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Notes: The Fairchild 660 studio compressor is consistently regarded as the best compressor ever made. For years, the original Fairchild 660 and 670 (Stereo) compressors have been extensively used in studios. This inspired J. Rockett to offer that sonic signature to the guitar community at a fraction of the $30k+ price tag.

The typical guitar compressor is the "Dynacomp", which has created iconic tones throughout the history of music, especially in Country music. That said, it's widely acknowledged that there are already countless Dynacomp variants available.

"The 'typical Dynacomp circuit' tends to crush the sound more like a limiter. This characteristic has cemented its sound into certain genres of music, which some may find desirable.

The Team at J. Rockett aimed to provide a compressor that works like a studio compressor, enhancing harmonic richness and evening out transients without crushing the entire spectrum.

The Airchild Six Sixty simply makes you want to play more. It increases sustain without crushing your output, imparts richness to your overall tone, and adds feel to your playing. The target tones were the slide tones of Lowell George and the singing lead/rhythm tones of Mark Knopfler.

The Fairchild 660 Compressor was designed by Rein Narma, who had worked with Les Paul to build a recording mixer for use with Les Paul's Ampex 8-track. Les Paul asked Narma if he would build a compressor/limiter. Sherman Fairchild, who was friends with Les Paul, learned of the compressor and licensed Narma's compressor design, hiring Narma to be chief engineer at Fairchild Recording Equipment Corporation. The first 10 Fairchild 660's were built by Narma himself. The first unit was sold to Rudy Van Gelder who used it to cut lacquer masters for Blue Note Records and Vox Records. The second unit went to Olmsted Sound Studios in New York City and the third 660 built went to Mary Ford and Les Paul.

Notable users: Abbey Road Studios purchased 12 Fairchild 660s after staff engineer Peter Bown heard it during a visit to Capitol Records in America. They used it on recording sessions for the Beatles, primarily for vocals. Beginning in 1966, Geoff Emerick began using the 660 on Ringo Starr's drum tracks as well as piano and guitar tracks. As of 2014, Abbey Road still had 8 of the original 660s purchased in the 1960s.

"We put the drum sound through Fairchild 660 valve limiters and compressors. It became the sound of Revolver and Sgt Pepper really. Drums had never been heard like that before." (Geoff Emerick)

Compressors are probably the most misunderstood effect that also have incredible impact on the delivery of music. There is not a professional recording in history that does not have some sort of compression. Gain is a form of compression, even EQ is a form of compression.

A compressor is used to reduce a signal's dynamic range-that is, to reduce the difference in level between the loudest and quietest parts of an audio signal.

Compression is commonly used to attenuate loud transient peaks (e.g., when a singer suddenly belts out a high note or a guitar player digs in to a note with muscle) compression helps maintain a consistent level. Compression essentially causes distortion in a signal, in that it changes the original sound of the signal through its processing. The compressor typically achieves this by emphasizing certain harmonics based on how the compressor is hitting the incoming signal. The job of this peda;l is to make that distortion feel transparent and to use dynamics to create the best-sounding performance possible. Use your ears!

In compression, the dynamic range becomes narrower - the highest peaks and the quietest parts have fewer dB of level difference between them. In contrast, a compressor can also help support or bring to life soft notes as well. For guitar, compression helps with sustain and feel. Using compression in front of an amp with gain or a gain pedal essentially just adds more compression and is typically not very audible. A good compressor will help sustain notes without introducing noise or artifacts in an amp or pedal with gain but typically works best in a clean amp to hear the effect. You will typically hear compression on country guitar, at least as an audible full throttle effect. Most players do not utilize this sound because a squished signal limits dynamics, however, if used correctly it can increase dynamics across the board. One of the best descriptions about compression is that it is the opposite of reverb. If you think about that it is true. Compression brings the full dynamic force forward in a balanced manner where Reverb creates space and distance.

Notes: HI POWER is Crazy Tube Circuits' next endeavour in pedal + amp-in-a-box overdrives recreating legendary sounds, following the success of Crossfire and Unobtanium.

It was inspired by the sonic combination of two British tone machines. The almighty Colorsound Power Boost meets the blistering high-headroom Hiwatt amp.

While the combination of these two units directly hints at the gear setup of David Gilmour and especially the gear used on Pink Floyd's album: Wish You Were Here (think the guitar solo sounds of "Shine on you Crazy Diamond", "Have A Cigar") the sonic options are endless.

The orange enclosure silicon transistor circuit (Colorsound Power Boost) can deliver from a transparent clean boost to an all-out fuzz driving a tube amp to sonic bliss. Crazy Tube Circuits set out to clone the original unit featuring the true-to-the-original spec BC184 transistors running on 18V DC (via an internal voltage booster circuit).

The ultra-flexible 2-band Baxandall EQ circuit can add bite and low-end rumble to any setup. Crazy Tube Circuits used a reverse log gain pot (labelled as volume), compared to the linear taper pot found in the original units and acted as an on/off switch, to be able to set the amount of boost/overdrive more precisely. While the earlier units didn't feature a master volume control (only as an aftermarket mod - Pete Cornish made an external unit master volume for David Gilmour's Power Boost) Crazy Tube Circuits chose to include one that is setup in a way so that when it is all the way clockwise it is bypassed. Later versions of the Power Boost had 9V power supply and were renamed as the "Overdriver" due to the lower headroom and their ability to drive the signal earlier. They were offered in a grey enclosure and can be seen in the gear setups of Jeff Beck, Marc Bolan, etc. Crazy Tube Circuits chose to incorporate this version as well with a flip of a toggle switch (PWR-ODR toggle switch).

On the left side of the HI POWER you will find an all-analogue circuit set out to emulate the sound and feel of a Hiwatt amp. Following the path of the famed British tube amplifier, this circuit offers authentic amp tone and feel resembling guitar tones from guitar greats like David Gilmour, Pete Townsend, Jimmy Page, Noel Gallagher to name a few. From the big bold high-headroom clean sounds to the face-melting crunchy tones.

True to the last detail, Crazy Tube Circuits have included the full EQ section along with a presence control located at the negative feedback of the power amp simulation circuit. A headroom toggle switch selects between the high headroom 100w power section provided by a quartet of EL34s (think Hiwat DR103), or the lower headroom and compression provided by a 50W power section with a pair of EL34s when hit hard (think DR504). Similar in operation to the original amps the master volume was designed to produce more gain at higher settings.

Crazy Tube Circuits taken the design a step further by adding a switch to select between input channels of the amplifier. You can select between the full response of the normal channel of the amplifier, the increased presence and tight low end of the bright channel input or the "Gilmour-ish" enhanced frequency response and added gain of those inputs linked together. This follows the modifications that Pete Cornish did to all David Gilmour's Hiwatt amps.

Like their other dual overdrive/amp-in-a-box designs, Crazy Tube Circuits also included a passive effects loop to give you the option to connect your beloved pedals between your booster/overdrive and amp in a box or use the two sections as separate and independent effects when using an external bypass switcher/looper. Gilmour enthusiasts will love to insert their Big Muff, Tube Driver and Phase 90 in there. Note that all pedals inserted in the passive effects loop are still in the signal chain when any or both sections of HI POWER are in bypass.

HI POWER features a power-up bypass/engage pre-set function for the footswitches. That way you can select which state your pedal will go to when you plug the power supply. This function comes in especially handy to people that use remote pedal switchers / loopers as they only set the state of the pedal once and then operate from the controller.

All-analog dual booster/overdrive - amp in a box.
Recreates the tones of the legendary setup used by David Gilmour in the recordings of Pink Floyd's Wish You Were Here album.
Right side: Faithful reproduction of the Colorsound Power Boost/Overdriver circuits with true-to-the-original-spec BC184 transistors.
Controls: gain, bass, treble, master, voicing toggle.
Wide gain range control: from transparent boost to gnarly and fuzzy overdrive.
Two-band (treble & bass) Baxandall EQ.
Master knob sets overall output. Huge amount of dB boost available.
Toggle switch to select between the 18V Power Boost style circuit or the 9V Overdriver style circuit.
Left side: Hiwatt AMP in a box overdrive.
All analog simulation of the preamp and power amp sound and response.
Controls: gain, bass, middle, treble, master, input channel toggle switch, headroom toggle switch.
Gain control: from clean to big bold British crunch/overdrive.
3-band Hiwatt style EQ (bass, middle, treble).
Presence control follows the original design/is located at the negative feedback of the power amp simulation circuit to control the amount of upper mid and high frequencies.
Master knob sets overall output volume. Designed to respond like the original control producing more gain at higher settings.
Input channel toggle switch selects between normal, bright, or linked input channels of the AMP for different voicing and gain levels.
Headroom toggle switch selects between the high headroom and dynamic response of a 100W amp or the lower headroom and compression of a 50W power amp.
Independent operation of the BOOST/OVERDRIVE and AMP sections
Click-less true bypass design via high-quality relays for each section.
2 Footswitches / 2 Status LEDs - one for each effect section.
Power-up bypass/engage preset function for the footswitches.
Top-mounted jacks
Passive series effects loop to connect pedals between the two sections or use them separately as independent effects.
Power Supply: Use only 9V DC, 2.1 mm x 5.5 mm, center negative (not included).
Runs internally at 18V DC (via voltage doubler circuit) for higher headroom and tube-like performance.
Current consumption: 84mA.
British Racing Green die-cast enclosure with color-coded lettering for the control section (orange for BOOST/OVERDRIVE section, white for AMP section).
Dimensions: (W x L x H): 119 x 97 x 53 mm.
Weight: 444 g.
Made in Greece.

Notes: Transform your electric guitar into a sitar!

Very few instruments offer as much harmonic and dynamic flexibility as a sitar. Electro-Harmonix has streamlined the essence of the sitar into a compact enclosure that offers a polyphonic lead voice and tuneable sympathetic string drones that dynamically react to your playing. With the EHX Ravish Sitar Emulator, you can create your own custom scales for the sympathetic strings while you set the decay time for the lead voice.

Two expression pedal inputs allow you to bend the pitch of the lead voice and control the volume of the sympathetic strings simultaneously. These unique controls offer the player the ability to program the Ravish to become a totally unique and organic instrument unto itself.

The Ravish is a truly new design with the flexibility to be a crossover tonal wonder.

Download free Ravish settings

Transform your electric guitar into a sitar
Lead sitar voice tracks your notes polyphonically with a wide range of tonal possibilities
Selectable decay speed for the Lead voice
Sympathetic string drone simulation with a wide tonal range
Selectable keys and scales including major, minor and exotic provided for the Sympathetic strings
Power adapter included

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 5.75 x 4.75 x 2.5
Current Draw: 160mA
Year Released: 2011

Notes: Psychdelic Vocal Trip

Designed for vocals, the Echo Master is a lo-fi, analogue tape-style delay unit that can transform your voice into a chaotic realm of noise and feedback. The effects loop allows additional effects to be placed in the signal chain, making it easy to use with any of your favourite effects pedals on your vocal sound without any adapters.

The Echo Master is not just a delay unit, however. It utilizes matched Bourns transformers on the input to create a vibrant-sounding and feedback-minimizing preamp to bring you phenomenal vocal quality before you even hit the PA. Your sound engineer will hate you because you'll sound better than ever without their help. Top it off with high-quality Neutrik XLR jacks and the Echo Master is the ultimate tool for taking total control of the sound of your voice.

Controls

Time: Controls the delay time, with numbers labelled in milliseconds. In the Red Zone, the delay chip is pushed to the extreme. The signal decreases in fidelity as the time increases.

F-Back: Controls the number of repeats in the delay circuit, anywhere from one to an infinite to a wall of oscillation.

Mix: Controls the level of the delayed channel in comparison to the dry signal, from fully dry to an equal mix.

Send/Receive: Plug out of the Send jack into any additional effects, then back into the Return jack to introduce new sounds into your vocals. This loop is before the delay line, allowing you to affect your dry vocals as well as the delay generated by the Echo Master.

*Alternate Backplate: Back in stock baby! The Echo Master can also be purchased with a backplate that mounts to your mic stand. Puts the pedal within hands reach to maximize live performance tweak-ability. This recently upgraded V3, comes with a handgrip screw for more torque (although it resembles the V1, this is a much sturdier model). **Please note- cords, microphone, and stand are not included.

Specifications

Dimensions: 6.09" x 3.45" x 2.75" (including hardware).
Weight: 16oz. (w/ Alternate Back Plate 30oz.)
Power: 9V (runs on standard 2.1mm negative center 9V adapter).
Current Draw: 25 mA.

Notes: Transform your guitar into a classic organ from the '60s and beyond!

With 9 presets that were finely tuned to emulate the most legendary organs from the '60s and beyond, the EHX B9 Organ Machine will transform your guitar or keyboard. Control the instrument's signature percussive click and sweet modulation. Blend your dry signal to create lush layers. Enough tonewheel and combo organ inspiration to light your fire and cook up some green onions!

Transform the tone of a guitar or keyboard into that of a convincing full body, electric organ
9 presets that were finely tuned to emulate some of the most popular and classic electric organ tones
Control over percussive attack level, modulation speed, organ and dry volume
Rugged and easy to use
Power adapter included

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 4.75 x 4 x 2.25
Current Draw: 100mA
Year Released: 2014

Notes: Transform your axe and resurrect the sound of vintage tape-based keyboards!

Now any electric guitar player can have access to nine magically quirky, dark and unique Mellotronr sounds. No more extra devices such as special and cumbersome 13-pin MIDI pickups! In addition to electric guitar, you can trigger the MEL9 with any instrument that produces an electrical output, such as a keyboard or a bass, down to 55 Hz or A1.

The polyphonic EHX MEL9 has superior tracking; you can create single notes or chords with ease. The MEL9 will follow guitar bends, dive bombs, slurs, and any other guitar expression/performance techniques you can throw at it!

Pays homage to nine of the coolest Mellotronr sounds: Orchestra, Cello, Strings, Flute, Clarinet, Saxophone, Brass, Low Choir and High Choir
Works on guitar without modifications, special pickups or MIDI implementation and tracks bends, slides, even whammy dive bombs!
Also works with bass guitar down to the open A string as well as keyboards within the limits of its polyphony (5 notes) and range (A1 to A5)
Includes independent Effect and Dry volume controls so you can create the perfect mix at the Effects output
Dry Output jack outputs your input signal at unity gain
Attack control sets the volume swell speed. As it's turned clockwise the notes fade in more gradually
Sustain control adjusts the release time after a sound is stopped. As it's turned clockwise, the fade out time increase
Power adapter included

SPECIFICATIONS
Circuit
Digital
Bypass
Buffered Bypass
Audio
Mono
Power Supply
9.6VDC-200mA power adapter included
Dimensions (in)
4.75 x 4 x 2.25
Current Draw
100mA
Year Released
2016

Notes: This is a digital effects pedal in a compact format, including reverse delay - pitch shifter - delay and modulated reverb.

