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This pedal is a simple but carefully designed tremolo pedal to suffice the highest standards! It allows a great full, natural tone, and it’s “Shape” and “Ramp” knobs let you dial in the oscillator from triangle to square and also from positive to negative saw tooth. Best of all, the circuit automatically adapts to maintain the volume level while adjusting the Depth control.

The Ultraphonix Special Overdrive MKII delivers the blooming midrange and screaming overdrive of the ultra-rare American boutique amplifiers that players have been coveting for decades. This overdrive emulates the the expansive midrange and strident cascading gain stages of the D*lightful amplifier this pedal is based on. When you turn it on, it will unleash your guitar's full-throated potential with an articulate attack and smooth sustain that's reminiscent of players like Robben Ford and Larry Carlton. If you're a tone chaser, the Ultraphonix MKII Specialized Overdrive pedal will help you achieve the D-style tone you've been dreaming of that doesn’t require a mortgage to purchase!

ALFONSO HERMIDA LIMITED The EPH-3 is probably the best delay I have ever played period! The way it handles dirt boxes is nothing short of amazing, never does the unit get in the way or wash over your tone. Lush, fat, warm tones thanks to the FET preamp and recovery stage make this custom build from Alfonso Hermida a must have for every guitar player.

FEATURES

MIX: DRY/WET

DELAY: Adjusts delay time up to 1 second.

FEEDBACK: Adjusts repeats and regeneration

FLUTTER: Adjusts amount of modulation

Great dynamic response

Connectors: Input, Output, DC adapter

Power Supply: DC adapter

Dimensions: 4.7? x 3.7? x 1.18?

The LovePedal Hermida EPH-3 is a stunning tape echo simulator that brings across the full character of a real tape delay in a box that will fit on any pedalboard. Its old school design and simple controls remind us of some classic 80's pedals but trust me this sounds is much crisper and much clearer than any of those old circuits.

While some tape echos are filled with switches and controls that take hours to fine tune. The EPH-3 on the other hand is beautifully simple that just works as soon as you plug them in. Your top three controls are your standard delay options with Mix, Delay and Feedback which gets you the core sound. The extra fourth control is what really gives you that classic tape sound. Dubbed the flutter control this knob gives you all of the imperfections in the tape that would have appeared in the true analogue gear.

A common issue with tape echos is that they muddy up your sound that can effect your tone when you use it with a heavily driven tone. This pedal doesn't have any of these issues so you can easily place this in the effects loop of any high gain amp without any negative effect on your carefully crafted tone.

With similar frequency bandwidth to a tape unit, this analog-voiced digital delay is a favorite even among analog purists.

The Vector Ambient Delay is an easy delay project based on the Mad Professor Deep Blue Delay with a few modifications and improvements added.

The circuit is based around the PT2399 delay chip. While the PT2399 is technically digital, it doesn’t have the sterile sound characteristics associated with modern digital delays, but is instead much warmer and analog-voiced, with similar characteristics to a tape delay unit. It’s equally suited for short slapback effects or longer rhythmic repeats.

Your ears can be the final judge, but even most analog purists give high praise to this circuit. With the overall complexity being much lower and the cost of parts being far cheaper than a BBD-based delay, you owe it to yourself to try this one before jumping straight into a true analog delay!

The new version of the Vector removes compatibility with the Rebote 2.5 in favor of a simplified build process. The previous version of the Vector is still available if you want this option.

The quintessential mid-hump overdrive pedal made famous by Stevie Ray Vaughan, and the source circuit behind dozens of high-dollar boutique pedals.

The Stratus Classic Overdrive is a recreation of the Ibanez TS-9 Tube Screamer, first released in 1979 as the OD-808 Overdrive by Maxon and then later licensed to Ibanez.

Originally designed to compete with the Boss OD-1 Overdrive, the TS-808 and TS-9 added the now-famous tone control, but are otherwise very similar to the OD-1 with regards to the feedback diode-clipping arrangement.

