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Notes: Mukatsuku branded Custom UK Made MDF wooden box for 7 inch records with wood branded name plates. Will hold up to 125 records (up to 125 45s in plain paper sleeves /100 in card sleeves) .Fixed together with high strength resin adhesive using 40mm screws & 25mm pins.

The internal/external - (approximate) dimensions are :
341/365mm length
198/222mm width
192/205mm height
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 5 in stock $40.28
Cat: 784084 Rel: 31 Jul 20 • View all Synth modules
 
Pole state variable
Notes: C4RBN (pronounced "Carbon") is a 4/2-Pole State Variable Filter with input saturation, output wavefolding, and more. It features a wide range of character from nice and clean filter sounds to screaming, squelchy, acidic mayhem.

C4RBN builds on WMD's history with state-variable filters adding interface refinements and improved warm environment stability for live performance and beyond. A novel input saturation circuit plus the output wavefolder from WMD's classic SYNCHRODYNE filter pair together to push the timbral flexibility to the next level. C4RBN is the building block to life in your eurorack.

Specs:
Size: 4hp
PCB height: 112mm
Depth: 38mm (with cables)
Power: +92mA, -82mA
Audio Input: 100k ohm impedance
20Vpp range
V/Oct Input: 82k ohm impedance
Temperature Compensated
CV Inputs: >100k ohm impedance
Filter Outputs: 1k ohm impedance
20Vpp range
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Cat: 762144 Rel: 29 Jul 20 • View all Studio mixers
 
Hyrbid analogue & digital mixer
Notes: A mixer should not only sound good. It should be very easy to use.

Korg has collaborated with the legendary mixer design team of Greg Mackie and Peter Watts to create hybrid/analog mixing consoles that make creative mixing easy. Both the 24- and 16-channel models give you instant analog control for live mixing with stunning sound quality and more musician-friendly features than the competition - paired with the power of high-quality digital where it counts.

Use a SoundLink and you discover all the typical Greg Mackie features that are unique to SoundLInk; hear your first live mix and discover why Peter Watts helped design legendary Trident consoles and then hundreds of high-end studio processors and preamps. Besides designing mixers, Greg Mackie has been mixing on them for over 40 years.

When you listen to the "White Album", Rhianna's "Rated R" and "Loud", "Goodbye Yellow Brick Road" and literally hundreds of other familiar albums, you're listening to the legendary Trident mixing console sound. Peter Watts had an important role in Trident technology; he brings the same rich, warm preamp, EQ and dynamics quality to the products he designs today. HiVolt mic preamps give you the most headroom of any comparably-priced analog or digital mixer (16.5V internal voltage, even on stereo channels where other mixers skimp). They sound warm and musical.

It is the only small mixer that has Mute Groups. They let you instantly call up different combinations of channels for various groups on stage, different songs, sound checks, a solo acoustic number, a drum solo or different parts of a church service (choir, praise band, pastor. You get four Group options, each easily programmable and recallable.

Some musicians want to hear more of their own instrument or voice in their in-ear or floor monitor, a process that is complicated to change on other mixers. SoundLink's Musician's Phone feature provides one-knob boost of the complete left/right mix into the musician's individual track. Instead of having to change main mix settings or take up a bus, you have dedicated knobs for two musician's "more me" monitor mixes.

Instead of a generic digital effects processor chip, SoundLink mixers use a high-quality proprietary Korg custom chip that builds on all of Korg's multi-decade expertise: twenty four ultra-realistic digital effects. For example, all six reverb effects include an alternate "WARM" version - a touch veteran Korg users will tell you is very useful. Parameters of all effects can be tweaked, saved and recalled, and activated by an optional footswitch. Plus, you get test tone generators for use with the built-in 24-band Spectrum Analyzer that's another SoundLink exclusive in a mixer in this price range.

Digital processing and effects are frustrating if they're buried in some long, scrolling menu inside a menu. For EQ and other control features, and a row of individual L/R, AUX 1 and Aux 2 assign buttons for both Equalization and Dynamics makes mixing easier. SoundLink's Limiter, Compressor, Noise Gate are both effective without being harsh or exaggerated. Each has tweakable, recallable parameters. Coupled with a 31-band Spectrum Analyzer, our super-practical 31-band/9-band ParaGraphic EQ solves acoustical problems other small mixers can't handle.
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Cat: 765895 Rel: 28 Jul 20 • View all Synth modules
 
Level shifter module
Notes: Module A-183-4 is a fourfold level shifter. A level shifter is required if the level of a digital control signal has to be increased or decreased. A typical application is the conversion of a gate, trigger or clock signal with +5V voltage level (tolerance range +2...+5V) to +12 voltage level. The output voltage level can be set by means of a jumper to +12V or +5V. The factory setting is +12V. But it can be changed to convert also a higher to a lower level (e.g. +12V to +5V). But this application is required rarely. The output level setting by means of the jumper is global, i.e. it is valid for all four units and cannot be set individually for each unit. The four output signals are displayed by means of LEDs.

The outputs and inputs of the four sub-units are normalled via the switching contacts of the input sockets, i.e. the output signal of the upper unit is used as input signal of the unit below provided that no patch cable is inserted into the input socket of the lower unit. That way the module can be used also as clock/trigger/gate buffer or buffered multiple for digital signals. For this the signal that has to be buffered is connected to input 1. The buffered (and possible level shifted) signal appears then at all four outputs.
Voltage thresholds for the input voltages:
voltages below +0,8 V are treated as "low"
voltages above +3 V are treated as "high"

Typical applications:

Converting the levels of digital control signals (e.g. gate, trigger, clock) to another voltage level (+12V or +5V)
buffering and duplicating digital control signals (e.g. gate, trigger, clock)

Important note: the module cannot be used for analog signals.
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Cat: 765897 Rel: 28 Jul 20 • View all Synth modules
 
VCA/polarizer/inverter/ring modulator module
Notes: A-133-2 is the slim version of the A-133 but has some additional features and improvements available compared to the A-133.