Effects engine is 12 bit and includes analogue filtering before and after digital conversion, based on vintage eighties units' topologies, but it allows for all the effects to be simultaneously available.

Despite its complexity, operation is simple and intuitive, all functions are directly controlled by the corresponding knob.

Pots controls:

1-Blend controls mix of effects over final output signal
2-Octave blend mix a pitched signal to the input of the reverb
3-Octave -1 +1 controls tuning of pitch component
4-Repeat controls feedback of delay component 5-Balance controls mixture from reverb and
delay.
6-Sample rate controls the frequency operation for the whole pedal, modifying delay time
and reverb decay.
7-Reverse blends the reverse component with the direct signal.

Indicators:

Signal: indicates clipping, the input path has compression and limiting so it gives an idea of how hard you are driving the pedal.

Tap: blinks at the rate of the delay, depending on tap and sample rate.

Tap/freeze: turns red while tapping time, blue indicates reverb freeze.

Bypass: global effect on/off

Footswitches:

1-Tap/ freeze works as a tap tempo for the delay and reverse delay, and freeze/infinite for reverb, selected by the associated toggle switch. Max delay time is around 6 seconds, depending on sample rate setting.

2-Bypass: buffered bypass for the whole pedal.

Power consumption: 150 milliamps.

Notes: Music's best octave pedal in a powerhouse pico package!

EHX's smallest and most powerful compact Polyphonic Octave Generator yet. The Pico POG takes the streamlined simplicity of the Micro and Nano POGs and fits it all into an ultra-compact chassis and adds a powerful tone control. The tightest octave effect now fits on the tightest of pedalboards.

The EHX Pico POG features a lighting fast feel that will track every note and chord you play with precision. Dial in Sub Octave to add stumble rumble or monstrous thunder. Add Octave Up for ethereal air or max it out to shred into another galaxy. Perfectly blend 3-voice tones for fat synthy madness. The 3 mode Tone control lets you tailor your sound to fit into any pocket no matter how massive or small.

Controls on the Pico POG include dedicated volumes knobs for the SUB OCTAVE, OCTAVE UP, and DRY voices. These three controls act as a mixer for infinite possible voice mixes. The TONE knob features three modes controlled by the FILTER button. In Tone Mode, the knob acts as a tilt-EQ with a flat frequency response in the center, more treble and less bass as you turn the knob clockwise, and less treble and more bass as you turn the knob counterclockwise. In this mode, the EQ is applied to all 3 voices. In Low Pass Filter mode, the knob cuts highs in the Sub and Octave Up voices, while High Pass Filter mode cuts lows in the Sub and Octave Up Voices.

Lightning-fast tracking with perfectly precise octave tones

3 volume knobs control level of SUB OCTAVE, OCTAVE UP, and DRY tones

TONE knob with 3 filter modes

Tone Mode applied tilt-EQ to all output

Low Pass Mode applies a resonant low pass filter, which allows low frequencies to pass while cutting higher frequencies of the Sub and Octave Up voices

High Pass Mode applies a high pass filter, which allows high frequencies to pass while cutting lower frequencies of the Sub and Octave Up voices

Power adapter included

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 3.65 x 2.0 x 2.0
Current Draw: 100mA
Year Released: 2023

Notes: Part of the new Boss 200 series, the RV-200 is a seriously classy reverb. With a choice of 12 algorithms, things quickly move from classic ambience to the pitch-shifted arpeggiated madness of the new Arpverb program.

Supplier's Notes:
Ambient Bliss

The RV-200 delivers inspiring reverbs and premium sound in the streamlined BOSS 200 series design. Twelve versatile reverb types-including the newly developed Arpverb-provide everything from subtle spatial colour to complex, dreamy textures for ambient explorations. Quickly dial in sounds with the fast-access interface. Save favourites in 127 memories. And take performances to the next level with flexible onboard footswitches, deep external control support, and head-turning creative tools like Warp, Twist, and more.

Studio-Grade Processing

The RV-200 features a powerful reverberation engine with class-leading sound quality, backed by custom BOSS DSP, 32-bit AD/DA, 32-bit floating point processing, and a 96 kHz sampling rate. Every algorithm offers true studio-grade performance, with exceptional detail and definition from the shortest early reflections to long, floating tails spanning multiple seconds.

Twelve Distinctive Reverbs

From essentials like Room and Hall to deeply immersive reverbs like Shimmer, Slowverb, and the cool new Arpverb, the RV-200 gives you the ambient colours you need for every song and style.

Room

Simulates the reverberation characteristics of a small room. Select from four room sizes with the Param knob.

Hall

Simulates the reverberation characteristics of a concert hall. Select from three hall sizes with the Param knob.

Plate

Simulates the reverberation characteristics of a studio plate reverb. Balance the high and low damping of the reverb with the Param knob.

Spring

Simulates the distinctive sound of the hardware spring reverb effect found in guitar amplifiers. Select the number of springs with the Param knob.

Shimmer

Creates long, dreamlike reverberations rich in harmonic content. Adjust the harmonic character and diffusion with the Param knob.

Arpverb

A newly developed BOSS reverb that creates an arpeggio type of sound with evocative pitch-shifted tails. Use the Param knob to adjust the attack of the arpeggio sound.

Slowverb

A sweet ambient reverb with gentle attack and soft harmonics. Param adjusts the amount of direct sound blended with the reverb, allowing you to create deep, immersive tones.

Modulate

Adds a modulation effect to a rich hall reverb sound. Adjust the modulation depth with the Param knob.

+Delay

Combines a delay with reverb, with the length of both effects controlled with the Time knob. Use the Param knob to adjust the delay level.

Lo-Fi

A specialty reverb with limited bandwidth and added distortion. Adjust the distortion amount with the Param knob.

Gate

A distinctive reverb effect that abruptly cuts off the reverb tail. Use the Param knob to control the timing of the gate effect.

Reverse

Plays the reverb sound in reverse. Adjust the high-frequency character with the Param knob.

Instant Sound Creation

Like all 200 series pedals, the RV-200 offers a powerful yet intuitive panel that lets you realize great sounds with minimal effort. Along with core parameters such as reverb time, effect level, and pre-delay, there are variable high and low filters to perfectly balance the verb for your application. You also have a density control to adjust the weight of the sound, plus a parameter knob with access to multiple sound-shaping tools that are unique to each type.

Expressive Performance Control

The RV-200 includes memories for storing 127 reverb sounds, so your favourite setups are always ready to go. Two onboard footswitches pack a lot of performance versatility, with numerous options to reassign their targets to suit your needs. For example, you can bypass the effect, scroll through memories, and activate a Hold function to carry on the reverb effect for as long as the switch is pressed. It's also possible to assign powerful performance effects such as Warp, Twist, and Fade.

Specifications

Sampling Frequency: 96 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point
Modes: 12 modes- ROOM, HALL, PLATE, SPRING, SHIMMER, ARPVERB, SLOWVERB, MODULATE, +DELAY, LO-FI ,GATE, REVERSE
Memory127 + Manual
Nominal Input Level: INPUT A/MONO, B: -10 dBu
Maximum Input Level: INPUT A/MONO, B: +7 dBu
Input Impedance: INPUT A/MONO, B: 2 M ohms
Nominal Output Level: OUTPUT A/MONO, B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, B: +7 dBu
Output Impedance: OUTPUT A/MONO, B: 1 k ohm
Recommended Load Impedance: OUTPUT A/MONO, B: 10 k ohms or greater
Bypass: Buffered bypass
Controls: ON/OFF switch, MEMORY/HOLD switch, MODE knob, TIME knob, PRE-DELAY knob, E. LEVEL knob, PARAM knob, LOW knob, HIGH knob, DENSITY button, MEMORY button
Display: 7 segments, 3 characters (LED)
Indicator: DENSITY indicator, MEMORY (MAN, 1--4) indicators

Connectors
INPUT (A/MONO, B) jacks, OUTPUT (A/MONO, B) jacks: 1/4-inch phone type, CTL 1, 2/EXP jack: 1/4-inch TRS phone type, MIDI (IN, OUT) jacks: Stereo miniature phone type, DC IN jack, USB port: USB2.0 micro B (program update only)
Power Supply: Alkaline battery (AA, LR6) x 3, AC adapter (sold separately)
Current Draw: 260 mA

Expected Battery Life Under Continuous Use: Alkaline: Approx. 4 Hours
* These figures will vary depending on the actual conditions of use.
Accessories: Leaflet "USING THE UNIT SAFELY", Leaflet "To obtain the Owner's Manual", Alkaline battery (AA, LR6) x 3, Rubber foot x 4

Options (sold separately):
AC adaptor: PSA-S series
Footswitch: FS-5U
Dual footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
TRS/MIDI connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight

Width: 101 mm / 4 inches
Depth: 138 mm / 5-7/16 inches
Height: 63 mm / 2-1/2 inches
Height(including rubber feet): 65 mm / 2-9/16 inches
Weight: 610 g / 1 lb 6 oz
Weight (including battery): 680 g / 1 lb 8 oz

Notes: Dial in Professional Sounds in Seconds

The BOSS ME series has been a favourite of performing guitarists for over three decades, combining multi-effects power with intuitive hands-on control for crafting tones in seconds. The ME-90 is the most advanced ME model to date, offering exceptional audio quality, flagship-grade AIRD amp models, IR loading, an effects loop, and more. Compact, battery-powered, and filled with premium BOSS tones, this versatile all-in-one processor makes it easy to build customized sound setups for every playing situation.

Fast Sound Creation

With its knob-driven interface and diverse effects selection, the ME-90 lets you build configurations and tweak tones with the ease of a stompbox-filled pedalboard-without the hassle of fastening tape, power distribution, and multiple connection cables. Just dial up an amp model or effect type within a category and turn the knobs to get the sound you want. There are 36 preset patches with ready-to-play pro tones, plus 36 user patches for storing your custom creations.

Flexible Real-Time Control

The ME-90 features eight footswitches with smooth, quiet operation and an expression pedal with an integrated toe switch. Use Memory mode to call up complete patch setups with the footswitches, and then switch to Manual mode for direct on/off control of each effect category within the patch. The footswitch LEDs light in different colours for quick identification in the heat of a performance. It's also possible to set all LEDs to light in a fixed colour for each mode if desired.

High-Quality BOSS Effects

The ME-90 puts a massive library of BOSS effects at your command, offering seven different categories filled with selections derived from the flagship GT-1000. Everything you need is here, from overdrives and distortions to pitch/mod effects, delays, and high-quality reverbs. You also get 11 dedicated Pedal FX, a looper, and specialized effects such as acoustic simulation and down tuning. There are 60 effect types in total, with access to over 20 more via BOSS Tone Studio. A send/return loop is available for external pedals, complete with the ability to save the on/off status in patches and place the loop before or after amp models in the signal chain.

Premium Amp Sounds with AIRD Technology

Along with its effects, the ME-90 includes amp models ported from the GT-1000, driven by our advanced AIRD technology for authentic tube tone and touch response. Eleven onboard amp types offer everything from clean combo sounds to punishing high-gain stacks, and you can access more selections in BOSS Tone Studio. Each amp includes a dedicated cab sound for connecting to a PA or recording device, and you can load three of your favourite speaker IRs to personalize sounds to your taste.

Edit, Customize, and Expand

BOSS Tone Studio for macOS and Windows extends your creative range, allowing you to edit tones and change out some amp and effect types with alternate selections. In addition, you can save and organize patches for different gigs, download pro setups at BOSS Tone Central, and swap patches with the ME-90 community on BOSS Tone Exchange. The ME-90 also supports the optional Bluetoothr Audio MIDI Dual Adaptor, enabling you to stream music from a mobile device and wirelessly shape tones using the dedicated BTS editor app for iOS and Android.

Light, Durable, and Ready to Travel

The ME-90 is lighter than its previous generation model while maintaining the rock-solid durability that BOSS is famous for.

Specifications
Sampling Frequency: 48 kHz
AD Conversion: 24 bits + AF method
AF method (Adaptive Focus method) This is a proprietary method from Roland & BOSS that vastly improves the signal-to-noise (SN) ratio of the AD and DA converters.
DA Conversion: 32 bits
Processing: 32-bit floating point
Effects: 97 Types
Memories: 36 (User) + 36 (Preset)
Phrase Loop: 38 sec. (MONO)
Tuner Internal Detection: +/-0.1 cent
Nominal Input Level: INPUT: -10 dBu, RETURN: -10 dBu
Maximum Input Level: INPUT: +7 dBu, RETURN: +7 dBu
Input Impedance: INPUT: 1 M ohm, RETURN: 1 M ohm
Nominal Output Level: OUTPUT (L/MONO, R): -10 dBu, PHONES: -10 dBu, SEND: -10 dBu
Output Impedance: OUTPUT (L/MONO, R): 1 k ohm, PHONES: 44 ohms, SEND: 1 k ohm
Recommended Load Impedance: OUTPUT (L/MONO, R): 10 k ohms or greater, PHONES: 44 ohms or greater, SEND: 10 k ohms or greater

Controls:BANK DOWN/AMP switch, BANK UP/EQ switch, CTL/REV switch, MEMORY/MANUAL switch, 1/COMP switch, 2/OD/DS switch, 3/MOD switch, 4/DELAY switch, PEDAL FX switch, Gt. AMP/LINE switch, POWER switch, EXIT button, WRITE button, CTL button, EDIT button, PREAMP TYPE knob, GAIN knob, BASS knob, MIDDLE knob, TREBLE knob, LEVEL knob, REVERB knob, COMP/FX1 TYPE knob, SUSTAIN/SENS/-1OCT knob, ATTACK/TONE/-2OCT/DEPTH knob, LEVEL/PEAK/DIRECT knob, OD/DS TYPE knob, DRIVE knob, TONE knob, LEVEL knob, MOD TYPE knob, RATE/KEY knob, DEPTH/HARMONY knob, E.LEVEL/RESONANCE knob, DELAY TYPE knob, TIME knob, FEEDBACK knob, E.LEVEL knob, OUTPUT LEVEL knob, PEDAL FX TYPE knob, PEDAL FX pedal
Display: 7 segments, 2 characters (LED)

Connectors: INPUT jack, OUTPUT (L/MONO, R) jacks, SEND jack, RETURN jack: 1/4-inch phone type
PHONES jack: Stereo miniature phone type
USB COMPUTER port: USB Type-C(R)
Bluetooth ADAPTOR connector: Dedicated connector
DC IN jack

Power Supply: Alkaline battery (AA, LR6) x 4 or AC adapter
Current Draw: 190 mA

Expected battery life under continuous use:
Alkaline battery: Approximately 6.5 hours
* This can vary depending on the specifications of the batteries, capacity of the batteries, and the conditions of use.
Accessories: STARTUP GUIDE, Alkaline battery (AA, LR6) x 4, Leaflet "USING THE UNIT SAFELY"

Options (sold separately)
AC adaptor: PSA-S series
Bluetooth(R) Audio MIDI Dual Adaptor: BT-DUAL
Carry Bag: CB-ME80,CB-BU10

Size & weight

Width: 443 mm / 17-1/2 inches
Depth: 220 mm / 8-11/16 inches
Height: 67 mm / 2-11/16 inches
Maximum Height: 93 mm / 3-11/16 inches
Weight(including battery): 2.9 kg / 6 lb / 7 oz

Notes: For Eons, man has thought the sound of thunder to be from the heavens above, echoing boastfully over us as we stay safe from its greatness. However, legend tells of a stoic and indomitable beast residing in the highest mountains seen and heard only by the most brash of travelers. With gnarled and twisted horns, this creature emits a sound thicker than Earth's crust to command attention and warn all who stand in his way. This is Eons.