The Tube Screamer is one of the most popular DIY effects, and it serves as the source circuit for a number of boutique effects including the Landgraff Dynamic Overdrive, the Fulltone® Fulldrive, and the Lovepedal Eternity.

The new 125B version of the Stratus has been completely overhauled, reducing some flexibility in favor of an easier and more straightforward build. The previous version of the Stratus will remain available.

A great mid-gain amp-like distortion with a 3-band EQ. Most notably used by Jonny Greenwood of Radiohead and Kevin Shields of My Bloody Valentine.

The Solstice Amp Distortion is a recreation of the Marshall Shredmaster, first released in 1991 alongside the Bluesbreaker and the Guv’nor, which was previously released in 1988 as the Drivemaster.

Despite its name, the Shredmaster is not an ultra-gain metal monster like the Boss Metal Zone. Unlike the Guv’nor, it does have the ability to scoop the mids, so you can get some sounds out of it that approach the metal territory—but for the most part, the name is misleading.

The Shredmaster has a lot in common with the Guv’nor / Drivemaster, and in fact the first half of both circuits are nearly identical. However, the Shredmaster has an additional gain recovery stage, and even though they have three tone knobs, the tone stack is very different under the hood.

The Solstice is faithful to the original, but with one added modification: a switch that lets you go between different clipping diodes. The original has a pretty low clipping threshold with just one 1N914 diode in each direction, meaning its clipping character is more gainy and compressed. But some different sounds can be coaxed out of it if you stack two additional diodes (as in the Bluesbreaker) or use LEDs (as in the Guv’nor) to get a higher threshold.

A classic untamed fuzz from the 1970s that adds an octave-up overtone, famous for its use by Pete Townshend of The Who.

The Rift Octave Fuzz is a recreation of the Univox Superfuzz, originally developed by the Shin-ei company in Japan in the late 1960s and called the FY-6. Shin-ei rebadged the circuit for over a dozen other brands such as Apollo, Electra and Hohner. However, the Univox Superfuzz was the most well-known of the brands and today is considered the definitive version of the circuit.

The Superfuzz uses a phase splitter followed by a differential pair to emphasize the upper octave. It’s very similar in concept to something like the fOXX Tone Machine, but with the major difference of using active transistors instead of diodes to rectify the signal.

The Rift includes one modification to lend more flexibility to the circuit. While the original unit only had a tone switch to go between two presets, this project provides the option of using a potentiometer to blend between them so it’s not just full-on one way or the other.

The new 125B version of the Rift is identical to the previous one, except that the diode clipping switch has been removed in favor of a simpler layout that is easier to build. The previous version of the Rift is still available if you want that option.

A reproduction of a rare and very expensive low-to-mid-gain overdrive with 3-band EQ that is popular in the Nashville scene.

The Quantum MOSFET Distortion project is a clone of the Ibanez MT-10 Mostortion MOS-FET Distortion, a fairly obscure pedal in the Ibanez “10 series” released in 1990 and discontinued in 1993.

It’s unique in that it’s the only Ibanez pedal with a 3-band tonestack, which was uncommon up until the 2010’s when you started to see amp-like pedals from companies like Wampler. Before then, the Marshall Shredmaster and Guv’nor (Drivemaster) were two well-known examples, but there aren’t many others.

The Quantum is faithful to the original MT-10, but with one added modification: a switch that lets you go between different clipping diodes. The original has a high clipping threshold using two stacked diodes in each direction, but with the clipping switch you can also select one 1N914 in each direction for a lower threshold (as in a Tube Screamer) or LEDs for a higher threshold.

Along with the Guv’nor and Shredmaster, this is one of the first pedals to use a full 3-band tonestack, and the only one in Ibanez’s history.

An all-analog tremolo featuring six knobs for fine control over every aspect of the waveform.

The Luna Optical Tremolo is a modified version of the 4ms Tremulus Lune, a classic DIY optical tremolo circuit that allows fine-grained control over the LFO shape.