Module A-133-2 can be used for a lot of applications: as a simple VCA, or a voltage controlled polarizer/attuverter, or a voltage controlled inverter up to a DC coupled ring modulator. In principle the module contains two special voltage controlled amplifiers (VCAs) that allow both positive and negative amplification.

The overall amplification is definded by the sum of the voltage generated by the Man control, the external control voltage CV and the position of the CV control which works as an attenuator for the external control voltage. Without external CV the amplification is +1 when the Man control is fully CW. In the center position the amplification is zero and fully CCW it's -1 (i.e. the incoming signal is inverted). By means of the external control voltage CV the manually adjusted amplification can be modulated. CV can be both positive or negative (i.e. bipolar) to obtain positive or negative amplification values controlled by the external CV.

In addition the CV signal can be modulated via the modulation control input Mod by means of another control voltage. The Mod socket is normalled to +5V, i.e. a constant positive voltage is used as modulation CV provided that no plug is inserted into the Mod socket.

The current amplification is displayed by a dual color LED (note: it's not a signal display but indicates the amplification, probably yellow = positive amplification, red = negative amplification)
Application examples:
voltage controlled amplifier (VCA) with pure positive overall amplification (Man + CV)
voltage controlled inverter with pure negative overall amplification (Man + CV)
voltage controlled polarizer/attuverter overall amplification changing between positive and negative (Man + CV)
DC coupled ring modulator with offset feature, the "classical" ring modulator corresponds to Man=0 and symmetrical audio signals for In and CV
additional effects by means of the modulation feature of the CV signal (using the Mod input)
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 3 in stock $95.15
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Cat: 781306 Rel: 28 Jul 20 • View all Synth modules
 
Stereo mixer module
Notes: Mix four stereo signals with CV control over levels. Doepfer's usual great value and user-friendly approach make this a great choice at an excellent price point.

Supplier notes:
A-135-3 is a is a voltage controlled stereo mixer with four inputs. Behind a front panel with 8 HP only eight linear VCAs (voltage controlled amplifiers) and the mixer based on the VCAs are available.

Controls, Inputs and Functions of each input:

Level (manual control of the VCA amplification), small rubberized knob (L1...L4)

Control voltage input with associated attenuator (CV 1...4), for the full VCA control range about 0...+5V control voltage are required (attenuator fully clockwise), for higher control voltages the attenuator is used, the attenuators are without knobs, just plastic shafts with white marker

Signal Input left/right (InL 1...4 / InR 1...4)

The signal inputs are not equipped with an attenuator. But the VCAs can process all signals up to 15Vpp / -7.5...+7.5V without clipping. In case of higher levels an external attenuator is required (e.g. A-183-1).

The sum of the left and right signals appear at the sockets Out L and Out R. The maximal amplification is about 0.5 to avoid clipping at the mixer outputs (otherwise the outputs may distort with 15Vpp signals at each signal input and full amplifications). If another maximal amplification (e.g. 1) is required two resistors have to be replaced.

All inputs and outputs are DC coupled. Consequently the module can be used to process both audio and control voltages.

Additional technical specification for each VCA (based on the specifications of the VCA circuits CEM3360/AS3360 used in the module):
Crosstalk between two channels: better than - 80dB
Signal attenuation at 0V CV: better than -80dB
Total harmonic distortion: typ. 1%
Control voltage feedthrough: max. 15mV

HP : 8
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 4 in stock $138.27
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Cat: 783681 Rel: 28 Jul 20 • View all Synth modules
 
Sequencer module
Notes: The Trigger Riot is a multipurpose trigger module that makes ultra complex patterns of gates triggers and clock pulses. The Riot covers a lot of ground in any Eurorack system from the master clocking for your entire system to algorithmic generation of pulses for envelopes, step sequencers, drums and accents that can venture into highly complex territory driven by simple yet powerful logic and algebra with a dash of pseudo randomness for some unpredictable results.

The user interface allows a great deal of control over pulses with each knob acting as a clock divider, clock multiplier, step injector, time shifter, clock shifter, pulse-width modulator, and an arithmetic probability processor. Now take that control and multiply it by 16 and feed it into 8 outputs for maximum Trigger Riot madness!

Furthermore the interface features a master clock knob, push switches to mute unmute and select rows, and multiple switches to configure, adjust, create loops and save your work for later recall from memory banks.

Trigger Riot integrates nicely in the studio with non-volatile memory, generous synchronization options with external gear including sample accurate sync with DAWs, smart synchronization to other Tiptop modules using SyncBus, and DIN Sync for vintage gear. A precise internal tempo clock generator with tap tempo and BeatSync to manage precise changes round out the features.
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 1 in stock $458.36
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Cat: 762145 Rel: 29 Jul 20 • View all Studio mixers
 
Hybrid analogue & digital mixer
Notes: 16-channel version of Korg's excellent hybrid mixer, designed in collaboration with Greg Mackie and Trident designer Peter Watts. Eight mono channels and four stereo pairs, each with single-knob compressor and musical EQ.

Supplier notes:
A mixer should not only sound good. It should be very easy to use.

Korg has collaborated with the legendary mixer design team of Greg Mackie and Peter Watts to create hybrid/analog mixing consoles that make creative mixing easy. Both the 24- and 16-channel models give you instant analog control for live mixing with stunning sound quality and more musician-friendly features than the competition - paired with the power of high-quality digital where it counts.

Use a SoundLink and you discover all the typical Greg Mackie features and ideas that are unique to SoundLink; hear your first live mix and discover why Peter Watts helped design legendary Trident consoles and then hundreds of high-end studio processors and preamps. Besides designing mixers, Greg Mackie has been mixing on them for over 40 years.

When you listen to the "White Album", Rhianna's "Rated R" and "Loud", "Goodbye Yellow Brick Road" and literally hundreds of other familiar albums, you're listening to the legendary Trident mixing console sound. Peter Watts had an important role in Trident technology; he brings the same rich, warm preamp, EQ and dynamics quality to the products he designs today. HiVolt mic preamps give you the most headroom of any comparably-priced analog or digital mixer (16.5V internal voltage, even on stereo channels where other mixers skimp). They sound warm and musical.