Eons is a five-state fuzz capable of massively thick sounds ready to test the limits of any amp's grill cloth. Use the Voltage (lightning bolt) knob to crank up to 18 volts into the pedal's circuit for massive, open fuzz sounds, or choose to starve it down to 3 volts for spatty, gated fuzz. Experiment with the Voltage and Mode knobs for nearly endless styles of fuzz tones. Find vintage-inspired sounds emanating from the stages of Woodstock to chaotic three-chord punk rock. Eons is ready for a fight.

The Eons features a five-position rotary knob that offers the following clipping configurations. Think of them as different "flavors" of the pedal:
I. Silicon soft clipping traditional fuzz that's well rounded with a huge sound; compressed and smooth.
II. Silicon clipping with an added bass boost that boosts the low end at the beginning of the circuit; compressed and crunchy.III. Germanium soft clipping with a feel of "what if a distortion and fuzz had a kid?"; crunchy and dynamic.
IV. LED clipping diodes with a slight high-end cut; dynamically dark.
V. Hard clipping silicon transistors combined with LED and Silicon soft clipping diodes. The rowdiest of the modes with tons of gain: compressed, loud, and angry.

Specs

The Eons comes in a sandy tan enclosure color with red, cream and black ink. Artwork features a stoic four horned, Markhor goat illustrated by Adam Forster.
9V DC, center negative, 100mA min
The use of an isolated power supply is recommended for powering all Walrus Audio Pedals.
Daisy chain power supplies are not recommended. Power supply not included.

Notes: Seeking to recreate the sounds of the Klon Centaur overdrive pedal and Dumble guitar amps, the Crazy Tube Unobtanium combines the holy grails of germanium diodes and all-analogue amp-in-a-box tone. Incredible value.

Supplier's Notes:
Introducing the Unobtanium, a rare sonic element born out of legendary tones.

A mythical overdrive meets the tone and feel of two iconic amplifiers. Crazy Tube Circuits have accurately recreated the circuit of the high headroom overdrive with the magic blend of clean and overdriven tones and added extra features for versatility. The amp-in-a-box section uses an all-analogue circuit to capture the essence of two legendary D-style tube amplifiers. From tube-like compressed fat clean to sweet singing overdrive with blooming harmonic overtones. Combine both sides for near infinite smooth sustain and enter sonic bliss while a passive series effects loop gives you the option to connect your beloved pedals between the overdrive and amp section, building your ideal rig

Right side: K-style pedal overdrive circuit including the fabled germanium diodes
Controls: gain, treble (tone), volume, bypass mode and clipping / compression
Wide gain range control: from transparent boost to high headroom overdrive
Treble control is an active circuit to boost or cut treble
Volume knob sets overall output. Huge amount of dB boost available
Toggle switch to select between the original buffer bypass to add clarity and run long cables or
true bypass
Toggle switch to select between stock clipping / compression or enhanced gain and
headroom/output

Left side: D-style Amp in a box overdrive
Controls: gain, emphasis, tone, volume, amplifier voicing toggle
Gain control: from clean boost to sweet singing overdrive
Emphasis control is a pre-drive EQ to control presence and bottom end response
Tone knob controls the amount of post overdrive high end frequencies
Volume knob sets overall output. Match bypassed volume or use as a clean boost or preamp
Toggle switch selects between 2 distinct D-style overdrive circuits
SSS: clean and transparent overdrive with natural organic compression
ODS: higher gain overdrive with enhanced mid frequencies and harmonic overtones
External footswitch input to select amplifier voicing (bypasses on board toggle switch)
Internal trimmers adjust EQ and volume boost of D-style overdrive voicings

Features:

Dual overdrive with independent operation
Two legendary sonic elements combined in one device
Passive series effects loop to connect other pedals between the two sections or use them separately
Runs internally at 18V DC for higher headroom and tube-like performance
Exceptional pick attack response - almost infinite smooth sustain when both sides are combined
Top mounted jacks
Click-less True Bypass design via high quality relay
Power Supply: Use only 9V DC center negative power supply (not included)
Current consumption 83mA
Pebble grey die-cast enclosure with black ink in old school type print
Made in Greece

Notes: Little box, big reverb. Specially designed for huge, cavernous echo effects and ideal for infinite tails and frozen sounds, the Blackhole is an exceptionally high quality pedal at a very reasonable price.

Supplier's Notes:
Create haunting echoes, ethereal landscapes and otherworldly ambience with Blackhole, a reverb pedal as big and as mysterious as the cosmos. Blackhole takes you there - beyond the ambience of mere earthly Halls, Rooms, Plates or Springs. Blackhole will take you on a journey from cathedral-type spaces to a universe of out-of-this-world soundscapes.

It includes onboard tone controls, modulation, and infinite reverb settings with mono or stereo operation, MIDI control, preset storing, and most importantly a new compact, easy-to-use interface.

Blackhole features two types of infinite reverb. Infinity mode continuously layers new sound on top of a suspended reverb. Freeze mode holds the effect allowing you to play over the reverb tail. The Freeze Footswitch allows instant access to this feature.

Unlike other reverbs which may offer pre or post modulation, Blackhole features modulation built into the reverb structure itself. It's essentially a big multi-voice chorus, with unique tone-shaping ability. You can utilize extreme settings to smooth out the edges.

Like all Eventide pedals, Blackhole allows you to fine tune every aspect of the effect. With a new, user-friendly, intuitive interface, just about anyone can shoot for the moon and land beyond the stars.

Input: 1/4" TRS / Mono = Tip, Stereo = Tip & Ring
Out 1: 1/4" TS Mono / Mono Output
Out 2: 1/4" TS Mono / Stereo Output
EXP: 1/4" TRS / Expression pedal, Aux Switch or MIDI I/O
Mono/Stereo Switch: Sets Input to Mono (Tip) or Stereo (Tip + Ring)
Guitar/Line Level Switch: Optimizes internal gain structure
Mini USB Software updates, MIDI I/O
DC Input Jack: 5.5mm / 2.1mm plug / Center Negative (-)

Input Impedance: 700k ohms Mono, 990k ohms Stereo
Max Input, Guitar: +8dBu
Max Input, Line: +14dBu
Output Impedance: 220 ohms
Recommended Load Impedance: 10k ohms

Power: 9V DC @ 200mA / Center Negative (-)
Dimensions (product): 4" W x 4.25" D x 1.68" H / 102 mm x 108 mm x 43 mm
Weight (product): 1.06 lb / 0.48 kg
Dimensions (package): 7.7" W x 4.75" D x 2.8" H / 178 mm x 121 mm x 71 mm
Weight (package): 1.68 lb / .77 kg

Notes: Amazingly versatile phaser business in this brilliantly designed pedal. Watch the demo video to hear the amazing range of sounds this one can do. Best phaser ever? Might just be.

Supplier's Notes:

Jump into spaceship Horizont and begin your trek into star- filled galaxies, all while discovering the incredible vastness of the sounds created by this inter-dimensional multi-spatial stereo analog JFET Phaser. The unexpected is waiting for you behind the far away horizon and it will be a journey you'll never forget!

The Horizont's mission is to push way beyond the classic phasing sounds of yesteryear, and take you to uncharted phaser worlds the second you plug in. By combining lush analog JFET phasing with digitally controlled dynamics, Horizont creates a vivid and expressive modulation experience, all while providing experimental and creative features that'll kick phasing well into the 21st century.

Besides the more common phaser controls, the Horizont offers a plethora of new and exciting options for all the interstellar tone chasers out there. To greatly broaden the range of phasing tones available, KMA implemented a digital LFO with no less than eight different waveforms: Ramp Up/Down, Sine/Triangle/Square wave, a sweeping waveform, Sample & Hold and a random slope waveform going from 20s down to 40ms.

The implemented envelope generator is one of Horizont's absolute key features. It transforms your input signal into a control source to modulate the speed of the digitally controlled LFO or lets you manually phase for a resonant touch wah- like sound, depending on the state of the SWP- and SPURTCONTROL-Switch.

Set the SPURTCONTROL switch to LFO to let the SPURT knob adjust the internal phasing speed. However, by flicking the switch to ENV (Envelope) mode, it allows you to dynamically modulate the speed along the full LFO speed range, based on how loud the input source is (e.g. when you attack the strings hard). You can also combine the SPURT knob and the envelope by flicking the toggle to LFO+ENV where SPURT then sets the minimum speed. For even more control, you can even plug in an external expression pedal/CV-source (0-5V) to alter the minimum speed on-the-fly or you can use the TAP TEMPO switch (tap just twice) to set the speed to fit in with the tempo of your music.

The EXP-Mode switch also lets you choose between a manual phasing mode, controlled by an expression-pedal or an external CV source. Setting the EXP-Mode switch to the middle position will disable any external expression control.
The SWP (Sweep) switch lets you decide to use either the LFO or the envelope of your instrument signal to control the phasing.

The envelope can be set to upwards or downwards operation via the ENV switch, seeing the LFO either slowing down or speeding up, or flipping the orientation when phasing manually from lows to highs and vice versa. In conjunction with the FUEL (Sensitivity) and the DECAY controls, the envelope can be tailored perfectly to your needs.

The EMPH (Emphasis) mode from the original Astrospurt Phaser was kept, but have reworked and refined it extensively for the Horizont. The four toggle-switches determine the stage in which the phase-shifted signal is fed back into itself, while the REG (Regeneration) control sets the feedback amount. We also smoothed out the overall sound of the EMPH mode for a more pronounced, and crisp vocal-like tone. Each of the different switch variations and turn of the REG control will yield different results, seeing you discover new wild, fuzzy and noisy galaxies as you travel deeper down this sonic wormhole.

In order for you to levitate through spacetime, a stereo output has been added to the Horizont. You can switch between a standard stereo output or a panning output, via the STEREOPAN switch. Synchronized with the LFO speed, the upper cycle of the LFO sends the signal to the OUT1 and the bottom cycle to the OUT2. This is without a shadow of a doubt the most liquid and astonishing phasing experience you'll ever embark upon. But wait, there's more! Stop and take a deep breath, set the MIX control to fully clean and the Horizont is transformed into a Tremolo on-the-spot, with all the other aforementioned features.

Last but by no means least, the Horizont was equipped with an FX-Loop right in front of the phase-shifting line. This enables you to add your own secret sonic weapons to this spaceship, seeing you create your very own unique phasing sounds.The pedals' headroom was also increased drastically by boosting the internal circuit voltage to 18V, from the regular 9V input, to give the cleanest phasing possible no matter what instrument or line source you use.

Notes: Simply sophisticated

With the 200 series, BOSS introduces a new generation of pedals that pack advanced sound and versatility into a streamlined size that saves space on your board. Grab-and-go controls and multi-function switches make operation easy and intuitive, while onboard memories allow you to store multiple setups for instant recall. All 200 series pedals feature premium audio quality with 32-bit internal processing and offer support for external control via footswitches, an expression pedal, or MIDI.

The OD-200 Hybrid Drive brings next-level sound, feel, and flexibility to overdrive and distortion, combining decades of BOSS tone expertise with innovative technologies. Powered by hybrid analogue/digital circuitry, this dream pedal delivers any drive tone you can imagine via 12 primary modes, 15 boost types, series/parallel gain paths, and more. There's even an advanced gate on board, ideal for both eliminating noise and adding tightness to high-gain drive tones.

Version 1.1 Update: User Memory Expansion

The free Version 1.1 software update brings increased flexibility to the BOSS 200 series, greatly expanding the onboard memory capacity for storing and recalling sounds. There are now 128 user setups available. Setups can also be recalled directly via MIDI program change.

For optimal performance, stay up to date with the current OD-200 system software

Premium Drive Tones with BOSS's Advanced Hybrid Design

The OD-200's next-generation hybrid design seamlessly brings analogue and digital clipping circuits together for the best of all worlds, putting a universe of expressive drive colours under your fingers. Twelve modes offer a variety of premium overdrive, fuzz, and distortion sounds, including a high-gain Brown mode derived from the acclaimed Katana amplifier series. And with the three high-performance "X" drive modes powered by BOSS's cutting-edge MDP tech, you'll experience enhanced definition, clarity, and dynamic response that's perfect for modern playing styles.

Powerful Gain Shaping with Series and Parallel Boosts

While each of the OD-200's 12 main drive modes sound fantastic on their own, you're able to craft tones even further with 15 switchable boost circuits. Placing the boost in series lets you create traditional stacked drive voices, complete with post-gain level to balance with the bypassed sound or kick up the volume for solos. The boost circuit can also be used in parallel with the main mode, enabling side-by-side blending for an unlimited range of unique drive textures.