Several of the Tremulus Lune circuit’s optional modifications are included standard in this PCB, including the Symmetry control as well as an external gain adjustment control so you can achieve unity volume with any setting.

The Luna adds a few improvements to the original design, including an input buffer to reduce noise and some added filtering to counteract ticking from the LFO. All of the knobs are located on the front panel in an efficient layout that is easy to build.

The new version of the Luna now uses standard 16mm potentiometers, which should make it easier to source parts than the last version. It also now has the Rate LED integrated into the footswitch board.

A unique tone-shaping tool that allows you to enhance the clarity of your signal by phase-correcting the low, mid and high frequencies separately.

The Lumin Sonic Enhancer is a work-alike of the BBE Sonic Stomp, the single-channel stompbox version of the rackmounted Sonic Maximizer 482i / 882i, first released in the late 1980s.

The sound is often described as like taking a blanket off your speaker. It adds clarity and definition to your tone and can be adjusted to suit a wide variety of rigs and settings.

The original unit uses a proprietary analog IC manufactured by New Japan Radio that contains the core of the circuit. The Lumin is a reverse-engineered expansion of the circuit on that chip, but it should be stressed that it is not a clone, because the chip implementation is patented. A midrange knob has been added along with switches to set the frequencies of the Process and Contour knobs.

The Lumin works equally well for electric guitar, acoustic guitar, and bass guitar, but the default configuration in the parts list is best suited for electric and acoustic guitar.

One of the most classic guitar effects of all time, its sound falls somewhere between a distortion effect and a fuzz with an incredibly long sustain.

The Halo Distortion/Sustainer is a recreation of the Electro-Harmonix Big Muff Pi, first released in 1969. Originally marketed as a “harmonic distortion sustain”, it has been lumped together with fuzz effects, although it’s a very different animal than classic fuzz effects like a Fuzz Face or a Tone Bender.

While the overall circuit has barely changed in 50+ years, Electro-Harmonix was legendary for changing the part values on a whim throughout that time while never advertising the new versions as being different than previous ones. There are around 20 notable variants and many more minor variations within those, with nearly every part in the circuit being tweaked at some point or another.

The Big Muff is a pretty easy build and there aren’t a lot of things that can be messed up. There’s no biasing or gain sorting for the transistors, and no rare or specialized parts. It’s endlessly tweakable, with dozens of different variants that can be replicated by substituting a few parts. For this reason, it’s become a very popular DIY build—something of a rite of passage for those getting into the hobby. It’s also a great way to experiment and learn how simple audio circuits work, because almost any part substitution will have some sort of audible effect.

The Halo is a faithful recreation of the Big Muff, allowing any standard variant to be built. A versions spreadsheet compiles all the different variants so you can easily see which parts to substitute if you want to build a Triangle, Ram’s Head, Civil War, or more than a dozen other flavors.

Also included is a midrange switch that allows for the stock mid-scoop tone, a flat midrange response, or boosted midrange. The mid-scoop tone is 100% identical to the Big Muff circuit, but it allows two extra modes if you find that it’s getting lost in the mix.

The Graviton Metal Distortion is a clone of the BOSS® HM-2 Heavy Metal, first released in 1983 and discontinued in 1991. The HM-2 was largely overlooked while it was in production, but in the mid-1990s it got the attention of a few bands in the Swedish death metal scene who developed something of a signature guitar tone by turning all the knobs to 10, often running it into a cheap solid state amp.

Despite the reputation it enjoys in the extreme metal community, it is far from a one-trick pony. It’s a very flexible pedal with a balanced high-gain distortion tone that works well in many styles of music.

This circuit also made an appearance as the DOD FX-56 American Metal, released in 1984. While the pedals don’t really sound the same, the American Metal has almost the exact same circuit layout, just with different parts values and with the two tone knobs combined into one. You can build the American Metal with the Graviton PCB.

A great low-to-mid-gain amp-like overdrive with a 3-band EQ.