It is the only small mixer that has Mute Groups. They let you instantly call up different combinations of channels for various groups on stage, different songs, sound checks, a solo acoustic number, a drum solo or different parts of a church service (choir, praise band, pastor. You get four Group options, each easily programmable and recallable.

Some musicians want to hear more of their own instrument or voice in their in-ear or floor monitor, a process that is complicated to change on other mixers. SoundLink's Musician's Phone feature provides one-knob boost of the complete left/right mix into the musician's individual track. Instead of having to change main mix settings or take up a bus, you have dedicated knobs for two musician's "more me" monitor mixes.

Instead of a generic digital effects processor chip, SoundLink mixers use a high-quality proprietary Korg custom chip that builds on all of Korg's multi-decade expertise: twenty four ultra-realistic digital effects. For example, all six reverb effects include an alternate "WARM" version- a touch veteran Korg users will tell you is very useful. Parameters of all effects can be tweaked, saved and recalled, and activated by an optional footswitch. Plus, you get test tone generators for use with the built-in 24-band Spectrum Analyzer that's another SoundLink exclusive in a mixer in this price range.

Digital processing and effects are frustrating if they're buried in some long, scrolling menu inside a menu. For EQ and other control features, and a row of individual L/R, AUX 1 and Aux 2 assign buttons for both Equalization and Dynamics makes mixing easier. SoundLink's Limiter, Compressor, Noise Gate are both effective without being harsh or exaggerated. Each has tweakable, recallable parameters. Coupled with a 31-band Spectrum Analyzer, the super-practical 31-band/9-band ParaGraphic EQ solves acoustical problems other small mixers can't handle.
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 1 in stock $978.79
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Cat: 785641 Rel: 30 Jul 20 • View all VST instruments & samplers
 
Software box set
Notes: Limited to 1000 units worldwide, the Sound Explorers Collection is a celebration of 20 years of Arturia software instruments, including V Collection 7, Analog Lab, Pigments and much more.

Supplier notes:
25 world-class instruments, 15 effects, and over 8000 stunning presets in one all-encompassing selection.

Introducing the Sound Explorers Collection - a unique box set commemorating 20 years of Arturia, strictly limited to 1000 units worldwide.

What's included?
The Arturia Sound Explorers Collection comes on a limited-edition 250GB hard drive. This outstanding bundle gives you unlimited access to timeless sounds, studio-grade effects and inspiring workflows, designed to elevate your creative process to new heights. Let's take a closer look at what's included...

V Collection 7
The most iconic instruments of all time, guaranteed to capture your imagination. The warm flutters of Mellotron V, the glistening overtones of DX-7 V, the velvet-smooth polyphony of Jup-8 V- and everything in between. These are the true classics, brought back to life with dazzling realism and responsiveness thanks to TAE and Phi modeling technology.

V Collection 7 is the most comprehensive virtual anthology of vintage synths and keyboards ever made.

Analog Lab
Losing creative time to preset tweaking? Need quick inspiration? Analog Lab removes the barriers so you can freely express your musical style.

Effortlessly browse and customise thousands of V Collection 7 presets in a single user-friendly interface. Enjoy immediate access to a curated range of sounds for every purpose. Hone in on the perfect patches with a detailed search feature. You'll be there in no time.

Pigments
Virtual analog, wavetable, granular and sampling in one inspiring instrument. Endless modulation, filter and FX functionality at your disposal. A fully-customisable sound designer's dream with game-changing capabilities.

Arturia have created what is the ultimate software synth. Immensely powerful, undeniably mind-bending and just plain fun. This is Pigments, and it's going to change the way you make music forever.

FX Collection
Revitalize your sound with circuit-accurate emulations of the most iconic effect and studio tools ever made. Time-honored gear that truly changed the sound of music as we know it, supercharged with exciting new features for the modern producer.

From golden-era tube compressors to dream-like digital reverbs, FX Collection promises to breathe new life into your mix - whatever your style.

40 best-selling preset packs

In addition to the 8000+ presets included V Collection 7, Analog Lab and Pigments, the Sound Explorers Collection features over 700 additional expertly-crafted presets from our Sound Store.

40 banks compiled with specific styles, eras and inspirations in mind. From razor-sharp lead tones to warm evolving pads, that elusive sound in your head is just a click away.

20 years of Arturia
20 years of crafting inspiring instruments. 20 years of providing musicians with tools to create unforgettable performances. 20 years with you by our side: musicians, producers, and sound engineers, all sharing the same passion, all looking for deeper inspiration to elevate music to the next level.

Once all features are installed, the hard drive can be used as a storage device.

Included Software: V Collection 7
Analog Lab 4
Pigments
FX Collection (15 FX)
40 best-selling soundbanks
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Cat: 780895 Rel: 27 Jul 20 • View all Synth modules
 
Fusion series module
Notes: The Fusion VCA/Waveshaper/Ringmodulator is a complex sound processor that combines VCA, waveshaper and ringmodulator. It's not a regular VCA; it can operate as one, but most of the power of the module is in advanced modulations - with two CVs applied simultaneously to different stages of the VCA, audio rate modulations, using ringmodulator as a waveshaper - your imagination is the limit!

Low power consumption due to miniature vacuum tubes.

Technical specifications:

Audio Input level: 10Vptp
CV input level (full swing): -10V - +10V
Panel width: 14HP
Module depth: 36mm
Power consumption: 48mA@+12V, 69mA@-12V
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MRP:$403.71 SAVE 19%
 1 in stock $326.61
Cat: 781491 Rel: 28 Jul 20 • View all Studio monitors
 
2 way active monitor
Notes: If you love the compact format of the 8010 and 8020 models but demand higher SPL and more bass extension, meet the 8030C.