Kill the Noise and Tighten Your Tone

With its integrated gate circuit, the OD-200 always keeps your signal clear and quiet when you're not playing. The default setting is a great starting point, providing gentle, transparent gating that works well for general playing styles. The decay and threshold controls can also be adjusted for super-fast gate performance when needed, perfect for bringing tightness to heavy modern styles that combine full-throttle gain with precision staccato riffing.

Dial in Sounds Fast

The OD-200 offers a ton of advanced capabilities, but remains as simple to use as any regular distortion stomp. With dedicated controls, you can quickly dial in the gain and overall level for any selected mode, then sculpt the tone with wide-ranging low, mid, and high EQ. There's also a multi-function parameter knob, which changes operation based on the group selected with the panel's parameter switch and LED status indicators.

Save and Recall Your Favourite Setups

The OD-200 features 127 user memories plus a real-time panel setting, giving you 128 total setups to choose from. Any range of consecutive memories and the panel setting can be assigned for scrolling access from a footswitch. It's also possible to limit the scrolling range or assign memories directly for even faster recall.

Specifications

Sampling Frequency: 96 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point
Drive Circuit: Analogue + Digital

Modes:
12 modes
OVERDRIVE, BLUES, SCREAM, CNTR OD, X-DRIVE, DIST, X-DIST, STACK DRIVE, FAT DIST, BROWN, X-METAL, FUZZ

Memory: 127 + Manual
Nominal Input Level: INPUT: -10 dBu
Maximum Input Level: INPUT: +7 dBu
Input Impedance: INPUT: 1 M ohm
Nominal Output Level: OUTPUT: -10 dBu
Maximum Output Level: OUTPUT: +7 dBu (Load Impedance: 220 k ohms or greater)
Output Impedance: OUTPUT: 1 k ohms
Recommended Load Impedance: OUTPUT: 10 k ohms or greater
Bypass: Buffered bypass

Controls: ON/OFF switch, MEMORY/BOOST switch
MODE knob, DRIVE knob, LEVEL knob, PARAM knob, LOW knob, MIDDLE knob, HIGH knob
PARAM button, MEMORY button
Display: 7 segments, 3 characters (LED)
Indicator: PARAM indicator, MEMORY (MAN, 1--4) indicators

Connectors:
INPUT jack, OUTPUT jack: 1/4-inch phone type
CTL 1, 2/EXP jack: 1/4-inch TRS phone type
MIDI (IN, OUT) jacks: Stereo miniature phone type
DC IN jack
USB port: USB micro B-type (program update only)

Power Supply: Alkaline battery (AA, LR6) x 3, AC adaptor (sold separately)
Current Draw: 220 mA

Expected Battery Life Under Continuous Use:
Alkaline: Approx. 6 Hours
* These figures will vary depending on the actual conditions of use.

Accessories:

Leaflet "USING THE UNIT SAFELY"
Leaflet "To obtain the Owner's Manual"
Alkaline battery (AA, LR6) x 3
Rubber foot x 4

Options (sold separately):
AC adaptor: PSA-S series
Footswitch: FS-5U
Dual footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
MIDI/TRS connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight:

Width: 101 mm / 4 inches
Depth: 138 mm / 5-7/16 inches
Height: 63 mm / 2-1/2 inches
Height: (including rubber foot)65 mm / 2-9/16 inches
Weight: 600 g / 1 lb 6 oz
Weight (including battery): 670 g / 1 lb 8 oz

Notes: The TRIO+ is a simple-to-use guitar pedal that listens to the way you play and automatically generates bass and drum parts that match your song. Just plug your guitar into the TRIO+, press the Band footswitch to teach the TRIO+ your chords and rhythm, then press the Band footswitch again to start playing with your own personal band! Bass and drum levels can be adjusted for the perfect mix using the TRIO+'s Bass and Drums knobs. The TRIO+ also features a Simple Bass button lets you select between 3 bass line modes for busy or simple bass lines. Pushing the Band Creator™ paradigm further, the TRIO+ also allows you to loop and custom sequence your looped guitar parts to create full songs on the fly. Press the TRIO+'s Looper footswitch to record a loop along with an unlimited number of overdubs. The Loop level can be individually controlled using the TRIO+'s Loop knob. Loops can be recorded by themselves, operating just like a traditional looper, or along with the band. You can also apply built-in effects to your guitar signal by enabling the TRIO+'s Guitar FX button, or connect your favorite effects to the TRIO+'s FX Send and FX Return jacks. The TRIO+ provides 12 music genres to choose from including Blues, R&B, Rock, Alternative Rock, Metal, Pop, Electronic Pop, Hip-Hop, Country, Folk, Latin, and Jazz. 12 song styles are available for each genre and can be selected using the TRIO+'s Style encoder, including selection between 3/4 and 4/4 time signatures. Multi-colored LEDs around the TRIO+'s Style encoder indicate which styles best match your song. The TRIO+ can learn up to 5 different song parts, perfect for creating an intro, verse, chorus, bridge and outro. Song parts can be recalled on-the-fly as the song plays back or pre-programmed as a sequence for automated playback. An optional DigiTech FS3X Footswitch can be connected to the TRIO+'s Control In jack for additional handsfree control with 3 modes of operation to select from. Up to 12 songs along with loops can be stored to the TRIO+'s Micro SD Card (included). Need to create more songs? No problem. Just insert a new SD Card and you're ready to start teaching the band your new songs. To manage all your songs and loops on a computer, download the free Librarian Manager software from digitech.com, available for Windowsr and Macr. The TRIO+ offers independent Tempo, Genre, Style, Loop Level, Bass Level, Drums Level, Headphone Output Level controls; Guitar, FX Return and Control Inputs; Amplifier, Mixer, FX Send and Headphone Outputs; Built-in Guitar Effects (relative to music genre); a Soft Click Footswitch and includes a 9V DC adapter.

General Specifications
ControlsTempo, Genre, Style, Loop, Bass, Drums, Headphone Volume
Backlit ButtonsGuitar FX, Seq, Part 1-5, Alt Time, Song, Simple Bass
FootswitchesLooper, Band
LEDsGenre types, Style 1-12, Audiolastic, Looper, Band
JacksPower, Control In, Guitar In, FX Return, FX Send, Amp Out, Mixer Out, Headphone
OtherMini USB port, microSD card slot
Bit Depth24-bit
Sample Rate44.1 kHz
Signal-To-Noise Ratio110dB, A-weighted
Maximum Recording Time230 seconds per song part i based on a minimum 50 BPM and 48 bars per part
USB TypeMini-B
SD Card TypemicroSDHC, Class 10
SD Min/Max Storage Size8 GB/32 GB
Power Requirements9 VDC external power adapter
Power Consumption7.2 W
Current Draw800 mA
Dimensions
Length5.4"
Width4.25"
Height2.5"
Weight1.46 lbs.
Audio Output
Amp Output TypeUnbalanced, 1/4" TS
Amp Output Impedance1 kO
Mixer Output TypeUnbalanced, 1/4" TS
Mixer Output Impedance1 kO
FX Send Output TypeUnbalanced, 1/4" TS
FX Send Impedance1 kO
Headphone Output Type1/8" (3.5 mm) Stereo Mini Jack
Headphone Output Impedance120 O
Audio Input
Guitar Input TypeUnbalanced, 1/4" TS
Guitar Input Impedance1 MO
FX Return Input TypeUnbalanced, 1/4" TS
FX Return Impedance1 MO
Control Input Type1/4" TRS (compatible with DigiTech FS3X)

Notes: The MOD REX is a kinetic tour-de-force that lets you weave compelling, shifting, musical tapestries. Whether you are a guitarist, synthesist or electronic musician you will find it inspires your creativity and stretches your musical boundaries.

Four independent modulation sections:

The heart of the pedal is its four, independent modulation sections synced in time, they are:

MOD features great sounding EHX Vibrato, Flanger, Chorus or Phaser. The Depth knob lets you set the amount of the effect while Feedback controls the resonance of the Flanger and Phaser.

TREM delivers tremolo, an effect that modulates the volume of your signal. The Depth control sets tremolo intensity.

PAN modulates between left and right in stereo operation. In mono operation the PAN section acts as another tremolo section, but with the wave shapes all inverted!

FILTER offers a choice of a modulated LPF, HPF or BPF. In LPF (low pass filter) frequencies above a modulated cut-off point are cut. In HPF (high pass filter) frequencies below a modulated cut-off point are cut, and in BPF (band pass filter) frequencies above and below a modulated centre point are cut.

Each section also features a choice of four LFO shape options: rising sawtooth, triangle, falling sawtooth or square wave. They affect the way the modulation transitions and provide advanced creative control over the specific section as well as the way they interact with each other.

Tempo control that's flexible and powerful:

The MOD REX delivers virtually limitless polyrhythmic possibilities.

Its TEMPO component gives you nine note-length choices for each of the four modulation sections. They are independently selectable in increments starting at a whole note and ranging thru subdivisions that go up to a 16th note. In addition, any of the sections can be bypassed.

The MOD REX's tempo (displayed as beats per minute or BPM) is adjustable with the Tempo knob, Tap Tempo footswitch or by using an expression pedal into its EXP input. It can also be synced to an external device with MIDI Clock or an external pulse clock.

MIDI and the MOD REX:

The pedal's robust MIDI implementation enables you to sync devices quickly and easily as well as automate functions and changes so they occur precisely when and where you want them whether you are working at home, in a studio or live.

The MOD REX accepts MIDI to enable it to tempo sync the modulation rate with an external device, to recall presets via MIDI Program Change messages and to control any parameter on the MOD REX via Control Change messages.

Extras:

The MOD REX lets you save and recall up to 100 presets. It comes from the factory with 20 great programs.

The pedal features full stereo input and output.

An external foot controller input makes banking up and down thru presets quick and easy.

Notes: Cerberus is a multi-function effect pedal which can be used stand-alone or with the 4 cable method and comes packed with extraordinary features including inside routing, IR loader, analogue overdrive & distortion and digital effects. You can use Cerberus as a stand-alone device to prepare your setup and control as a stomp-box chain and/or save any combinations including routing as a preset and recall by a single click. You can add your essential gears into the chain with using 4 cable method no matter which equipment you use. Cerberus also offers MIDI control to organize your own effect pedals and improve your effects control at the same time. We've put together 2 selected analogue Drive/Distortion pedals, modulation effects and delay & reverb effects.

Notes: The EHX 22500 is a stereo looper with two independent loops that can be played in sequence or in parallel. Flexible performance controls and creative effects allow you to loop in any way you imagine. It records high quality, non-compressed audio directly to a removable SDHC card (4 to 32 GB) and each card holds up to 100 individual loops. Includes an 8GB card for up to 12 hours of recording time.

Creative controls over looping functions such as adjustable tempo, programmable loop/overdub length, and two loops that can playback independently or locked to one another makes the 22500 act like the looper of your dreams.

Download free drum loops for the EHX 22500

Dual stereo loops with independent or locked loop lengths
Sequential looping mode enables verse/chorus switching
Parallel looping mode allows simultaneous playback of two loops
16 built-in drum loops
Selectable microphone input with phantom power
Reverse and Octave functions
Undo-Redo your last overdub or recording
Quantize or non-quantize (free running) modes
USB port enables backup/restore to PC or Mac
Programmable third footswitch for Stop or Tap Tempo
Optional external Loop Up/Down Foot Controller
Power adapter included

SPECIFICATIONS
Circuit
Digital
Bypass
Buffered Bypass
Audio
Stereo
Power Supply
9.6VDC-500mA power adapter included
Dimensions (in)
5.75 x 4.75 x 2.5
Current Draw
235mA
Year Released
2015

Notes: An 'otherworldly' take on the classic delay pedal from Death By Audio, with the addition of a fuzz circuit allowing you to dial in grit and texture as well as ethereal atmospheres with shimmering feedback.

Supplier notes:
Lush Modulating Echo

A powerful, ethereal, and nuanced delay pedal with otherworldly controls. Push the feedback for vast worlds of colourful sound. Introduce a bit of warble with the modulator for ghastly chorus tones, or a ton of it to absolutely warp the delayed signal. Once your delay is thoroughly contorted, turn up the fuzz and pulverize it into repeating, shattered pieces. This is the preferred echo for recording engineers and touring pros around the world because, simply put, it just sounds that good. From delicate, beautiful sounds to yawning voids of fuzz and feedback, the Echo Dream II is ready to transform anything you throw at it.

Controls

Master: Sets the overall volume.
Fuzz: Sets the amount of gain, from clean to fuzzed-out bliss.
Delay: Sets the volume of the delayed signal.
D Time: Controls the delay time (numbers shown in milliseconds) between 20 ms and 1 second. Long delay times can create flutter, noise, and distortion.
FBack: Controls the feedback of the delays, from slapback to wild runaway oscillation.
Left Toggle: Up for clean blend, down to kill the dry signal and hear only the repeats.
Speed: Controls how fast the modulator runs.
Depth: Sets how far the modulator will swing the delay time. At high intervals, the pitch of the repeats will shift several semitones!
Right Toggle: Up for a smoother modulator waveform, down for a sharp, square-shaped wave.

Specifications

Dimensions: 5.87" x 4.72" x 2.35" (including hardware).
Weight: 21 oz.
Power: 9V (runs on standard 2.1mm negative center 9V adapter or included 9V battery).
Current Draw: 40 mA.

Notes: Blistering Reverb

The original synthetic atmosphere creator. The Reverberation Machine offers up drippy, saturated spring reverbs and cavernous expanses in one small package. Push the Altitude and hear the reverb blasted with gloom and distorted shimmer for the ultimate wall of sound. An instant classic for a reason, the Reverberation Machine's unique and experimental sounds are equally at home twisting your sound into a galactic nebula or adding a sinister and yearning beauty to anything you plug in.

Controls

Vol: Controls the master output volume.
Altitude Control: This is similar to gain. Turn it up to bring in a more wide open, distorted sound.
Verb: Blends in the amount of reverb.
Dark/Light Symbol: Dark cavernous reverberation to bright shimmering reverberation.

**When the Altitude and Verb controls are turned past 12 o'clock, the pedal can produce potentially harmful volumes, white noise, and other artifacts**

Specifications

Dimensions: 4.86" x 3.67" x 2.06" (including hardware).
Weight: 14 oz.
Power: 9V (runs ons a positive ring, negative tip 9V DC adapter or included 9V battery).
Current Draw: 66 mA

Notes: The Aether is a modulating delay pedal.

The initial vision for the design of The Aether came shortly after the release of the Wardenclyffe Deluxe. The intention was to take design the philosophies and incorporate tonal characteristics that made the Wardenclyffe so special, but this time as a delay pedal.