The Equinox Amp Overdrive project is a clone of the Marshall Guv’nor and Drivemaster. (The two pedals have different names, but they are identical circuits in every way except that the Guv’nor has an effects loop which has been excluded from this project).

First released in 1988, the Guv’nor was replaced in 1991 by the Drivemaster, the same time the Shredmaster and Bluesbreaker pedals were released. It was a very popular pedal at the time and remains well-regarded.

The Guv’nor was among the first overdrive pedals to use a 3-band tone control, allowing for more amp-like toneshaping via bass, midrange and treble knobs. Interestingly, while it looks like an amp tonestack on the surface, it’s actually a little closer to a Big Muff tone control in its technology. All three controls are much more interactive than you’d usually see on an amp.

The Equinox is faithful to the original, but with one added modification: a switch that lets you go between different clipping diodes. The original has a high clipping threshold using LEDs, but with the clipping switch you can also select two 1N914s in each direction, as in the Bluesbreaker, or one 1N914 in each direction, as in the Shredmaster.

An exceptionally rare and unique optical compressor designed by Dan Coggins of Lovetone fame.

The Convex Parallel Compressor is a clone of the Dinosaural® OTC-201 Opticompressor, an all-original optical compressor designed by Dan Coggins, the chief engineer & circuit designer for Lovetone. It was originally traced by Aion FX in 2019.

The OTC-201 was made in very small numbers between 2013 and 2016 and remain exceedingly rare today. Despite this, they are universally acclaimed by the few who have had a chance to try one, and an OTC-201 can even be found on the pedalboard for Ed O’Brien of Radiohead.

Today, an updated version of the Opticompressor called the Fat General is available from ThorpyFX, also designed in collaboration with Dan Coggins. This version adds a treble control to allow a more jangly tone to be dialed in, but is otherwise basically the same circuit as the original.

The Convex is a direct clone of the original OTC-201, with two modifications. First, the internal Mode switch has been moved to the outside, so the blend/direct modes can be more conveniently switched between. Second, while the original OTC-201 was buffered bypass, the Convex adds an internal slide switch that allows you to select between true bypass or buffered bypass.

The first overdrive that attempted to replicate the tone of the legendary Dumble amplifiers. A favorite of blues guitarists, and with its low parts count, a great project for beginners.

The Azimuth Dynamic Overdrive is a recreation of the Hermida Zendrive, first released in 2004 and taken over by Lovepedal in 2013. The circuit has changed very little since its inception, with the only major change being the op-amp which happened after Lovepedal took over.

The Zendrive can be seen as a stripped-down Tube Screamer. It starts with a standard Tube Screamer-style clipping section, followed by a variable R-C treble cut and a buffer. The bass is adjustable via the “Voice” control, which varies the corner frequency of the filter coming off the op-amp. This also has the side-effect that the available gain increases as the Voice control is turned up.

Despite the legendary stature of the Zendrive, the circuit has among the lowest parts count of any Aion FX project and is a very good starting point for new builders.

A unique overdrive pedal whose complex drive tone earns it a spot on the pedalboards of many Nashville studio musicians.

The Andromeda Natural Overdrive is a recreation of the Nobels ODR-1, a somewhat obscure pedal from Germany that nonetheless is considered a “secret weapon” among Nashville studio musicians.

The overwhelming complaint of the ODR-1 is that it has way too much bass with no way to dial it out. To that end, the Andromeda incorporates a variable bass control inspired by the Timmy and Zendrive. The stock tones are still there with the knob all the way up, but now you have the option to dial it back.

Looking at the schematic, you can see a stark difference with Japanese-designed pedals (i.e. most Ibanez & Boss circuits). This is German engineering at its finest—tons of odd-value resistors and capacitors forming very precise filters and signal shaping. This is not a particularly simple build, but it’s very rewarding and well worth the effort.

A distortion pedal with a very distinctive and tight mid-to-high-gain character that made it a staple in the rigs of 1980s hard rock bands.

A distortion pedal with a very distinctive and tight mid-to-high-gain character that made it a staple in the rigs of 1980s hard rock bands.