Active Crossovers:

Directivity Control Waveguide (DCW) Technology

SPL:

104 dB

Frequency Response:

47 Hz - 25 kHz (-6dB)

Dimensions:

H 299 x W 189 x D 178 mm, with Iso-Pod (view in inches)

Welcome to the sweet spot
A consistent best-seller, the 8030C sits in the perfect sweet spot of big monitor performance and small footprint. It offers precise imaging and staggering detail, but can go louder and lower than its smaller siblings - making it the perfect choice for slightly larger spaces.

The trademark rounded cabinet design of the 8030C delivers uncoloured reference performance both on and off axis, and rear panel room compensation switches let you optimise the 8030C for your individual room acoustics. All this helps you produce mixes that translate beautifully to other rooms and systems.

Key Technologies

Active Crossovers

Directivity Control Waveguide (DCW) Technology

Intelligent Signal Sensing (ISS) Technology

Iso-Pod Stand

Miimum Diffraction Enclosure (MDE) Technology

Optimized Amplifiers

Protection Circuitry

Reflex Port Design

Room Response Compensation

Versatile Mountings

Package contains:
1 x 8030C monitor
1 x mains cable 1,8m
1 x user manual

Technical Specifications

SPL
104 dB

Amplifier Power
50 W Bass (Class D) + 50 W Treble (Class D)

Frequency Response
47 Hz - 25 kHz ("-6 dB")

Accuracy of Frequency Response
i 2 dB (54 Hz - 20 kHz)

Driver Dimensions
130 mm Bass + 19 mm Treble (view in inches)

Dimensions
H 299 x W 189 x D 178 mm, with Iso-Pod™ (view in inches)

Weight
5 kg / 11.0 lb

Connections
1 x XLR Analog Input
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Cat: 781489 Rel: 28 Jul 20 • View all Studio monitors
 
2 way active monitor
Notes: The ever-popular 8020D gets an industrial makeover with this raw aluminium finish. Same clear and revealing sound, same compact design but a striking new look.

Supplier notes:
When it comes to performance versus size, the 8020 has set the benchmark in nearfield monitoring for over 15 years.

Active Crossovers

Directivity Control Waveguide (DCW) Technology

SPL

100 dB

Frequency Response

56 Hz - 25 kHz (-6dB)

Dimensions

H 242 x W 148 x D 142 mm, with Iso-Pod (view in inches)

Classic design
The 8020D is the latest revision of this enduring studio classic, boasting an even higher SPL yet lower energy consumption than previous versions. Designed to adapt to the broadest possible range of listening environments, the 8020D thrives when space is at a premium.

Transparent and truthful
Engineers love the transparent and truthful reproduction of the 8020D, and with its wide uncoloured sweet spot you are always in a position to make accurate, reliable mix decisions. Additionally, our Intelligent Signal Sensing (ISS™) circuitry detects when your monitor is no longer in use, placing it into an environmentally friendly, power-saving standby mode.

Key Technologies

Active Crossovers

Directivity Control Waveguide (DCW) Technology

Intelligent Signal Sensing (ISS) Technology

Iso-Pod Stand

Minimum Diffraction Enclosure (MDE) Technology

Optimized Amplifiers

Protection Circuitry

Reflex Port Design

Room Response Compensation

Versatile Mountings

Package contains:
1 x 8020D monitor
1 x mains cable 1,8m
1 x user manual

Technical Specifications

SPL
100 dB

Amplifier Power
50 W Bass (Class D) + 50 W Treble (Class D)

Frequency Response
56 Hz - 25 kHz ("-6 dB")

Accuracy of Frequency Response
i 2.5 dB (62 Hz - 20 kHz)

Driver Dimensions
105 mm Bass + 19 mm Treble

Dimensions
H 242 x W 148 x D 142 mm, with Iso-Pod

Weight
3.2 kg / 7.1 lb

Connections
1 x XLR Analog Input
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Cat: 769145 Rel: 31 Jul 20 • View all Headphones parts
 
Replacement cable + adapter
Notes: Spiral cable + adapter for NDH 20 Studio Headphones

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 1 in stock $34.57
Notes: Dunes is a condensed take on our highly popular Palisades "808-style" overdrive. All the glitz and glamour of the original Palisades has been stripped away, leaving only the bare essentials required for a rippin' mid-boosting transparent overdrive. It has all the great tone of the grown-up Palisades but with a simplified interface and a smaller footprint!

The Dunes features the same Gain, Tone and Level controls as the Palisades, along with Earth Quaker's favoured voice and bandwidth settings, as well as the Normal/Bright toggle. The selectable clipping Voices are: MOSFET for a tight crunchy sound (Palisades' Setting 3); Silicon Asymmetrical clipping for tighter light gain OD closest to the classic 808 sound (Palisades' Setting 4), and None, which goes from clean boost to gritty, pure op-amp distortion with a massive volume boost (Palisades' Setting 1). The two Bandwidth settings are Stock for the classic tone (Palisades' Setting 3) and Full Range for more low end (Palisades' Setting 5).

Controls:
1. Tone: Brighter clockwise, warmer counterclockwise

2. Voice: MF- MOSFET diode clipping, N- No diode clipping, Si- Silicon diode clipping

3. Gain: Adjusts the drive, dirtier clockwise, cleaner counterclockwise

4. Normal/Bright: Normal is a warm full tone, Bright is livelier tone with more chime

5. Volume: Sets the output level

6. Bandwidth: Left is brighter with more emphasis on the mids, right is full range for more low end

Tech Specs:

This device is true bypass and uses electronic relay-based switching. Audio will not pass without power.

This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. Pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies, are a;ways recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 16 mA
Input Impedance: 500 kO
Output Impedance: <1 kO
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Notes: The Disaster Transport SR is a dual delay with reverb and modulation. It was designed from the ground up to create an intense wash of lo-fi swirling tape styled echo. While it may look intimidating at first glance, it's actually pretty easy to navigate. The top row of controls are for delay A and the bottom row of controls are for delay B. Delay A is a 600ms delay with modulation and delay B is a 300ms delay with reverb. Both delays can be run separately, in parallel, in series or in series/parallel. To take it one step further, there are also expression controls for the repeats on delay A as well as bleeding delay A into delay B. The switching was designed so each delay can be used individually or in tandem with both true bypass or trails.