At the heart of The Aether is a PT2399, tap tempo delay. It has the standard Echo, Feedback, and Time controls you would expect on any delay, but what makes it special is the Color, Saturation, and Degrade Controls. The Color toggle completely changes the character of the Aether and has two voices: Warm Analog and Bright Tape. The Saturation knob is a gain adjustment that overdrives the delay chip. The Degrade toggle adds lofi textures and artifacts to the delay line. The Degrade toggle removes a very vital section of the delay circuitry that keeps the delay stable with longer delay times. As you increase the delay time, the artifacts become more present and lofi.

The Aether uses a simple, but versatile modulation LFO core inspired by the Wardenclyffe, but with more features. The LFO cores sets it apart from other modulated delays out there. The speed of the modulation core can be set 3 different ways: Rate knob, tap tempo tact switch, and Sync toggle. When the Sync toggle is set to its middle position, the LFO can run at whatever speed you want. When the Sync toggle is in the up position it is synced to the delay time. When the Sync toggle is in the down position, it is synced to delay time, but in half-time for slower evolving moduation. The Shift knob determines the depth of the modulation; this has plenty of range in case you want to get really obscene. The Stray toggle changes the LFO from a typical Sine wave to a Slewed Random waveform. Creative exploration of the modulation section of The Aether is strongly encouraged. The way the delay rate and LFO rate interact with each other can yield very creative results.

Notes: Compact multi-effect pedal combining the award-winning Soul Food Overdrive and Holy Grail Max Reverb!

The EHX Turnip Greens is a multi-effect pedal that combines the Soul Food Overdrive and Holy Grail Max Reverb.

The Soul Food delivers transparent sounds starting with clean boost and progressing all the way to intense overdrive. It's equally adept at adding punch to a player's tone, pushing an amp into saturation or in front of other dirt pedals driving them into new worlds of distortion.

The Holy Grail Max provides four carefully crafted reverbs: Spring, Hall, Plate and Reverse. A newly designed analog wet/dry control yields a constant volume curve as the Blend knob is turned from fully dry to fully wet, while also keeping the dry signal analog through the pedal.

A toggle effect-order switch, located in the middle of the Turnip Greens, selects whether the overdrive or reverb is first in the effects chain. Send and Return jacks let the player insert effects into the signal path between the two.

The Turnip Greens features an internal switch that lets the player select between true bypass or buffered bypass for the Soul Food section.

Soul Food goes from clean boost to classic distortion and can easily drive a guitar amp into saturation
Holy Grail Max delivers four studio quality reverbs: Spring, Hall, Plate and Reverse
An Effects Loop lets you put a single pedal or your entire pedalboard in between the Soul Food and Holy Grail Max
An Effect Order toggle switch lets you put either the Soul Food or Holy Grail Max first in the chain
Power supply included

SPECIFICATIONS
Circuit
Analog / Digital
Bypass
Selectable True Bypass
Audio
Mono
Effects Loop
Yes
Power Supply
9.6VDC-200mA power adapter included
Dimensions (in)
5.75 x 4.75 x 2.5
Current Draw
125mA
Year Released
2014

Notes: The ultimate rotary speaker emulator packed with goodies like a specially designed compression circuit to supercharge the rotating speaker effect on guitar.

Lester G's comprehensive controls include fully adjustable tube-style overdrive, Fast and Slow modes and an Acceleration control to dial in the rate at which the effect transitions between speeds. The sound of that giant wood cabinet will now fit on a pedalboard!

*UK 3-pin power supply included

Notes: The Bitmap is a bitcrusher with fractional bit reduction and sample rate modulation. The Bitmap 2 adds waveshaping, wavefolding, and a window comparator for extreme digital distortion. A drive control handles everything from single coil guitars to synthesizers, with +8 dBu maximum signal level and enough gain to sound like an overdriven mixer channel. Modulation and envelope control create dynamic, responsive distortion and digital artifacts.

The Bitmap 2 is tuned to provide maximum sustain without sputtering on staccato notes. Less extreme settings add layers of nonlinearities that interact in subtle ways, giving you the warmth and grit of 8- and 12-bit samplers. Sample rate reduction turns your guitar into 8-bit video game sounds or twists scales into inharmonic melodies. Sample rate modulation adds subtle motion or morphs your guitar into entirely new textures.

The Bitmap works with guitar, bass, synthesizers, drum machines, and other instruments or line level sources.

Size:3.05" x 4.75" x 2.5"
Input impedance:1 MO
Output impedance:< 1 kO
Bypass: analog buffered
Power: 9 VDC, center negative
Current: 250 mA

Notes: Second-gen Immerse offers true studio-quality stereo reverb in a compact pedal format. Eight high-quality algorithms with simple, user-friendly controls and top quality sound. Lush.

Supplier's Notes:
The Immerse Mk II raises the bar with eight rich stereo reverbs in one easy to use pedal. No user manual required. Experience studio-quality tone that can be used with instruments of all stripes.

Five controls:

Effect Select
Mix, from 100% dry to 100% wet
Reverb Depth
Tone / Echo Time / Hold Time (depending on effect)
Pre-Delay / Modulation / Blend (depending on effect)

Specifications:

Electrical

Input level: instrument / consumer line level
Input impedance: > 1 MO
Gain: unity
Frequency response: 20 Hz - 20 kHz
Total harmonic distortion: < 0.005%
Signal-to-noise ratio: > 107 dBA

Power

Input: 9-12 V DC, 80 mA
Connector: center-negative, 5.5 mm OD x 2.1 mm ID

Physical
Dimensions: 2.9" x 4.6" x 2.0" / 73 mm x 117 mm x 51 mm
Weight: 8.84 oz / 251 g

Notes: Analogue tones are on the menu with this beautifully designed bucket brigade chorus/vibrato. Warm, organic sound with lots of modulation options and expression pedal input.

Supplier's Notes:
The Tempest features a full analogue pitch shifting circuit designed around a BBD chip

Offers digital control and 4 different RAMP options over Rate, Depth or Blend.

Expression or Ramp are selectable via firmware, and the expression jack can be used for external tap/ramp & engage control.

Lag Control
4 different wave shapes
Tone control
Blend 100% dry CCW, 100% wet CW and rich lush chorus at 50%
Rate, Depth and Blend ramping engine
Tap tempo w/subdivisions
Ramp up, Ramp down, bounce up&down, bounce down/up
EXP or CV input jack to control over ramp parameters
Soft switch with relay bypass, momentary & latching operation
Top mounted jacks

Notes: Echolution 3 is a multi-tap stereo modulation delay offering a myriad of sound design options including reverse, jump, pong, modulation tempo sync, variable low pass filter, flexible signal routing and comprehensive MIDI control. Delay times ranging from 100ms to 5 seconds can be dialed in using the Time knob or via Tap Tempo using the left footswitch. A second delay tap can be set to the same length or a fraction of the main delay time to create rhythmic echoes. The ¾ fraction creates a dotted eight note delay, while the Golden fraction uses the sacred geometry of the Golden Ratio (.382) as the multiplier for the second tap. The multi-tap settings can be even further enhanced by the stereo ping pong effect, which causes the different delay taps to switch sides on each repeat. Store up to 4 presets, unlock hidden features with the Universal Remote footswitch, and design yet unheard delay lines. Runs on standard 9VDC.

KNOB-BY-KNOB
Time: Sets the length of the delay line. Overrides tap tempo and vice versa. Select sub-divisions with the small push button. Can activate any two sub-divisions at once.

Mix: Sets the volume level of the delay signal.

Repeats: Sets the amount of regeneration in the delay line.

Mod: Select and set the modulation Speed, Depth, and Tone. Hold push button to sync Speed to tap tempo.

Preset Select: Push to toggle through presets, press and hold to select. To save a preset after making changes, press and hold. Presets can be toggled and selected using only footswitches (see manual).

Special FX: Reverse makes the delay line go backwards. Jump makes the delay line jump up one octave. Pong (activated with a push and hold) causes echoes to alternate between the left and right channels, meant to be used in stereo.

BREAK RULES AND BUILD WORLDS
Designed to offer a streamlined user experience and a massive feature set, Echolution 3 is a worldbuilder. In a compact package, "E3" offers multi-tap delay lines, with sound design FX options ranging from the subtly cinematic to the outlandishly dramatic. I/O options include stereo output, MIDI sync, and additional footswitch features. On board presets make revisiting your favorite corners of the Echolution 3 universe simple.

HOW TO DISAPPEAR COMPLETELY
Marvin has come across Echolutions in the Pigtronix universe beforeibut never quite like this. Echolution 3 is a supermassive black hole leading to a vivid dimension stuffed with color, light, and the unexplainable, causing the voyager to lose his or herself more deeply than they knew was possible. In this dimension, the imagination tends to expand: familiar figures appear in cloud formations, meteorites can be sat on like bean bag chairs, and ropes of light can be swung on like vines.

MODEL ECHOLUTION 3

MODEL NAME: Echolution 3
SKU: E3
FUNCTION: Stereo Multi-Tap Delay
CATEGORY 1: Delay
CATEGORY 2: Modulation
EXPRESSION: TRS Remote / MIDI
BYPASS: Buffered

ELECTRONICS
VOLTAGE: 9VDC
CURRENT DRAW: 100mA
INPUT IMPEDANCE: High
OUTPUT IMPEDANCE: 1k

BODY
LENGTH (IN): 3.25
WIDTH (IN): 4.5
HEIGHT (IN): 2.2
WEIGHT (LBS): 1

Notes: The classic Pantheon pedal gets even better with this Deluxe version. Two independent overdrive circuits give you classic Blues Breaker-style tone plus modern boutique sounds.

Supplier's Notes:
The now legendary Wampler Pantheon provided a unique interpretation of the classic "Blues Breaker" style stomp box, by capturing all the tonal nuance of the original, but with added flexibility and style. In doing so, it found its way onto thousands of pedalboards across the world. Enter the new Pantheon Deluxe - a dual overdrive pedal that takes this evolution several steps further by offering a flexible design with two completely independent Pantheon circuits, one voiced as a classic blues breaker and one with a more modern boutique sound. This palace of tone delivers a staggering 200 combinations of gain settings, featuring dual Inputs and Outputs, and for the first time ever, Wampler have added MIDI channel switching to one of their gain pedals.

The Pantheon Deluxe lets you dial in two channels of organic creamy gain, gritty overdrive, or heavy distortion while retaining Wampler's famous ease of use and flexibility. Channel 1 delivers a classic Blues Breaker tone, Channel 2 is a recreation of the original Pantheon, a similar circuit to the Blues Breaker but with a modern boutique feel. Independent side mounted Voicing and Gain Level switches allow you to further shape your tone to perfection.

DOUBLE UP

The Pantheon Deluxe lets you dial in two channels of organic creamy gain, gritty overdrive, or heavy distortion while retaining Wampler's famous ease of use and flexibility. Channel 1 delivers a classic Blues Breaker tone, Channel 2 is a recreation of the original Pantheon, a similar circuit to the Blues Breaker but with a modern boutique feel.

ALWAYS THE RIGHT FIT

Each Channel of the Pantheon Deluxe Dual Overdrive feature independent Gain, Level, Treble, and Bass controls to enhance the shaping of your tone. The Baxandall-style active Bass control is neutral at noon but boasts an extremely powerful sweep as you move through the range. A single global Presence control simultaneously alters each channel to add just the right amount of top-end chime to suit different guitars and amplifiers - perfect for when playing live or when in the studio.

MAXIMUM CONNECTIVITY

With the addition of MIDI In and Out, you can now also switch the analog channels of each circuit on and off with a MIDI switcher - saving you valuable hardware loops on your loop switcher. With dual analog inputs and outputs, you can split both channels in a loop switcher, insert pedals between each side, or run in stereo.

BUILT FOR FOREVER

Brian Wampler's attention to detail and commitment to bringing you the best-sounding & most usable Effects Boxes on the market is nothing new. Those qualities are on full display within the Pantheon Overdrive. We're all tone-freaks, and we're always trying new things, but we hope this pedal finds its forever home on your pedalboard, so we built it to last that long.

TECHNICAL DETAILS

Built in the U.S.A
Dual Independent drive channels using Brian Wampler's classic Pantheon circuits; Channel 1 Classic Blues Breaker voicing, Channel 2 Modern Boutique voicing.
Independent Volume, Gain, Treble and Bass controls for both channels, global Presence control, front mounted Channel Order Switch, side mounted independent Gain Level and Voicing switches, MIDI In and Out (3.5mm TRS) and 2 sets of input and output jacks.
Top-mounted jacks make pedalboard placement effortless
Power draw: 55mA
9-18V power jack: DC supply only, do not exceed 18V DC, battery Included.
Includes Wampler's limited 5-year warranty
5" x 4.5" x 1.5" (88.9mm x 114.3mm x 38.1mm) - height excludes knobs and switches

Notes: ***B-STOCK: Box opened, product in perfect working order***


3 Channel 80s/90s Preamp

The VESTA contains a brand new set of voices from KRS along with a familiar feature set. Based on a couple of your favourite amps of the 80s and 90s, you'll feel right at home. Picture a classic Crunch tone suitable for rock and blues, along with a familiar 90s high-gain sound. If modern extended range high-gain is your thing, the CERES delivered. If you're more at home on a 6 string, the VESTA may be your preference.

It's smooth, chunky, thick, and more low-mid focused. It takes boosts just like your favourite vintage high-gain amps. It responds incredibly well to the guitar's volume control. Note: The Clean channel is identical to the CERES'.

Top mounted jacks allow for easy integration into your existing pedal board. Unique to our pedal operation, we include 3 bypass modes - True Bypass, Buffered Bypass, and Clean Bypass. In True and Buffered bypass the pedal operates as expected, no tonal coloration. The Clean Bypass mode enables the top row of Tone and Volume knobs accessing the Clean channel. These various Bypass Modes allow for integration into any style of rig - from driving a power amp directly (Clean mode), hitting a clean amp down the chain on your pedal board (True Bypass mode), or at the start of your pedal board, driving your other pedals into a clean amp (Buffered mode).

The preferred operating method is to run the VESTA into the input of the effects loop return of any amplifier head or directly into a power amp, but it will also work just as well when run into a clean channel with some EQ tweaking. For example, a typical Fender style clean circuit sounds best with Mids cranked, Bass around noon, Treble around 9-10:00, and Bright OFF. Tweak to taste...