The Helios Vintage Distortion is a recreation of the Pro Co RAT Distortion. First released in 1978, it went through several iterations over the next few decades and was released under other names like the RAT2 and Turbo RAT. The core circuit remained essentially the same throughout its lifespan.

The RAT can be considered an evolution of the MXR Distortion+. It has the same basic op-amp gain stage followed by diode-to-ground clipping. However, it also significantly alters the EQ in the op-amp stage as well as adding a tone control and output buffer.

The Helios adds two modifications: a clipping switch to select between different sets of diodes, and a Sweep control that changes the EQ and gain structure.

The new 125B version of the Helios has been overhauled, reducing some flexibility in favor of an easier and more straightforward build.

A part-for-part replica of a mythical overdrive effect noted for its high-end tone and price. The Klon Centaur and its successor, the KTR, remain highly original designs in an industry full of clones and tweaks to existing circuits.

A part-for-part replica of a mythical overdrive effect noted for its high-end tone and price. The Klon Centaur and its successor, the KTR, remain highly original designs in an industry full of clones and tweaks to existing circuits.

The Refractor Professional Overdrive is a clone of the Klon® Centaur Professional Overdrive and its successor, the KTR.

While the original Centaur was buffered bypass, the newer KTR added the option to switch between buffered bypass (called “Almost Always Better” by the designer) and true bypass (called “Almost Always Worse”). There were an overwhelming number of requests for this to be added to the Refractor, so this updated version implements the switch.

As of its release, the Refractor is the only DIY version of the Centaur or KTR that uses the correct true/buffer switch wiring from the original unit. Several other projects use a simpler wiring method that does not preserve the original circuit in buffered mode, which was one of the inventor’s stipulations.

Aside from the addition of the true bypass / buffer switch, the KTR is identical to the original Centaur circuit except for two components:

1. A pulldown resistor, RPD, has been added to counteract switch pop in the true-bypass mode.
2. R2 has been changed from 1M to 2M so that the input impedance stays the same with the addition of RPD (since two 2M resistors in parallel make 1M, which was the original value).

Marshall Bluesbreaker with an added volume-recovery stage adapted from the JHS Morning Glory and and extended switching options known from the AnalogMan Prince of Tone.

A classic overdrive effect that was designed to mimic the Marshall Bluesbreaker amplifier from the 1960s, the Bluesbreaker is also the source circuit for a number of high-dollar "boutique" guitar pedals.

The Cerulean Amp Overdrive is an updated version of the Marshall Bluesbreaker pedal. The Bluesbreaker is the source circuit for a number of expensive boutique pedals, including the Analogman King of Tone (which is two Bluesbreakers in the same box with a few modifications).

The Cerulean project has integrated two of the modifications from the King of Tone: the Presence control (an internal trimmer) and the ability to control both the soft clipping (stock) and hard clipping diodes. The clipping switches have been expanded further to allow two different diode combinations for both hard and soft clipping, whereas the King of Tone only has “on” and “off” settings for each.

Another notable clone of the Bluesbreaker is the JHS Morning Glory, which added a JFET gain stage at the end for increased output volume. The Cerulean project provides the option of using the output stage of the Morning Glory.

During the development of this new version of the Cerulean, it was determined that the “Bright Cut” switch of the Morning Glory was not very useful, especially when there was already a Tone control and an internal Presence control, both of which affect the high end. This option has been removed in favor of simplifying the decision-making process when deciding how to build it.

The Aion Compressor spans the sonic range from warm and smooth to bright and jangly, subtly enhancing your guitar's tone or acting as an effect in itself.

Designed with a no-compromise philosophy in sound quality, aesthetics and durability, this pedal will be with you for the long haul as a valuable part of your tonal arsenal. Handbuilt in Des Moines, Iowa.

