for the delay time control. This in turn gives you hands free operation of the UFO crash landings of your dreams, and the limiter squeezes the delays in a way that makes the whole thing sound like some kind of broken theremin. It's amazing.

You can obviously also change the delay time on the fly wether or not you're using self-oscillation or fuzz, and I find it to be a much more musical feature than a tap-tempo module. You have to bend and morph in and out of time and it's a really wonderful thing. It allows you to add faux vibrato, flanger, chorus and whammy effects to whatever you're doing and you never have to actually change the time knob, as its disconnected when you plug in the exp pedal.

So much fun. I expect you to get at least 10 new songs out of this thing.

FENRIS sprung out of my collaborative endeavours with legendary bass boy Bent Sæther. He wanted the ultimate super-fuzz based fuzz, and through multiple iterations, two pedals emerged, this one being the most beastly and aggressive fuzz I've ever created.

Both pedals use the preamp found at the dry input of the good old Space Echo tape machine and I've added and subtracted a bunch of parts from the original circuit to make this thing its own creation. It still maintains its super-fuzz/standard-fuzz/hyper-fuzz language tonally, but it has become a much more flexible and useful device. For recording it really comes into its own as a platform for all the weird and wonderful fuzz sounds you could ever need and live, you can make it do the most explosive, wild and thick fuzz sounds you've ever heard.

It has six knobs. Volume and gain do as you expect them to, but the internal gain in the circuit is so massive, you may find yourself actually not cranking this pedal. The two middle, unlabelled knobs take care of a very flexible notch filter and with them, you can scoop and drag and twist and mangle the signal's EQ curve, from impossibly deep bass, to aggressively nasty treble. The mushroom knob, lifted from the EMBLA applies a mild, passive gate to the output stage, very useful for whenever you need to cut the noise between your played notes or just destroy your signal. The triangle knob indicates octaving. Put it in the middle for more octaving, put it to either side for less.

Useful specs: Power with 9VDC, centre tip negative. Same as Boss Pedals. Easy. Current draw is quite high as I'm using logic based relay switching. Prior to mid May all FENRISes shipped had a current consumption of a little less than 150mA when engaged. In mid May I moved from Fujitsu Takamisawa relays to Omron relays. These do the exact same job, but draw much less current:

Idle: ~10mA Engaged: ~70mA

The White Atom is a fabulous, versatile hybrid Silicon and Germanium transistor fuzz. A wealth of tones from vintage style overdrive to velcro like saturated fuzz are available. There are five controls: Volume, Gain, Treble, Bass and Texture. The Texture control changes the feel and response of the fuzz. When used in combination with the Tone and Gain control many shades of fuzz and drive can be dialled in. Everything from focussed and tight through to velcro.

The pedal has a high input impedance and a low output impedance. This makes the White Atom, unlike many fuzz pedals, compatible with buffered bypass pedals as well as pedal switchers and wireless systems. It also allows the pedal to interact well with modulation and time based effects.

FEATURES:

• Volume, Gain, Treble, Bass and Texture controls

• High input impedance and low output impedance

• 9V DC centre negative adapter operation

• True Bypass switching

• Reverse polarity protection

• Top mounted Jacks and DC socket

• Individually selected and tested Silicon and Germanium transistors.

The Artist Tweedtone20R amplifier provides a great vintage-voiced tone at an affordable price. The amp has 2 channels, clean and overdrive. As is typical of vintage amps the 20R has a footswitch jack on the back that allows you to switch between clean and dirty channels seamlessly. The footswitch can be added at small additional cost.

Both channels have independent volume controls that are ultimately controlled by a master volume. This means that you can really drive the clean channel hard to get that nice warm overdrive "breakup" at levels that don't have to necessarily annoy your neighbours. Switching to the overdrive channel provides a thick, creamy overdrive that naturally lends itself to a subtle variety of harmonically rich blues and rock tones.

The 3-band EQ is highly responsive and allows for a vast array of tones to suit your personal preferences.

This amp is loaded with a high-performance Celestion Seventy 80 12 inch speaker for excellent all-around performance and tone.