Time based effects (delay, chorus, flange, etc) should be placed after the VESTA, before the power amp. A simple loop switcher can even be used to create effects loop(s) between the VESTA and power amp.

The VESTA includes two integrated footswitch buttons to activate the 3 channels. The left button toggles between Bypass and Rhythm/Lead.

The right button toggles between Rhythm and Lead. With the Bypass Mode switch set to Clean, bypassing the pedal actually activates the Clean channel.

Both distortion channels have the same switches and controls, and work in the same manner. However, Rhythm is inherently tighter and more aggressive than the Lead channel. Lead is more compressed and smoother and fatter overall. The Clean channel is not designed to get the "pushed" sound with the Level increased, rather it is designed to stay clean.

The gain controls in all channels feature the same range from clean to saturated signals and operate as close as possible to the full size KSR amps. They function without any unwanted top-end artifacts typically associated with solid-state circuits. The VESTA EQ options then make for a highly versatile Pre-Amp pedal giving you as much control.

Notes: This new pedal in Maneco's line is a versatile fuzz device , true stereo and with powerful tone shaping capabilities.

Main features:

True Stereo operation
Silicon Transistors gain stage.
Big Muff tone stack
Buffered clickless Bypass
Input gain for fine tuning distortion quality, also adapting for wide range of input signals
Bass, guitar , drum machines and synthesizer friendly
9v standard power supply, center tip negative

Notes: The perfect companion now comes in a smaller package - introducing Sidekick JR by Crazy Tube Circuits!

Drawing inspiration from the original Sidekick pedal released back in 2019, the aim was to create a compact pedal that combines the most widely used time-based effects, suitable for any gear setup seeking 80s tones and beyond.

From the jangly, ambient, and shimmering sounds of New Wave, Shoegaze, and Synth Pop to the wet tones of Hair / Glam Metal. Crazy Tube Circuits' Sidekick JR offers even more sounds / algorithm selections compared to the original unit.

The modulation effects / algorithms take inspiration from classic 80s stompboxes. The "Ensemble" algorithm replicates warm and mild modulated chorus sounds, while the "dimension" algorithm enhances the 3D image of your sound without the typical chorus warble. The "flanger" algorithm draws from a classic flanger pedal set up as a slow chorus with mild feedback added for a more metallic sound.

The Echo / delay section provides the sweet and vibrant sound of a tape echo with a freshly installed tape running through a colourful preamp, or the pristine repeats of an 80s digital delay rack unit.

The Reverb section in Sidekick JR is inspired by definitive examples of 80s reverb rack units and offers two algorithm banks. Bank A includes all-time classic reverb sounds like "plate," "spring," and "hall," while Bank B features signature 80s reverb sounds like "gated," "exciter" (Crazy Tube Circuits' trademark big-hall reverb algorithm with almost infinite reflections and decay), and octave-up "shimmer."

To provide full flexibility in the smallest enclosure possible, Crazy Tube Circuits has devised a smart switching setup. The delay and reverb effect sections of Sidekick JR operate independently from each other, and the modulation is assignable to any of these sections as standard. With the addition of the XT footswitch (available separately), the modulation section becomes entirely independent and can be switched on/off (true bypass) on its own.
Crazy Tube Circuits' Sidekick JR also features a power-up bypass/engage pre-set function for the onboard footswitches. This feature allows users to select the state the pedal will go to when the power supply is plugged in. It's particularly useful for individuals who use remote pedal switchers /loopers, as they can set the power-up state of the pedal once and then operate it from the controller.

Notes: The HOUR GLASS Dual Compressor Pedal - Unlock timeless sustain and endless creativity with dual, independent circuits inspired by the legendary Ross compressor.

It is your ticket to extended sustain and unparalleled tonal control.

From warm, natural compression to soaring sustain, the HOUR GLASS opens up a world of sonic possibilities for you to explore.

Choose from Fast, Medium, or Slow Attack time options to tailor the HOUR GLASS's response to your playing style, and use the Treble toggle switch to select Flat, Medium, or High boost options to help shape your high-frequency tones.

Set one compressor for your single coil guitars, the other compressor for humbucker guitars and have precise tone and dynamic shaping when you switch guitars! Both compressors can also be engaged simultaneously for endless sustain!

Discover the freedom of expression with two independent circuits, that maintain the transparency of your guitar's tone. Precision controls for Level, Sustain, and Blend on each circuit allow you to sculpt your sound exactly as you desire. Built to withstand the rigors of time and the road, the HOUR GLASS is your reliable companion on every musical journey.

Unleash your creativity, transcend genres, and experience endless sustain with the HOUR GLASS Dual Compressor Pedal - Where Sustain has No Boundaries!

Notes: DigiTech announces SDRUM Strummable Drums, the first-ever intelligent drum machine for guitarists and bassists. Boasting studio-quality samples and five professional sounding drum kits and BeatScratch technology, SDRUM allows users to create drum patterns by simply strumming strings.

As a player scratches across guitar or bass strings, he or she "teaches" SDRUM a kick/snare pattern that defines a desired beat. Once that pattern is established, SDRUM then enhances and enriches the beat, resulting in a realistic accompanying drum part. From the five different kits, users are able to choose sounds appropriate to a broad variety of musical styles. Via the KICK and SNARE Pads, players can audition the various kits and tap in specific beats, while the GUITAR AUDITION Button enables the user to turn the drum output on or off while strumming.

Up to 36 songs can be stored in SDRUM, and the unit supports three different components - e.g. verse, chorus, bridge - for each that can be switched on in real-time to easily facilitate live performance and aid in composition and creativity. Additionally, JamSync functionality facilitates compatibility with JamMan loopers, further boosting SDRUM's capacity in concert, practice, and studio settings.

The compact SDRUM (5.25" x 3.15" x 2.3") is similar in size to most compact effects units and fits easily on standard pedalboards. A sturdy metal chassis, robust footswitch, and four knobs (GROOVE/KIT, LEVEL, TEMPO, and HAT/RIDES) ensure that SDRUM is stage- and road-ready.

Eliminating the need to sift through libraries of rhythm patterns in search of an appropriate match for individual songs and styles, SDRUM is the fastest way to go from a beat idea to a working drum track.

BeatScratch Technology
JamSync Support
Studio-quality samples
Five drum kits
Verse/Chorus/Bridge parts
Alternate instruments/voicings
External FS3X support
Kick/Snare pads
Controls: Tap Tempo, Verse/, Chorus, Bridge, Song, Groove/Kit, Hats/Rides, Level, Temp, Alt Kit, Alt Hats/Rides, Guitar Audition, Kick Snare, Footswitch
5.25" (L) x 3.15"(W) x 2.3" (H)/ 133mm (L) x 80mm (W) x 58mm (H)
1.12 lb./.51 kg
Power Supply (external - included): PS0913DC-04 (US, JA, EU, AU, UK)
Warranty: 1 Year

Notes: Eventide's Riptide pedal is the result of extensive research into overdrives and Uni-vibes. With stereo overdrive and Vibe, each effect features dual voicings versatile enough for funky bright tones to explosive and warm lead tones.

The Vibe knob delivers classic Hendrix-style Uni-Vibe to full-on vibrato perfect for modern soul and lo-fi tones. With the power to engage each effect individually, swap the order, and store presets, Riptide makes it easy to get caught up in the excitement.

Drive features a balanced distortion with superb dynamics and touch sensitivity. Use the "Green" voicing for a classic transparent overdrive or activate the "Red" voicing for a tight modern overdrive.

Features:

Five presets loaded at your feet with dozens more available by software update in Eventide Device Manager
Dual-action Active Footswitch is latching or momentary
Rear panel Guitar/Line Level switch for matching impedances with guitar, synths, FX loop, or DAW interface
Map any combination of parameters to an Expression Pedal
Use a single Aux switch to Tap Tempo or a triple Aux switch for easy preset changing
MIDI over TRS capable
Multiple Bypass options: Buffered, Relay, DSP+FX or Kill dry
Catch-up mode helps dial in your sound when toggling between presets/parameters
Eventide Device Manager PC or Mac application for software updates, system settings and creating/saving presets

Notes: Inspired by the vintage Bell and Howell 385 Filmosound projector that guitarists have modified and used as guitar amps, Walrus has created a dynamic and responsive overdrive modeled after the projector's tone.

The 385 was developed to have the same simple but effective tone control as it's older relative, but unlike the projector, the 385 breaks up the single tone control and integrates separate, boost and cut bass and treble, allowing the player to get more creative with mid-frequency scoops and bumps allowing for a much wider array of tones to be achieved.

The pedal is internally running at 18v, which helps us nail the same dynamic feel of the amp in a stomp box.

This means it is extremely sensitive to how hard you dig in - just like the amp.

Updated for 2023.

Controls:

Bypass: Soft touch, relay true-bypass. Press the switch to engage/disengage the pedal. LED indicates whether the circuit is engaged or not.
A/B: Soft touch switch. Press to swap between using either A (White) or B (Red) Volume and Gain controls. LED indicates which controls are being used - White for A, Red for B.
Volume A: Controls the overall volume in the A setting. Turn clockwise for more volume, counter-clockwise for less volume.
Gain A: Controls the overall gain in the A setting. Turn clockwise for more gain, counterclockwise for less gain.
Volume B: Controls the overall volume in the B setting. Turn clockwise for more volume, counter-clockwise for less volume.
Gain B: Controls the overall gain in the B setting. Turn clockwise for more gain, counterclockwise for less gain.
Treble: Used to adjust the level of the treble frequencies. Turn clockwise to increase the level of the treble frequencies. Turn counter-clockwise to reduce the level of the treble frequencies.
Bass: Used to adjust the level of the bass frequencies. Turn clockwise to increase the level of the bass frequencies. Turn counter-clockwise to reduce the level of the bass frequencies.
385+ Switch: When the switch is down, you are able to achieve classic 385 sounds. Flip the switch up to add an additional gain stage to the input of the pedal, achieving heavier gain sounds and driving the pedal harder.

Specifications

The 385 comes in a matte black finish with yellow and red ink featuring original artwork of a vintage Belle and Howell 385 projector by David Huttner ready to give you the dynamic tone you've been searching for.
The die cast enclosure's exact size is 12.1 x 6.6 x 3.5 cm
Power requirements are 9VDC (100mA minimum). The use of an isolated power supply is recommended for powering all Walrus Audio Pedals.
Daisy chain power supplies are not recommended. Power supply not included.
Input: 1/4" TS, Unbalanced, 1M impedance
Output: 1/4" TS, Unbalanced, 10k impedance
True Bypass

Notes: Inspired by the vintage Bell and Howell 385 Filmosound projector that guitarists have modified and used as guitar amps, Walrus has created a dynamic and responsive overdrive modeled after the projector's tone.

The 385 was developed to have the same simple but effective tone control as it's older relative, but unlike the projector, the 385 breaks up the single tone control and integrates separate, boost and cut bass and treble, allowing the player to get more creative with mid-frequency scoops and bumps allowing for a much wider array of tones to be achieved.

The pedal is internally running at 18v, which helps us nail the same dynamic feel of the amp in a stomp box.

This means it is extremely sensitive to how hard you dig in - just like the amp.

Updated for 2023.

Controls:

Bypass: Soft touch, relay true-bypass. Press the switch to engage/disengage the pedal. LED indicates whether the circuit is engaged or not.
A/B: Soft touch switch. Press to swap between using either A (White) or B (Red) Volume and Gain controls. LED indicates which controls are being used - White for A, Red for B.
Volume A: Controls the overall volume in the A setting. Turn clockwise for more volume, counter-clockwise for less volume.
Gain A: Controls the overall gain in the A setting. Turn clockwise for more gain, counterclockwise for less gain.
Volume B: Controls the overall volume in the B setting. Turn clockwise for more volume, counter-clockwise for less volume.
Gain B: Controls the overall gain in the B setting. Turn clockwise for more gain, counterclockwise for less gain.
Treble: Used to adjust the level of the treble frequencies. Turn clockwise to increase the level of the treble frequencies. Turn counter-clockwise to reduce the level of the treble frequencies.
Bass: Used to adjust the level of the bass frequencies. Turn clockwise to increase the level of the bass frequencies. Turn counter-clockwise to reduce the level of the bass frequencies.
385+ Switch: When the switch is down, you are able to achieve classic 385 sounds. Flip the switch up to add an additional gain stage to the input of the pedal, achieving heavier gain sounds and driving the pedal harder.

Specifications

The 385 comes in a matte black finish with yellow and red ink featuring original artwork of a vintage Belle and Howell 385 projector by David Huttner ready to give you the dynamic tone you've been searching for.
The die cast enclosure's exact size is 12.1 x 6.6 x 3.5 cm
Power requirements are 9VDC (100mA minimum). The use of an isolated power supply is recommended for powering all Walrus Audio Pedals.
Daisy chain power supplies are not recommended. Power supply not included.
Input: 1/4" TS, Unbalanced, 1M impedance
Output: 1/4" TS, Unbalanced, 10k impedance
True Bypass

Notes: ***B-STOCK: Box opened, light surface marks, product in perfect working condition ***


The DISTURBANCE is an extreme filter, flanger, and phaser with modulation like you've never heard before.

DISTURBANCE's controls allow for a wide range of sounds to be sculpted perfectly to your needs. The 'Tensity' knob changes the feedback amount and structure of all effects, with two totally different intensity options to choose from for each disturbing modulation. The Filter allows for deep swells and piercing resonance with highpass and lowpass options.

The Flanger creates a classic modulation sound with options for watery, multi-tap delay matrixes or a screaming flange with distorted feedback. Last but certainly not least, the Phazer mode is a psychedelic 8-stage phaser sound with options for mellow filtered scoops on one side and combination phaser/flanger on the other.

But that's not all - the pedal introduces a brand-new way to control an effect: The custom designed modulation core lets you pause the LFO where it stands and listen to the strange world of frozen modulation. Not only does this new system control its own sounds, the DISTURBANCE includes a CV OUT jack which lets the modulation control signal be sent to whatever device dares let it in.

Go forth and DISTURB and bend, break, and twist your sound!

Notes: The Beam Splitter is a single pedal meant to create a massive sound. It is three different takes on overdrive, voiced to work together perfectly. Two of them can be delayed in time, and all three can be run in parallel or split out to three separate sources.

Beam Splitter takes a mono input and makes it wildly bigger than before. Things stretch in time and compress in dynamics, and a rich harmonic wash is achieved without sacrificing clarity.