Treble modes: "Normal" is the classic circuit, comparable to a Keeley Compressor or other Ross-types. "Jangle" turns it very nearly into a JangleBox. Very little of the treble is compressed, so it brightens the signal and response in a way that an equalizer can't really match. "Sparkle" is about halfway between the two settings, allowing some treble through without being overly bright.

Recovery Speed: Allows you to fine-tune the reaction time of the compressor (Slow, Fast or Medium), which is how quickly it lets go of the signal after it falls below the threshold. This is generally perceived as attack on the next note rather than recovery from the last, hence the more common labeling of this control as "Attack" on similar circuits, but it's the same control.

Input trim: An internal control allows the pedal to be used with high-output instruments like active pickups, keyboards or other electronic sources. If you find that your instrument is causing the compressor to clip, you can attenuate the input signal to compensate.

True bypass: A relay bypass circuit is used to allow true-bypass switching via a soft-touch switch, so you won't get any stage noise like you would with a standard 3-pole bypass switch. It's still true bypass in every way—it just takes the "stomp" out of "stompbox".

Illuminated control knobs: Instead of having an indicator LED on the front, the knobs themselves light up when the pedal is engaged. Useful? Maybe. Cool? Absolutely.

Small footprint: Your pedalboard real estate is valuable, so the Aion Compressor uses die-cast Hammond 1590B enclosures, which is as small as it gets (without going to micro proportions, anyway).

WHAT'S UNDER THE HOOD?

No compromises on component quality: Switchcraft jacks, 1% metal film resistors, polystyrene capacitors for low values, metallized polyester capacitors for high values. Everything that went into this pedal is top-shelf and was selected for quality over cost.

Improved 6-transistor design: The classic Ross circuit has been modified slightly, adding a sixth transistor which eliminates the harmonic distortion from the rectifier portion of the circuit. I won't take credit for coming up with this, but to my knowledge, the Aion Compressor is the only Ross-style compressor available to buy with this improvement.

Secure PCB mounting: The PCB is mounted to the pots and switches, while the input, output and power jacks and the stomp switch are mounted only to the enclosure and connected by wires. This reduces stress on the PCB and nearly eliminates the possibility of failures due to stressed solder joints.

Built to last: This pedal also doesn't have a single electrolytic capacitor in it. Electrolytics are generally the weakest link of a circuit as they tend to leak and drift after 15 to 20 years. Instead, I use more expensive tantalum capacitors. As a result, nothing in this pedal is subject to degrading or drifting over time.

A fresh take on an old classic, it uses a unique configuration of the same chip found in the beloved Dynacomp and Ross Compressors to produce that familiar compressed sound, but with some much needed improvements. The WORKERS COMP offers more headroom with less noise, and additional controls to help fine tune your sound. It can go from adding just a hint of sustain and consistency to seriously squishy. We've included level, compression, attack, and release controls, and upgraded to soft touch, true-bypass switching, so the only sound you'll hear will be the singing of your guitar.

Also included is a bright switch that helps to reclaim some of the high frequencies and sparkle that can be lost during compression.

The IRON DRIVE is our take on the tubescreamer circuit, and we refined it tirelessly until there was nothing left but pure, brilliant tone. We've included three distinct clipping options, separate Bass and Treble controls, and upgraded to soft touch, true-bypass switching, so the only sound you'll hear will be the singing of your guitar. Leaving the clipping switch in the middle position gives you a biting crunch that is just subtle enough to be dangerous. With the clipping switch set to the up or down positions, the Iron Drive is capable of supplying mountains of unrelenting tone, with grit as powerful as the iron smelters who inspired our design.

Boasting rich, spacial tones that can range from a subtle wash to a thick, ambient soundscape, this small reverb packs a serious punch: especially when you consider that dual knobs allow the user to select two different Reverb mixes and Tone levels (controls from left to right are: Reverb, Tone, Feedback). Pressing the left soft-touch footswitch will toggle between the upper and lower knob settings (RED light for upper knobs, BLUE light for lower knobs).

Holding the ​soft-touch, true-bypass on / off switch will throw the reverb into a wild runaway oscillation based on where the reverb level is set.