The Tech Features Model: Tweedtone20R

Brand: Artist

Output Power: 20W(RMS)

Speaker: 1 x 12 inch, Celestion 70/80 Speaker

Speaker OHM: 8 ohm

Tubes:

2 x EL84 Power Tubes 3 x 12AX7 Preamp Tubes Control Panel:

INPUT - Connection to the instrument. CLEAN VOLUME - Sets the volume of the Clean channel. DRIVE BUTTON - Manually switch between the Clean and Drive channels. DRIVE GAIN - Sets the amount of gain or distortion in the overdrive channel. DRIVE VOLUME - Sets the volume of the Drive channel. TREBLE - Adjusts the high-frequency equalization range as required. MIDDLE - Gives active midrange equalization with boost & cut. BASS - Adjusts the low-frequency equalization range as required. MASTER VOLUME - Adjusts the overall volume of either the Clean. or "Drive" channels. MASTER REVERB - Adjusts the amount of reverb added to the normal signal. FOOTSWITCH INPUT - On the back of the amp. This switches the Clean and Drive channel. A footswitch is not included. (Please note, the drive button needs to be pressed in for this to work) STANDBY SWITCH - Switches the amp in/out of standby power mode. Wait until 30 seconds after the power switch is turned on to prolong your tube life. POWER SWITCH - Main amplifier ON & OFF. Dimensions: in MM 495W x 445H x 255D in Inch's 19.5W x 17.5H x 10D

Weight: 18.5Kg / 41 lbs

Optional Accessories: Belcat FST22 Latching Footswitch

Power Consumption: 85W

Power Plug: (See our blog post for more details)

AU & NZ: 240V with AU/NZ Plug UK: 230V with a UK plug (with a 13a fuse in the plug) USA: 120V with a USA 3 pin plug

The new 2018 RockBoard® pedalboard series has been completely re-designed to create a pedalboard that is lightweight, rigid and rugged, and allows for the use of a multitude of pedals as well as power supply mounting solutions. Its uniquely ingenious construction is based on only one folded, cold-rolled aluminium sheet for the board frame and has not a single welded seam. This makes the board surface completely plain and gives you more pedalboard space for your money.

U-shaped vertical support braces offer additional stability without adding too much weight. The new RockBoard® pedalboards will neither bend nor wiggle. The innovative slot-based design works equally well with the new RockBoard® Quick Mount pedal mounting plates (sold separately) as well as with standard mounting solutions (e.g. hook and loop tape, cable ties). The slots also let you easily hide cables underneath the surface for a neat and tidy setup.

Additionally, any power supply can either be mounted underneath the board surface, or using the optional RockBoard® The Tray universal power supply mounting solution. All RockBoard® 2018 Series models (except Duo 2.1) are compatible with the RockBoard® MOD patchbays. With seven sizes ranging from 47 cm (18 1/2") to 100 cm (39 3/8") in width, you are sure to find the perfect board for your needs. All sizes are available with either gig bag or flight case.

Features

Fits approx. 10 to 20 effects pedals (depending on size) Sturdy and light aluminium construction Slotted design for easy pedal mounting Mounting holes for RockBoard LED Light (not included) on both sides Made from 1 cold-rolled aluminium sheet Additional U-shaped support brace for added rigidity 10 degrees angled and absolutely plain board surface - no weld seams Slot for RockBoard® MOD patch bays Compatible with RockBoard® The Tray - universal power supply mounting solution Robust black powder-coated surface Width 622 mm / 24 31/64" Depth 424 mm / 16 11/16" Height incl. rubber feet 37 - 71 mm / 1 7/16" - 2 13/16" Weight 3.95 kg / 8.7 lbs. Includes gig bag Weight gig bag approx. 2.00 g / 4.4 lbs. Interior dimensions gig bag (L x W x D) 660 x 455 x 150 mm / 26" x 17 15/16" x 5 7/8" Includes self-adhesive hook (50 mm / 1 15/16" wide) & loop tape (25 mm / 1 wide) and cable ties

The cult favorite PT-3 is reborn and improved.

Pedaltrain Classic 3 offers a 24” x 16” (61cm x 41cm) pedal board with five rails, traditional spacing, and an elevated mounting surface. You’ll be surprised at the new and interesting pedal configurations you can achieve with this model.