To be washed in sound, does it have to be one big sound, or will a number of small sounds do the trick? To create a wall of sound, same question, but also how does it stay solid? How can sound waves make a wall, and is it just a moment in time; will it always crash down?

Why record your guitar thrice when Beam Splitter exists?

Beam Splitter is best seen in three sections - Purple, Green and Blue.

Purple is a hard-clipping distortion that can be seen as the core gain sound of Beam Splitter.

Of Beam Splitter's three gain sections, it is arguably the heaviest and most compressed. It has three controls, identified by their purple knobs and labels - Gain, Volume and Tone.

Green is an overdrive with both soft and hard clipping. It is the lightest and brightest of the three gain sections in Beam Splitter. Also featuring Gain, Volume controls the green gain circuit features a Time knob, which sets the delay time, up to 125 sections. When blended in parallel with the other drives, this delay time can create anything from tight comb filters to loose doubling delays to short slapback.

Additionally, there is a Decay knob, which sets the feedback of the delay, from one repeat up to many repeats trailing off. In comb filter settings this can increase resonance.

Blue is a transistor Overdrive and the most neutral and reactive of the three gain circuits, with a gain range somewhere in the middle. Its Gain switch sets the amount of breakup. In the down setting, it is less overdriven, with less compression in the mids and highs. In the up setting, it is more overdriven and aggressive. It also boasts Time and Decay controls, on top of the Tone and Volume knobs and gain switch.

The pedal's Deviate control is a shared knob that sets the amount of random variation in the delay time of the Blue and Green drive sections. The more it is turned up, the farther their delay times can deviate, and the faster those deviations happen. When at zero, the delay times are fixed, above zero, each Time knob sets that sections delay time.

Deviate intends to create a more realistic sense of doubled players, with random variations in timing as if you were playing to the track twice. It can also give the impression of flanging, chorusing or broken vibrato, depending on the settings.

The Expression jack is used to externally control the Deviate knob using a TRS expression devices with standard polarity and tip connected to the wiper.

Beam Splitter has a mono input. From there the signal goes out to Purple, Green and Blue drive sections in parallel. If only plugged into the Purple Out Jack, all three sections will join in parallel mono at that Output. Green and Blue can each be broken off into their own output by plugging into the corresponding Out jacks.

In this way you can have a full 'stereo' setup.

Notes: The Nectar "Tone Sweetener" strikes aperfect balance between versatility and simplicity. It offers a wide range of tones, spanning from a vintage tweed-style crunch to a full-bodied overdrive, and even a modern high-gain fuzz that pairs wonderfully with any guitar, pedal or amp.

Use the mode toggle to switch between the DRIVE and FUZZZ modes, while the LEDS indicate the selected mode, even when the effect is bypassed. Fine-tune your sound with the TASTE control to set the perfect eq for each guitar or amp.

The Nectar's responsiveness is truly unparalleled, like a delicate bee collecting pollen. Every nuance of your playing is enhanced and sweetened in the best way possible, with plenty of headroom.

True Bypass Design
Power requirement: 9V, 30mA
Made in California, USA

Notes: Re-Built from the ground up - a complete redesign of the original Lo-Fi Delay.

Enter the realm of sonic exploration with Colortones LO-FI DELAY. Featuring three distinct delay voicings, the LO-FI DELAY is a grainy lo-fi, old-school analogue tape sounding dub style delay engine with momentary oscillation feedback and speed switching options.

At its core the LO-FI DELAY is a tempo synchronized dual channel delay with each channel having independent Regen and Time controls.

Controls include Delay Time, Regen, Feedback, Mix and a 'Splash' footswitch to momentarily send the delay into a predetermined amount of regenerative feedback and or Tempo Change.

The SPLASH footswitch also acts as a Tap Tempo control requiring at least 4 quick taps to calculate a new tempo.

Controls

Wet | Dry Switch

Wet Mode acts like a normal delay where the delayed repeats can be mixed against the Dry Signal with the decay time set by the Regen knob. When the SPLASH Footswitch is momentarily pressed the decay time switches to the Regen+ knob setting allowing for more or less regenerative delays while the footswitch is pressed.

Dry Mode is designed for running in a quite mode and only activating the delay while the SPLASH footswitch is held down. Great for adding dub style accents to certain stabs / phrases or adding splashes of ambient delay or moments of crazy feedback to an otherwise Dry signal.

Hi-Fi | Lo-Fi Switch

Hi-FI mode has a crisp hi-fidelity non-destructive repeated delay.

The centre and down positions are Lo-Fi modes where the resulting delay repeats are a little darker like a tape delay with a slight hint of mechanical tape warble. The Centre position uses a Lowpass filter in the delay feedback line where as the Down position uses a HighPass filter.

Division Knob

The Div knob sets the alternative delay speed when Splash is pressed while in Wet Mode. At 3 O'Clock Repeats are at Unity 1:1. Turning anticlockwise the repeats are Multiplied (Faster) in by either x2 or x3. Turning Clockwise from unity the repeats are divided (slower) by either 2 or 3.

Tech Specs:

True Bypass
Current Draw: 145mA
Input Voltage: 9V DC (center negative)
external power supply not included

Notes: Embark on a sonic journey of modulation with the RoundHouse, Colortones luscious multi mode tremolo pedal featuring three tweakable Modulation Modes, Reverb, Drive, Tap Tempo and Momentary Speed Multiplier

Modulation Modes

Optical Tremolo
Harmonic Tremolo
Vibe

Choose the Optical Tremolo mode for a classic, vintage tremolo sound with warm and smooth waveforms. The Harmonic Tremolo mode adds a more complex and modern sound that adds depth and dimension to your playing. Finally, the Vibe mode emulates the classic psychedelic sound of a rotating speaker, perfect for adding a unique flavour to your guitar sound.

With the addition of Tap Tempo and a Momentary Speed Multiplier, you can easily dial in the perfect tempo and add creative rhythmic variations to your playing.

The Reverb and Saturation (Grain) controls at the input of the modulation engine can be dialed in to excite the pulse and sustain of the effect.

Additional controls include: - Mode - Speed - Depth - Boost - Reverb - Grain - Phase - Waveshape Select - Momentary Speed Multiply and Tap Tempo.

Controls

Modulation mode switch

Select between:
Optical Tremolo
Harmonic Tremolo (Magnatone style Harmonic Tremolo)
Vibe

Wave shape switch

Select between Triangle, Sine and Square Wave. (Square is not selectable in Vibe mode)

Speed

Adjust Speed of the modulation

Mix

Adjust the Mix / Depth of the effect with the Dry signal

Reverb

The Reverb knob controls the intensity/mix of reverb added to the input feeding the modulation circuit. It is a classic Silverface amp style reverb with a static decay time.

Grain

Increasing the Grain amount adds an analog tubelike pre-saturation to the effect. At max it boosts/compresses the level slightly adding a soft overdrive.

Phase

Adjusting the Phase knob from its center position will change the duration of the 'on time' either towards the beginning or end of the wave cycle resulting in the modulation 'pulse' feeling more asymetrical or staccato.

Boost

Add or Cut the output Level by +- 4db

Tap

Manually set Tempo with by Tapping the Footswitch. Set to 1:1 Tempo.

A sustained hold on the Tap switch activates the Speed multiplier which, while depressed, ramps the speed up to a multiple of the current setting. At slower modulation speeds the ramp time is relatively slow, emulating a mechanical rotary speaker changing speed.

Bypass

Activates Relay Based Soft Touch True Bypass

Tech Specs:
True Bypass
Current Draw: 140mA
Input Voltage: 9V DC (center negative)
external power supply not included

Notes: Simply sophisticated

With the 200 series, BOSS introduces a new generation of pedals that pack advanced sound and versatility into a streamlined size that saves space on your board. Grab-and-go controls and multi-function switches make operation easy and intuitive, while onboard memories allow you to store multiple setups for instant recall. All 200 series pedals feature premium audio quality with 32-bit internal processing and offer support for external control via footswitches, an expression pedal, or MIDI.

The DD-200 Digital Delay brings together sounds and features inherited from the flagship DD-500 into an even smaller footprint. Twelve different modes offer an inspiring variety of delay colours from modern digital to classic analogue, letting you dial up everything from basic echoes to rich ambient pads and everything in-between. There's also a looper that's always ready to use, plus a selectable carryover function for seamless transitions between memories.

Version 1.1 Update: User Memory Expansion

The free Version 1.1 software update brings increased flexibility to the BOSS 200 series, greatly expanding the onboard memory capacity for storing and recalling sounds. There are now 128 user setups available. Setups can also be recalled directly via MIDI program change.

For optimal performance, stay up to date with the current DD-200 system software

Twelve Modes, Unlimited Sounds

With 12 different modes to choose from, the DD-200 provides nearly any flavour of delay in an amazingly compact size. At your command are super-clean digital delays, gritty analogue echoes, and spot-on retro sounds from the Roland RE-201 Space Echo and Binson Echorec 2. There's also a variety of options for creating reverse effects, lo-fi tones, and pulsing rhythmic sounds with layered delays. And with the Tera Echo, Shimmer, and Pad Echo modes, immersive ambient colours are just a knob twist away.

Dial in Sounds Fast

The DD-200 features a no-nonsense interface, making it easy to craft inspiring sounds in the heat of the moment. Essential delay parameters are provided on dedicated controls for direct, hands-on access. And in each mode, the function of the PARAM knob changes to parameters tailored for the selected type, delivering extended control with no need to menu dive.

Save and Recall Your Favourite Setups

The DD-200 features 127 user memories plus a real-time panel setting, giving you 128 total setups to choose from. Any range of consecutive memories and the panel setting can be assigned for scrolling access from a footswitch. It's also possible to limit the scrolling range or assign memories directly for even faster recall. If you crave deeper control, setups can be directly recalled via program change messages from an external MIDI device. And by enabling the carryover function, delay repeats will keep sounding as you change memories for smooth, free-flowing transitions.

Deep Real-Time Control

By default, the DD-200's multi-function footswitches provide access to basic functions like bypass, memory scrolling, tap tempo, and looper control. But you can easily reassign them to hold, warp, and many other functions. External control is also possible via footswitches or an expression pedal, and MIDI I/O is even provided on space-saving mini TRS jacks. Via MIDI, you're able to chain multiple 200 series pedals and select memories on all of them at once, and also control a wide range of functions from MIDI devices like the ES-8 and ES-5 effects switchers.

Ready-to-Go Looper

Any time you're ready, pressing the DD-200's two footswitches together puts you into looper mode. Up to 60 seconds of mono recording time is available, and operation is simple and direct with the onboard switches. And since the looper engine functions independently, you're able to develop expressive loops with any of the DD-200's rich delay sounds.

DD-200 Delay Modes

Standard-Clear digital delay. PARAM adjusts the delay attack.
Analog-Emulates classic analogue "BBD" delays like the BOSS DM series. PARAM controls character and distortion amount.
Tape-Emulates the warm tape-based sound of the legendary Roland RE-201 Space Echo. PARAM selects different combinations of three playback heads, and also adjusts the amount of distortion in the delay sound.
Drum-Models the drum-based Binson Echorec 2. PARAM selects different combinations of four playback heads, and also adjusts the amount of distortion in the delay sound.
Shimmer-Pitch-shifted delay for lush, heavenly textures. PARAM adjusts the delay brightness.
Tera Echo-Spacious, animated ambience effect derived from the BOSS TE-2 pedal. PARAM adjusts the sound character.
Pad Echo-Newly developed delay sound for creating drifting ambient textures. PARAM adjusts the delay attack.
Pattern-Rhythmic sounds with 16 delay lines layered together. PARAM selects different pattern variations.
Lo-Fi-Delay sound with fat, distorted character. PARAM adjusts the distortion effect.
Dual-Two different delay lines connected in series. PARAM adjusts the time of the second delay.
Reverse-Backwards delay for cool psychedelic effects and other unique tones. PARAM adjusts the delay attack.
Ducking-Delay with a built-in ducking effect. PARAM adjusts the input sensitivity.

*The product names mentioned on this page are registered trademarks or trademarks of their respective owners. These names are used because it is the most practical way of describing the sounds that are simulated.

Specifications

Sampling Frequency: 96 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point

Modes: 12 modes
STANDARD, ANALOG, TAPE, DRUM, SHIMMER, TERA ECHO, PAD ECHO, PATTERN, LO-FI, DUAL, DUCKING, REVERSE

Memory127 + Manual
Nominal Input Level: INPUT A/MONO, B: -10 dBu
Maximum Input Level: INPUT A/MONO, B: +7 dBu
Input Impedance: INPUT A/MONO, B: 2 M ohm
Nominal Output Level: OUTPUT A/MONO, B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, B: +7 dBu
Output Impedance: OUTPUT A/MONO, B: 1 k ohms
Recommended Load Impedance: OUTPUT A/MONO, B: 10 k ohms or greater
Bypass: Buffered bypass

Controls:
ON/OFF switch, MEMORY/TAP switch
MODE knob, TIME knob, FEEDBACK knob, E. LEVEL Knob, PARAM knob, TONE knob, MOD DEPTH knob
TAP DIVISION button, MEMORY button

Display: 7 segments, 3 characters (LED)
Indicator: TAP DIVISION indicator, MEMORY (MAN, 1--4) indicators

Connectors:
INPUT (A/MONO, B) jacks, OUTPUT (A/MONO, B) jacks: 1/4-inch phone type
CTL 1, 2/EXP jack: 1/4-inch TRS phone type
MIDI (IN, OUT) jacks: Stereo miniature phone type
DC IN jack
USB port: USB micro B-type (program update only)

Power Supply: Alkaline battery (AA, LR6) x 3, AC adaptor (sold separately)
Current Draw: 225 mA

Expected Battery Life Under Continuous Use
Alkaline: Approx. 4 Hours
* These figures will vary depending on the actual conditions of use.

Accessories: Leaflet "USING THE UNIT SAFELY", Leaflet "To obtain the Owner's Manual", Alkaline battery (AA, LR6) x 3, Rubber foot x 4

Options (sold separately):
AC adaptor: PSA-S series
Footswitch: FS-5U
Dual footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
MIDI/TRS connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight

Width: 101 mm / 4 inches
Depth: 138 mm / 5-7/16 inches
Height: 63 mm / 2-1/2 inches
Height (including rubber foot): 65 mm / 2-9/16 inches
Weight: 610 g / 1 lb 6 oz
Weight (including battery): 680 g / 1 lb 8 oz

0 dBu = 0.775 Vrms

Notes: Simply sophisticated

With the 200 series, BOSS introduces a new generation of pedals that pack advanced sound and versatility into a streamlined size that saves space on your board. Grab-and-go controls and multi-function switches make operation easy and intuitive, while onboard memories allow you to store multiple setups for instant recall. All 200 series pedals feature premium audio quality with 32-bit internal processing and offer support for external control via footswitches, an expression pedal, or MIDI.