In addition to being used as a straight delay, straight reverb, rhythmic delay, modulated delay and old school tape-style echo, the Disaster Transport SR can also be used to create a wide variety of wild sounds ranging from warped records, clanging flange, smooth chorus, echoed out squalls and various other-worldly effects that will blow your mind, man. If you are a fan of old school tape delay and crazy lo-fi sounds, you will get hours of enjoyment every time you plug into the Disaster Transport SR.

The controls for delay A and B are separated by row. The top row is for delay A and the bottom row is for delay B.

Time: Controls the delay time from about 30ms up to 600ms.

Repeats: Controls how many regenerations of the signal there are. This ranges from one single repeat through an endless wash into self oscillation. This can also be controlled via an expression pedal. The Moog EP-2 is recommended.

Mix: Level control for the wet signal. Unity is around center, anything above is boosted. Boosting this works great when using a distorted signal. Please keep in mind this is a gain control, a bit of hiss is normal when it's above unity.

Depth: Controls the intensity of the modulation, from no modulation to all out seasick pitch bends.

Rate: Controls the rate of the modulation. The LED for delay A flashes in time with the modulation to visually show where the rate is set.

Bleed: This feeds delay A into delay B, post reverb (see block diagram for visual explanation). Use this control for series or series/parallel operation to create rhythmic repeats, extra long delay time or an all out echo wash. This can also be controlled via an expression pedal. The Moog EP-2 is recommended. When using the bleed, experiment with the repeat controls on each delay line. Try using them in different settings, both together and individually, for different timing and textures.

Delay B Controls
Reverb: Controls the amount of reverb added to the input of delay B.

Mix: Level control for the wet signal. Unity is around center, anything above is boosted. Boosting this works great when using a distorted signal. Please keep in mind this is a gain control, a bit of hiss is normal when it's above unity.

Repeats: Controls how many regenerations of the signal there are. This ranges from one single repeat through an endless wash into self oscillation.

Time: Controls the delay time from about 30ms up to 300ms.

The switches for both delays switch the inputs only. The outputs are always connected. This allows you to have trails by always leaving the bypass switch engaged or to use the bypass switch as the master on/off for true bypass. Additionally, you can feed delay A in to delay B with the bleed control without having delay B switched on for a cleaner rhythmic delay.

Tech Specs:

This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. We always recommend pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 5.65 x 2.25 in. (121 x 144 x 57 mm) with knobs
Current Draw: 107 mA
Input Impedance: 500 kO
Output Impedance: <1 kO
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MRP:$416.77 SAVE 25%
 1 in stock $313.55
Notes: The Data Corrupter is a monophonic analog harmonizing PLL with modulation. It takes your input signal and brutally amplifies it into a crushing square wave fuzz tone that is then multiplied, divided and modulated to create a wild, yet repeatable, three-voice guitar synthesizer.

The Master Oscillator is the central nervous system at the heart of the Data Corrupter's cyberpunk hive mind. It feeds your input to the signal harvester in its original octave (Unison), one octave down (-1) or two octaves down (-2) for maximum compatibility with your preferred instrument and frequency register. Once you've chosen your input octave, then the Data Corrupter will perform its calculations and spit out an analog synthesized frequency, which can be pitch-bent for portamento or vibrato sounds by the Frequency Modulator! From there, you can blend in one of eight Subharmonic intervals up to three octaves below the input and mix in a square wave fuzz tone for maximum data corruption.

The Master Oscillator (1) is the central nervous system at the heart of the Data Corrupter's cyberpunk hive mind. The three-position switch on the Master Oscillator control panel labeled Root (2) feeds your input to the signal harvester in its original octave (Unison), one octave down (-1) or two octaves down (-2). Use the Master Oscillator's Root Switch to fine tune the Data Corrupter's tracking response for maximum compatibility with your preferred instrument and frequency register. Once you've chosen your input octave, the Data Corrupter will perform its calculations and spit out a synthesized frequency, the octave and/or interval of which may be selected via the Master Oscillator's eight-position rotary switch.

The Voice Mixer's Oscillator Control (3) adjusts the Master Oscillator blend.

The Frequency Modulator (4) applies pitch-bend modulation to the Master Oscillator. In Glide mode, you'll hear a smooth portamento as each note slides into the next. In Vibrato mode the pitch modulates up and down for a retro sci-fi laser effect.

The Subharmonic (5) assimilates the input signal into one of eight lower octave programs between one and three octaves below the original. For a more stable lower octave, set the Subharmonic's Root Switch to the Unison position, which divides the Square Wave input signal, and removes the Frequency Modulator from the Subharmonic signal path.

To unleash the cracked machine lurking within the mainframe, set the Subharmonic Root Switch to Oscillator and try not to look away as the sonic malware you just installed mangles your input signal into the sum and difference of both the Master Oscillator and Subharmonic with the Frequency Modulator applied to the upper and lower octaves.

If you think you're brave enough, set the Subharmonic Root Switch to Oscillator and try experimenting with different Master Oscillator and Subharmonic programs to wind up the doomsday clock and inch ever closer to the Singularity. Adjust the Voice Mixer's Subharmonic Control to set the lower octave volume.

Finally, (or is it?) the Square (6) control located top-left on the Voice Mixer blends in a fuzzed-out square-wave take of your input in its original octave.

The heart of this pedal is based around a CMOS Phase Locked Loop (PLL) IC. In a nutshell, the PLL takes your input signal and compares its phase and frequency against an oscillator, generates an output proportional to their difference then feeds it back to the oscillator. This then causes the oscillator to lock onto the input signal and generate a synthesized frequency. Pretty cool, right? This synthesized frequency is referred to as the Master Oscillator on the Data Corrupter.

This device takes its inspiration from the Electrax Synthax and the "Basic Frequency Synthesizer" by Ray Marston. Neither of these were really intended to be guitar effect pedals and a lot of work went into creating the Data Corrupter to provide excellent tracking and long sustain. We think you'll find it more expressive and accurate than pretty much any other PLL based effect pedal around.