Dark, lush repeats are the name of the game. Controls include Repeats, Mix, Time, and Filter. Our unique Filter control can be used to alter the overall tone of the repeats, as well as filter in or out the tape-like artifacts produced at longer delay times. The 3-way Tap Division switch is used to toggle between Quarter, Dotted Eighth, or Eighth Note divisions. To summarize: luscious, dark repeats; analog voicing; three tap divisions; soft touch, true-bypass switching; on-board tap tempo; and external tap in / tap out.

The summit of tremolo performance is now attainable, and it's called the Red Mountain. One of the most versatile, feature-packed tremolo pedals ever produced, the Red Mountain packs all of the most popular tremolo features into a small, affordable package.

The Red Mountain is first and foremost a stereo tremolo pedal. From left to right, the upper controls are Speed, Depth, and Level. The speed and depth parameters can be controlled via an external expression pedal. There are five selectable tap-tempo divisions, and six different waveforms available. The sixth waveform option is called Stutter, and it turns the tap tempo footswitch into a momentary killswitch for your signal.

The Red Mountain contains one onboard, savable preset. Holding the bypass and tap-tempo footswitches simultaneously will save the active controls to the on-board preset. The middle (red) LED lights up to indicate whether the preset is active. Depending on the expression configuration, the preset can be activated by holding the bypass switch or through an external favorite switch.

Holding the tap-tempo footswitch will activate a ramp function, and the speed of the tremolo will increase or decrease on each hold depending on the ramping mode selected. Adjusting the speed knob while holding the tap-tempo footswitch will change the speed of the ramp. Adjusting the toggle switch while holding the tap-tempo footswitch will change the ramping mode.

Finally, in stereo operation, flipping the phase inversion switch to the left will pan subsequent pulses to different amps for a back and forth ping-pong effect.

Leaving the phase inversion switch in the middle will cause each amp to pulse simultaneously as a standard tremolo.

​With the phase inversion switch to the right, harmonic mode is engaged.

Ready to experience the intense ebb and flow of one of the most versatile, feature-packed chorus pedals ever produced? Meet THE GULF. The Gulf is a fully analog bucket brigade chorus/vibrato with digital control. It packs all of the most popular chorus features into a small, affordable package.

The Gulf is first and foremost a stereo chorus pedal. From left to right, the upper controls are Speed, Depth, and Blend. The Speed and Depth parameters can be controlled via an external expression pedal. The Blend knob allows you to blend from dry signal, to chorus, to vibrato, and everything in-between. There are five selectable tap-tempo divisions for the speed, and a Delay knob. The Delay knob time shifts the wet signal to create more extreme warble.

The Gulf contains one onboard, savable preset. Holding the bypass and tap-tempo footswitches simultaneously will save the active controls to the on-board preset. The middle (blue) LED lights up to indicate whether the preset is active. Depending on the expression configuration, the preset can be activated by holding the bypass switch or through an external favorite switch.

Holding the tap-tempo footswitch will activate a ramp function, and the speed of the chorus will increase or decrease on each hold depending on the ramping mode selected. Adjusting the speed knob while holding the tap-tempo footswitch will change the speed of the ramp. Adjusting the toggle switch while holding the tap-tempo footswitch will change the ramping mode. ​ Finally, there is a 3-way waveform toggle (W). Left is sine wave, middle is triangle, and right is a less common square wave which can create some unique sounds.

The Fool's Gold is "inspired" by the Earthquaker Devices Acapulco Gold, which aims at reproducing the sound of a cranked Sunn Model T. I think it is not very close to it (The Coda Effects Black Hole will do a better job), but is is a very nice distortion for doom and stoner rock afficionados.

It is a heavy distortion with lots of bass, with one simple volume control. It is possible to mod it to have a gain knob control (presented in the build doc). The PCB is made for 1590B Hammond enclosures.

High quality PCB: - Gold-plated pads - Double sided FR4-TG circuit boards - Spaced pads for easier soldering