Outfitted with algorithms from the flagship MD-500, the MD-200 Modulation delivers an array of world-class effects in one small, convenient pedal. Twelve different modes provide every mod sound you need and more, and each includes customized controls that unlock deep tone shaping right from the panel. And with the powerful insert function, it's simple to patch in drive pedals and other effects for selectable pre or post processing.

Version 1.1 Update: User Memory Expansion

The free Version 1.1 software update brings increased flexibility to the BOSS 200 series, greatly expanding the onboard memory capacity for storing and recalling sounds. There are now 128 user setups available. Setups can also be recalled directly via MIDI program change.

For optimal performance, stay up to date with the current MD-200 system software.

Twelve Mod Essentials in One Pedal

Compact and mighty, the MD-200 gives you every key mod effect in a minimal footprint. Modern and vintage BOSS chorus effects are included, plus phaser, flanger, rotary, vibrato, and tremolo. Classic vibe and '70s phaser effects are also available, complete with selectable distortion for added versatility. BOSS's famous Slicer delivers lots of cool rhythmic grooves, while the rich Overtone effect dishes up fat octave tones and unique sonic colours. There's a highly adjustable auto wah as well, which can double as a foot wah when an expression pedal is connected.

Dial in Sounds Fast

With the MD-200's simple and direct interface, it's easy to craft inspiring sounds in the heat of the moment. Using dedicated controls, you can quickly dial in rate, depth, and level for any selected mode. You can also tap in the rate with a footswitch while playing, and visually set note subdivisions right from the panel. Going further, three additional parameter knobs dynamically change functions with each mode, providing extended tone shaping with no need to menu dive.

Save and Recall Your Favourite Setups

The MD-200 features 127 user memories plus a real-time panel setting, giving you 128 total setups to choose from. Any range of consecutive memories and the panel setting can be assigned for scrolling access from a footswitch. It's also possible to limit the scrolling range or assign memories directly for even faster recall. And if you crave deeper control, setups can be directly recalled via program change messages from an external MIDI device.

Instantly Change Effect Order for Optimum Tone

Using the MD-200's insert loop function, you're able to patch external pedals, set the ideal effect order, and save the setting to an onboard memory. For example, you can place a phaser or classic vibe before an external pedal in one memory, a chorus or flanger after in the next, and then switch between them. This is particularly useful with drive pedals, where the signal order can have a dramatic effect on the selected mod sound.

Deep Real-Time Control

By default, the MD-200's multi-function footswitches control bypass, memory scrolling, and tap tempo, but you can easily reassign them to alternate functions as needed. External control is also possible via footswitches or an expression pedal, and MIDI I/O is even provided on space-saving mini TRS jacks. Via MIDI, you're able to chain multiple 200 series pedals and select memories on all of them at once, and also control various functions from MIDI devices like the ES-8 and ES-5 effects.

Specifications

Sampling Frequency: 96 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point
Modes:12 modes; CHORUS, CE-1 CHORUS, FLANGER, PHASER, VINTAGE PHASER, CLASSIC VIBE, VIBRATO, TREMOLO, ROTARY, AUTO WAH, SLICER, OVERTONE
Memory: 127 + Manual
Nominal Input Level: INPUT A/MONO, B: -10 dBu
Maximum Input Level: INPUT A/MONO, B: +7 dBu
Input Impedance: INPUT A/MONO, B: 2 M ohm
Nominal Output Level: OUTPUT A/MONO, B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, B: +7 dBu
Output Impedance: OUTPUT A/MONO, B: 1 k ohms
Recommended Load Impedance: OUTPUT A/MONO, B: 10 k ohms or greater
Bypass: Buffered bypass
Controls: ON/OFF switch, MEMORY/TAP switch, MODE knob, RATE knob, DEPTH knob, E. LEVEL knob, PARAM 1 knob, PARAM 2 knob, PARAM 3 knob, TAP DIVISION button, MEMORY button
Display: 7 segments, 3 characters (LED)
Indicator: TAP DIVISION indicator, MEMORY (MAN, 1--4) indicators

Connectors:
INPUT (A/MONO, B) jacks, OUTPUT (A/MONO, B) jacks: 1/4-inch phone type
CTL 1, 2/EXP jack: 1/4-inch TRS phone type
MIDI (IN, OUT) jacks: Stereo miniature phone type
DC IN jack

USB port: USB micro B-type (program update only)
Power Supply: Alkaline battery (AA, LR6) x 3, AC adaptor (sold separately)
Current Draw: 225 mA
Expected Battery Life Under Continuous Use: Alkaline: Approx. 4 Hours
* These figures will vary depending on the actual conditions of use.
Accessories: Leaflet "USING THE UNIT SAFELY", Leaflet "To obtain the Owner's Manual", Alkaline battery (AA, LR6) x 3, Rubber foot x 4

Options (sold separately)
AC adaptor: PSA-S series
Footswitch: FS-5U
Dual footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
MIDI/TRS connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight
Width: 101 mm / 4 inches
Depth: 138 mm / 5-7/16 inches
Height: 63 mm / 2-1/2 inches
Height (including rubber foot)65 mm 2-9/16 inches
Weight: 610 g / 1 lb 6 oz
Weight (including battery)680 g / 1 lb 8 oz

0 dBu = 0.775 Vrms

Notes: Part of Boss's 200 series, the SY-200 is the latest in a range of guitar synth pedals dating all the way back to the 1970s. Plug in any guitar or bass and layer synth sounds over the raw tone. A versatile and creative way to explore new sounds.

Supplier's Notes:
A World of Synth Tones at Your Feet

Offering a universe of rich, analogue-inspired polyphonic tones in a small footprint, the SY-200 makes it simple to weave BOSS's expressive guitar and bass synth technology into all of your musical journeys. Building on the fun, instant-gratification experience of the acclaimed SY-1, this blue inspiration machine features an expanded sound set, more tone-shaping possibilities, and 128 memories for storing your sonic creations. Two onboard footswitches provide deep real-time performance control, and you can take things even further with external footswitches, an expression pedal, and MIDI.

A Massive Library of Expressive Synth Tones

The SY-200 transforms your guitar or bass into a versatile analogue-flavoured synth, ready to infuse your music with dynamic, compelling, and evocative new voices. This streamlined stomp gives you 171 total sounds organized in 12 intuitive categories, along with adjustable parameters for customizing the tone and response. And with 128 memory locations, you're able to store your favourite sounds and instantly recall them while performing.

Build Custom Sounds Fast

With the SY-200's informative display and hands-on controls, it's quick and easy to call up sounds and balance the direct and synth levels. All the preset synth tones have been dialled in by the BOSS engineers to be inspiring and playable right away. But if you want to go deeper, you can tweak three different parameters for each sound via dedicated knobs.

Flexible Connectivity

The SY-200 smoothly integrates into your setup in a variety of ways. Patch it in your chain like a regular pedal, or use the send and output jacks to route synth and straight guitar sounds to different destinations. And with the send/return loop and level knobs, it's possible to craft unique hybrid sounds by blending one or more pedals in parallel with different synth voices.

Powerful Real-Time Control

The SY-200 provides a massive range of control options while taking up minimal space on your pedalboard. Two customizable footswitches offer multi-functional operation with press-and-hold functionality, allowing you to control synth on/off, memory scrolling, pitch bend, synth hold, and more. Expanded control is possible via external footswitches or an expression pedal, and MIDI I/O is also available to interface with other MIDI-equipped pedals and devices like the ES-8 and ES-5 loop switchers.

Plug-and-Play and Latency-Free

You can use the SY-200 with any guitar or bass-just plug in with a standard 1/4-inch cable and start creating. Thanks to custom DSP and the latest BOSS innovations, you'll enjoy latency-free performance that's a natural extension of your instrument, letting you play freely without altering your normal technique in any way.

Supercharge Your Music with a Diverse Range of Sounds

The SY-200 is loaded with a large library of synthesizer tones to inspire new ideas and bring fresh voices to your music.

LEAD-A wide range of sounds suitable for single-note soloing.
PAD-Full tones that work great with chords, from layered pads to synth brass and more.
STRING-Classic analog-style strings, including layered voices and sweeping textures.
BELL-Percussive synth sounds with metallic resonance.
ORGAN-A large selection of organ sounds, including many with rotary-style modulation.
BASS-Fat synth bass sounds, including filtered and sub-octave tones.
DUAL-Fat synth tones with stacked oscillators.
SWEEP-Dynamic sounds with expressive and engaging movement.
NOISE-Classic analog-style synth noise. Great for percussive sounds and dramatic effects.
SFX-A variety of synth sound effects, including explosive one-shot sounds, animated pitch/filter voices, and more.
SEQ-Pulsating sounds with rhythmic pitch or filter changes.
ARPEGGIO-Generate rhythmic arpeggios based on the notes you play.

Specifications

Sampling Frequency: 44.1 kHz
AD/DA Conversion24 bits
Processing: 32-bit floating point

Modes: 12 modes
LEAD, PAD, STRING, BELL, ORGAN, BASS, DUAL, SWEEP, NOISE, SFX, SEQ, ARPEGGIO

Memory: 128
Nominal Input Level: INPUT, RETURN: -10 dBu
Maximum Input Level: INPUT, RETURN: +7 dBu
Input Impedance: INPUT, RETURN: 2 M ohms
Nominal Output Level: OUTPUT, SEND: -10 dBu
Maximum Output Level: OUTPUT, SEND: +7 dBu
Output Impedance: OUTPUT, SEND: 1 k ohm
Recommended Load Impedance: OUTPUT, SEND: 10 k ohms or greater
Bypass: Buffered bypass

Controls:
ON/OFF switch, MEMORY/CTL 1 switch
TYPE knob, MEMORY knob, 1 knob, 2 knob, 3 knob, D. LEVEL knob, E. LEVEL knob, VARIATION knob
MENU button, EXIT button

Display: Graphic LCD (132 x 32 dots, backlit LCD)

Connectors:
INPUT jack, OUTPUT jack, SEND jack, RETURN jack: 1/4-inch phone type
CTL 2, 3/EXP jack: 1/4-inch TRS phone type
MIDI (IN, OUT) jacks: Stereo miniature phone type
DC IN jack
USB port: USB micro B-type (program update only)

Power Supply: Alkaline battery (AA, LR6) x 3, AC adaptor (sold separately)
Current Draw: 230 mA

Expected Battery Life Under Continuous Use: Alkaline: Approx. 5 Hours
* These figures will vary depending on the actual conditions of use.

Accessories: Leaflet "USING THE UNIT SAFELY"
Leaflet "To obtain the Owner's Manual"
Alkaline battery (AA, LR6) x 3
Rubber foot x 4

Options (sold separately)
AC adaptor: PSA-S series
Footswitch: FS-5U
Dual footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
MIDI/TRS connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight

Width: 101 mm / 4 inches
Depth: 138 mm / 5-7/16 inches
Height: 63 mm / 2-1/2 inches
Height (including rubber foot): 65 mm / 2-9/16 inches
Weight: 630 g / 1 lb 7 oz
Weight (including battery): 700 g / 1 lb 9 oz

0 dBu = 0.775 Vrms

Notes: EarthQuaker Devices proudly present to you the new and improved Spatial Delivery V3 Envelope Filter!

EarthQuaker Devices took the already cosmic, original Spatial Delivery and added six available preset slots for you to store your preferred settings - whether they be dissonant sweeps, rhythmic auto wah frequencies, oscillating robot gibberish or honestly whatever filtered frequency fun you want.

Even the expression jack assignment can be saved and recalled in any of the slots so that the signature sounds you dial in are readily available with a quick tap of the switch.

Save your settings confidently on the go thanks to the two modes indicated by the LED Save/Recall switch. Green means you're in Live Mode so what you see is what you get; current control settings will be what you hear. Red means you are in Preset Mode, where your selected pre-saved setting will be what's taking the journey through your amp.

You didn't think this pedal could get any better, and then, bam!

And of course, for all of you Spatial Delivery diehards, all the familiar features of the original are still in place. This baby has three modes with the switchable Up Sweep, Down Sweep, and Sample and Hold functions, along with Range, Resonance and Filter controls.

Get some wild filter sweeps with the Up and Down modes and adjust the Range to control the sensitivity and reaction time of the envelope, which alters the width of the frequency sweep. The higher the Range and harder the attack equals a faster reaction time and higher frequency sweep and vice versa. But again, you're a smart player, you get this stuff.

In the Sample and Hold mode, the filter is controlled by random voltage and the Range controls the speed. The filter can be crossfaded between high pass (counterclockwise), band pass (center) and low pass (clockwise) for a wide variety of voices. The Resonance control goes from zero to the brink of oscillation and adds more body and ring to the filter voice.

Due to its envelope control, it is recommend that you place the Spatial Delivery first in your signal chain, however, experimenting with pairing and signal chain placement can take the potential of the Spatial Delivery even further. How far will you take it? Only time will tell.

Each Spatial Delivery pedal is handmade in Akron, Ohio, USA and is hand delivered... espatially for you.

Notes: The GALACTAVISE is Allpedal's flagship compressor. Built with the musician's needs in mind, it boasts an uncompromisingly sweet compressor circuit with a Mix control for dialling in that perfect balance of compressed tone and clean tone.

The top end can often be make or break with many compressor circuits, so AllPedal also added the ability to adjust just the right amount with the Presence control. Made with the highest quality components for a low noise floor and road-worthy durability.

Let the GALACTAVISE blast your tone into orbit!

GALACTAVISE is the best guitar compressor pedal for musicians seeking to balance their sound's dynamics. As the best compression pedal on the market, it allows guitarists to control their volume levels efficiently, ensuring a consistent sound output. This guitar compression pedal is an essential tool for both studio recording and live performance.

As with all their effect pedals, AllPedal took special care in the GALACTAVISE's aesthetics with its finish, sophisticated artwork and anodized knobs.

GALACTAVISE is proudly made by hand in Paducah, KY in the USA using the latest cutting-edge technology in the pursuit of ultimate tone.