This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

Dimensions: 5.65 x 4.75 x 2.25 in. (144 x 121 x 57 mm) with knobs
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MRP:$299.19 SAVE 21%
 1 in stock $236.25
Cat: 781668 Rel: 28 Jul 20 • View all Effects pedals
 
Phase machine pedal
Notes: Grand Orbiter is a 4 stage OTA-based phaser with a diverse feature set that can go from stationary and resonant to slow and mellow and on through fast and swirly. It has three way toggle switch to select between the ranges of modulation. The master Rate control fine tunes the speed of the LFO in each of these modes and the flashing red LED acts as a visual indicator, even when the effect is in bypass mode. The Depth control blends the shifted signal in with the dry signal and controls the intensity of the effect. The Sweep control governs the peak frequency of the phased signal's tone, turned full clockwise the sweep is lively and intense, whereas turning counter clockwise yields a darker, more laid back peak. The Resonance provides a wide range of control over regeneration and at higher settings adds a more pronounced and resonant tone. You can also use the Grand Orbiter as a true pitch vibrato with the "Phase/Vibrato" switch. When in "Vibrato" mode, the dry signal is removed and the Depth controls acts as a volume control. This pedal is 100% analog, true bypass and built by entirely by hand in beachy Akron, Ohio.

1. Sweep: Controls the frequency peak of the sweep. Higher peak clockwise, lower peak counter clockwise.

2. Rate 1,2,3: Changes the range of the speed control. Rate 1 is slow mode, Rate 2 is LFO kill to use the Orbiter as a fixed resonant filter, Rate 3 is fast mode.

3. Rate: Controls the speed of the LFO. Faster clockwise, slower counterclockwise.

4. Depth: Controls the amount of phase effect mixed with dry signal. Clockwise for more intense phasing, counterclockwise for less. In "Vibrato" mode, this acts as a volume control.

5. Phase/Vibrato: Cuts the dry signal to create a vibe/vibrato effect depending on the setting of the other controls. Vibrato is created by turning the resonance down low.

6. Resonance: Controls the regeneration of the phased signal. More resonant clockwise, more subtle counterclockwise.

Tech Specs:

This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. Pedal-specific transformer-isolated wall-wart power supplies, or multiple isolated-output supplies, are always recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 15 mA
Input Impedance: 1 MO
Output Impedance: <1 kO
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MRP:$259.99 SAVE 25%
 1 in stock $194.89
Cat: 781691 Rel: 28 Jul 20 • View all Effects pedals
 
Tremolo pedal
Notes: The Night Wire is a feature-rich harmonic tremolo. What is harmonic tremolo? In short, the signal is split into high pass and low pass filters, then modulated with an LFO that is split 180 degrees. The Night Wire takes the traditional harmonic tremolo a few steps further by allowing the center point of both filters to be adjusted for different tones. The filter frequency has three modes: Manual, LFO and Attack. In Manual mode, the center point can be set to a fixed position with the frequency control. In LFO mode, the filters are continuously swept and the frequency control adjusts the speed. In Attack mode, the filters are dynamically swept according to pick attack and the frequency control acts as a range control, much like a standard envelope filter. The tremolo section has two modes, Manual and Attack. In Manual mode, the speed of the tremolo is governed by where the rate control is set. In Attack mode the speed is controlled by pick attack and the rate controls the sensitivity; the harder you pick, the faster the rate and vice-versa. The tremolo can be subtle and shimmery or full-on throbbing depending on where the depth control is set. With the depth set to zero, the Night Wire will act like a fixed filter, phase shifter or envelope-controlled filter depending on which mode the filter frequency is in. It also features a cut/boost volume control to get your levels just right.

Controls:
1. Depth: Adjusts the depth of the tremolo. More clockwise, less counterclockwise. When fully counterclockwise, the amplitude modulation will be removed and the Night Wire will function as a fixed filter, envelope controlled filter or phaser depending on where the Frequency toggle is set.

2. Rate Toggle: This toggle lets you select between two ways to control the speed of the tremolo. Attack lets you adjust the speed by pick attack. In this mode, the Rate knob controls the sensitivity of the dynamic tremolo. The higher the rate and harder you pick, the faster the speed will rise and vice versa. In Manual mode, the Rate control adjusts the speed like a common tremolo.

3. Rate: In Manual mode, this controls the speed of the tremolo. Faster speed clockwise and slower speed counterclockwise. In Attack mode, this controls the sensitivity of the dynamic tremolo. The higher the Rate and harder you pick, the faster the speed will rise and vice versa.

4. Level: Sets the output level, unity is around noon.

5. Frequency Toggle: This toggle lets you select one of 3 different ways to control the center frequency of the filter section. In LFO mode, the frequency is continuously swept by an LFO. In this mode, the Frequency knobs adjusts the speed of the LFO. In Manual mode, the frequency is determined by where the Frequency knob is set. In Attack mode, the center frequency is dynamically controlled by pick attack and the Frequency knob adjusts the sensitivity.

6. Frequency: Controls the center frequency of the filters in Manual mode: higher clockwise, lower counterclockwise. In LFO mode this controls the rate of the sweep: faster clockwise and slower counterclockwise. In Attack mode this controls the sensitivity of the envelope: lower Frequency gives slower rise and lower peak, higher Frequency gives faster rise and higher peak. Simple, right?

Tech Specs:
Flexi-Switchr Technology
This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

Power
This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. Pedal-specific, transformer-isolated wall-wart power supplies, or multiple isolated-output supplies, are always recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 65 mA
Input Impedance: 1 MO
Output Impedance: <1 kO
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MRP:$259.99 SAVE 19%
 1 in stock $211.22
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Cat: 781610 Rel: 28 Jul 20 • View all Effects pedals
 
Fuzz grinder pedal
Notes: The Cloven Hoof is the Hoof's evil twin. It looks a lot like the Hoof, only more, um . . . Cloven.