Classic 3 is compatible with our VDL-MK and True Fit Universal Brackets. There is plenty of room underneath for organizing cables, mounting power supplies, direct boxes, and other accessories.

We’ve made a jump forward on the soft case design, mirroring the new MAX Series soft case.

This model is also available with a robust, wheeled tour case.

Noteworthy changes include:

All-new platinum SBS zippers with enhanced pull tabs. The zips are smooth, buttery and satisfying. Zipper nerds will love them! The case depth is boosted to 6” (15 cm) so you have more headroom than ever to load up the back rows. The shoulder strap and connections are the best we’ve ever offered. The strap features robust, washer-less, clasps. These clasps were repetitive machine stress-tested to 44 lbs (20kg) each. Together, the clasps offer 300% more load-bearing support than the old PT-3. We matched these clasps with a new padded and extra comfy shoulder pad, borrowed from our premium soft case line. The strap connects to the case via new sure-grip triangular metallic hooks. The hooks are double-reinforced at the case with durable codura nylon. Water resistant shell and easy-wipe inner liner. Tour case options will be available later in 2020.

Included

Classic 3 Pedal Board Soft Case with Premium Shoulder Strap 132" of matched Hook-and-Loop Assortment of zip ties Model: PT-CL3-SC

Pedaltrain pedal boards are rock solid, virtually indestructible, and built to last a lifetime. Our pedal boards are ultra light with an unmatched strength-to-weight ratio. Each Pedaltrain is hand cut, hand welded, and hand finished. No shortcuts taken, ever. No moving parts, screws or anything that can fail. We back up our pedal board claims with a lifetime warranty against defects in materials and workmanship.

Tribute to the SamAsh - Fuzzstainer

We took an old rare fuzz and recreated it with modern components. We moved the bias control externally, so you can chose the voicing of the transistors. Don't worry we didn't change the transistors they are still silicon 2N5172 transistors like the orignals. Also unlike the originals these do have increased output volume, so no volume loss. We added top mounted in and out jacks, and top mounted power jack for easy pedal board placement.

Controls:

Fuzz - Controls the amount of fuzz

Loud - Overall output volume of the pedal

Bias - Controls voltage to the transistor, which changes the texture of the fuzz

Tone - Controls the tone. CW: Brighter CCW: Darker

This pedal is True Bypass

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.

Professional Powder coating and UV Printed Graphics done by Disaster Area Designs.

A version of the Fuzz Factory. This variation features a three position mini toggle switch. Setting 1 is a standard Fuzz Factory, settings 2 and 3 introduce “low” and “lower” frequencies to manipulate, oscillate, and mutate as you like. The Fat Fuzz Factory sounds fantastic on both guitar and bass!

This Vexter Series Fat Fuzz Factory features UV printed graphics to commemorate our 25th Anniversary. The parts inside Vexters are identical to the hand painted pedals.

Pedal Dimensions (LxWxH): 4.70" x 2.38" x 1.82"

(Lo-fi Radio and Wire Recorder Emulation)

Inspired by espionage devices used during World War II and the Cold War, Shortwave transforms audio into clandestine operations of the past; Russian number stations, mysterious sounds transmitted by radio, and eerie sounds stored on early portable recorders.

Choose between 2 types of noise and interference, and control it with the Exposure parameter. Velocity and Focus control the amount of pitch stabilization. Shortwave will add an interesting emotional response and atmosphere to dry, simple sounds, or destroy a signal like no other fuzz pedal can.

Hand-made in Seattle, WA. Shortwave operates on a standard "Boss" style 9vdc power supply (not included), but can also run at 18vdc for additional headroom. True bypass switching. Included a limited-lifetime warranty.

The Vonyx VX800BT is a complete 2.1 'split system' designed to deliver great sound for your next party or event. The system comes with 2x passive 8" mid-high speakers, and 1x active 12" subwoofer with built-in amplifier for the satellite speakers. Also included are a pair of speaker stands, microphone, speaker cables, and an integrated USB Media player with Bluetooth for streaming music from your favourite device. The VX800BT is easy to use, simply connect the speakers to the designated ports on the sub, power on, and your ready to go. It really is the ultimate PA speaker system for small parties, presentations, and events.