The tightness and clarity you loved about the Hoof has been kept, along with the wide range of fuzz sounds, and the rest was thrown away. NOS Germanium transistors? Nope! In their place, a set of four specially selected Silicon transistors were installed for cleaner cleans, higher gain, improved temperature stability, and a grittier, grindier, nastier fuzz tone with over 4x the gain of the original Hoof. The key resistors were replaced with with NOS Carbon Comp components to sprinkle a little bit of vintage flavor into the Cloven Hoof's searing fuzz fury. It's like they always say, "In with the old, out with the new".

The Tone and Shift controls remain intact, only now they're re-voiced for a smoother sweep, and more precise control over the Cloven Hoof's beefy low-end. Speaking of low-end, have you heard this thing on bass? Wow. Try the Cloven Hoof on a bass guitar. Seriously- you can still cut or boost the mids, and there's still a metric ton of output on tap, just do us a favor, and for the love of all that's Cloven, play this pedal with a bass guitar.

Controls:
1. Shift: This adjusts the mid content. Clockwise for scooped mids,
counterclockwise for boosted.

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

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

4. Fuzz: Clockwise for heavy, counterclockwise for light.

Tech Specs:

This device is true bypass and uses electronic relay-based switching. Audio will not pass without power.

This device can be powered by a 9v battery or a standard 9-volt DC power supply with a 2.1mm negative center barrel. Pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies are always recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 14 mA
Input Impedance: 150 kO
Output Impedance: <10 kO
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MRP:$228.64 SAVE 22%
 1 in stock $178.55
Cat: 781637 Rel: 28 Jul 20 • View all Effects pedals
 
Delay & reverb pdeal
Notes: The Dispatch Master is a hi-fi digital Delay & Reverb Device that combines independent delay and reverb effects into one space-saving enclosure, so you can keep deep ambient echoes (or just a quick slapback) on speed-dial.

The best-selling EarthQuaker Devices pedal just got better with new Flexi-Switchr Technology. Want to dip into ambient delay and reverb sounds for just one note? Press and hold the footswitch for as long as you use the effect, release it when you're finished, and resume your regularly scheduled dry sound. To use the Dispatch Master as a normal effects pedal, press the switch once to activate and again to bypass.

To Use Both Effects at the Same Time, Simply Adjust all Controls to Taste:

The Mix (1) control is a wet/dry blend that adjusts the overall level of the affected signal.

Time (2) sets the delay time from 0ms to 1500ms (1.5 seconds).

Reverb (3) controls the amount of reverb. Counterclockwise is less reverb, clockwise is more reverb.

Repeats (4) controls the regeneration of the delay signal. When the Repeats control is set to maximum, you'll get infinite repeats without runaway self-oscillation, which makes it great for creating drones, dialing in the ultimate post-rock guitar sound without feedback, or just having fun.

To Use the Dispatch Master as a Delay Only:

Turn the Reverb control all the way down.

Adjust the Time, Repeats, and Mix controls to taste:

To Use the Dispatch Master as a Reverb Only:

Turn the Time and Repeats controls all the way down

Adjust the Reverb and Mix controls to taste

THIS IS IMPORTANT! In Reverb-only mode, the Repeats control has a secondary function. It can be used to adjust the decay, depth, and tonal quality of the reverb! Turn it up for more dynamics and a thicker tone.

This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. We always recommend pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. Do not run at higher voltages!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 78 mA
Input Impedance: 1 MO
Output Impedance: <1 kO
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Notes: The Avalanche Run is a dreamy stereosonic exploratory multi-tool that includes up to 2 seconds of delay time, reverse delay, tap tempo with subdivision control, switchable true bypass or buffered bypass with 5 different tail lengths (including a sound-on-sound style lo-fi looping mode) and an assignable expression control that maps the expression jack to a control of your choice, including the toggle! The delay section allows tweaking from tape emulation to bucket brigade styles with a twist of the wide-range Tone control. The cavernous, plate-style reverb has just a touch of modulation similar to the one found in our precious Dispatch Master only more lush with an adjustable Decay. Otherworldly reverse delay and dynamic swelling reverb settings are accessible through a 3-way toggle switch. And that's just the beginning...

1. Time: This controls the delay time and goes from 0ms to just under 2000ms.

2. Repeats: Controls the regeneration of the delay, from zero repeats to near infinite.

3. Tone: Controls the tone for the delay line only. Roll off highs to the left, roll off lows to the right and get a flat response in the middle.

4. Mix: The is the volume control for the delay line. This blends in the wet with dry until 1 o'clock, 1 o'clock to 3 o'clock boosts the wet signal over the dry and 3 o'clock up brings down dry until it is fully wet when all the way up.

5. Expression Jack Assign Switch: Use this switch to map the expression jack to one of the assigned controls.

Decay: Controls the reverb decay length

R Mix: Controls the reverb mix

Time: This takes over for the delay time control and is DRASTICALLY different than the interface control. Using the expression pedal to control the time will give you all kinds of wild effects that can not be achieved by turning the knob.

Repeats: Controls the delay repeats

D Mix: Controls the delay mix

Toggle: This takes over for the toggle switch and will cross fade from forward delay in heel down position to reverse delay in toe down position.

6. Ratio Selector Switch: Selects delay subdivisions when time is set by the "Tap" switch.

1/1: Quarter Note

3/4: Dotted 8th

2/3: Quarter Note Triplet

1/2: 8th Note

1/3: 8th Note Triplet

1/4: 16th Note

7. Decay: Controls the decay length of the reverb, short decay counterclockwise, long cavernous decay clockwise.

8. Toggle Switch (Mode Selector)

Normal: This is the standard delay and reverb mode

Reverse: This is reverse delay mode with standard reverb

Swell: This is the volume swell mode

9. Mix: This is the volume control for the reverb. Blends in the wet with dry until 1 O'clock, 1 O'clock to 3 O'clock boosts the wet signal over the dry and 3 O'clock up brings down dry until it is fully wet when all the way up.

The expression jack is located on the west side of the pedal. It is a TRS jack with the tip acting as the wiper.

Using a Moog expression pedal, with the output adjustment knob all the way up, is recommended. Any other expression pedal is not guaranteed to work with the Avalanche Run.

This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

For best results, please use the included 9v center-negative 1-amp DC power supply.

Dimensions: 4.65 x 4.15 x 2.25 in. (118 x 105 x 57 mm) with knobs
Current Draw: 410 mA
Input Impedance: 1 MO
Output Impedance: 100 O
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MRP:$424.61 SAVE 24%
 1 in stock $324.44
Notes: Pyramids is a Stereo Flanging Device with five presets, eight flanger modes, tap tempo, tap subdivision, a multifunction Modify control, positive and negative Feedback, and a variable Mix control, which is something you don't see on a flanger every day.

Built upon the same proprietary DSP architecture as the Avalanche Run™, Pyramids delivers convincing jet-engine roar, authentic through-zero tape-style warble, infinite barber pole sweeps, flexible I/O routing, and the ability to re-trigger the LFO cycle via footswitch opens up a fourth dimension of rhythmic possibilities that's sure to tickle your third ear.

Controls:
1. Manual: Controls the delay time of the modulated signal. Manual can also be controlled via expression pedal.

2. Rate: Controls the speed of the LFO as well as the rise time in Trigger Up mode and fall time in Trigger Down mode. The Rate control has three ranges of operation: Slow, Normal and Fast. These modes are selected by the Rate & Tap toggle switch.

3. Width: Controls the frequency range of the LFO sweep. You might also think of it as a depth control for the LFO.

4. Mix: This is the volume control for the modulated signal. The modulated signal gets louder when you turn it clockwise and quieter when you turn it counterclockwise.

5. Activate Footswitch: The activate switch features our Flexi-Switch technology! This relay-based true-bypass switch allows for momentary or latching operation.

6. Feedback: Regeneration control for the modulated signal.

7. Rate & Tap Toggle Switch: Normal (center position) is 1:1. The tempo you tap in is the tempo Pyramids will spit out. When set to Slow (left position), the tempo you tap is divided for a slower sweep. When set to Fast (right position), the tempo you tap is multiplied and delivers a faster sweep.

8. Modify: The behavior of this control depends upon which mode you're using:

Classic: Tone control for the modulated signal. Clockwise cuts the low end and allows the high frequencies to pass through. Counterclockwise cuts the high end and allows bass frequencies to pass through.

Through-Zero: Delay time for the unmodulated dry signal. This controls where in the LFO cycle the through-zero point occurs, which is where you'll hear the most drastic cancellation.

Barber Pole Up: Tone control for the modulated signal. Clockwise from center is a high pass filter. Counterclockwise from center is a low pass filter.

Barber Pole Down: Tone control for the modulated signal. Clockwise from center is a high pass filter. Counterclockwise from center is a low pass filter.

Trigger Up: Sensitivity control for the sweep. This controls how quickly the re-triggering reacts to your pick attack.

Trigger Down: Sensitivity control for the sweep. This controls how quickly the re-triggering reacts to your pick attack.

Step: Adjusts the glide between steps. Low Modify settings produce sharp, stair-stepped transitions between steps. Higher Modify settings introduce a smoother glissando effect.

Random: Adjusts the glide between steps. Low Modify settings produce sharp, stair-stepped transitions between steps. Higher Modify settings introduce a smoother glissando effect.

9. Tap / Trigger Footswitch: In Classic, Through-Zero, Barber Pole Up, Barber Pole Down, Step, and Random modes, this footswitch is a tap tempo control. In Trigger Up and Trigger Down modes, this footswitch triggers the effect whenever it is pressed.

10. Presets Rotary Switch: Selects between Live mode and one of five presets. Pyramids comes with our favorites programmed in, but you're allowed to re-write them if you want. We don't mind.

11. Mode Rotary Switch: Selects between Pyramids' eight flanger modes

Tech Specs:
Flexi-Switchr Technology
This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

For best results, please use the included 9v center-negative 1-amp DC power supply.

To use with multiple output transformer-balanced isolated pedal-specific power supplies, Pyramids' may be powered from two outlets combined using a current-doubling cable. DO NOT USE A VOLTAGE-DOUBLING CABLE BECAUSE THAT WILL SEND 18V TO PYRAMIDS AND FRY IT LIKE AN OVEREASY EGG AT A GREAZY SPOON DINER.

Dimensions: 4.65 x 4.15 x 2.25 in. (118 x 105 x 57 mm) with knobs
Current Draw: 460 mA
Input Impedance: 1 MO
Output Impedance: 100 O
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MRP:$424.61 SAVE 28%
 1 in stock $303.76
Notes: The Space Spiral is a dark and dreamy modulated delay designed to take you across the highways of fantasy. While the delay may be designed around a "dawn of digital" echo processor, the sound is out of this world, man. If you are a fan of the dreary echoes produced by old oil can delays or the ethereal sound of a well-loved tape delay, the Space Spiral is totally going to tickle your tone bone.

The Space Spiral's delay time ranges from a tight 30ms to a fast and loose 600ms. Can you imagine having 600ms of delay time at your fingertips? Out of this world! With all of this adjustable delay time you create anything from a classic slapback to a rhythmic wash of cosmic proportions. You want to take it even further? Maybe to an astral plane? Crank up the repeats and let the infinite oscillation of the Space Spiral take you to the other side.

Space Spiral- It'll get you through the night.

Controls:
1. Time: Delay time goes from 30ms to 600ms; Clockwise for long and counterclockwise for short.

2. Repeats: Controls the regeneration of the delay signal. Repeats increase clockwise and gradually begin to build into self-oscillation around 3 o'clock. This oscillation will infinitely continue until the Repeats control is brought back down below the 3 o'clock threshold. These oscillations will last even when the pedal is in bypass mode.

3. Mix: Blends the delay signal in with the dry; Clockwise for more and counterclockwise for less.

4. Depth: Controls the desired amount of modulation; Clockwise for more and counterclockwise for less.

5. Shape: Morphs the wave shape from a soothing triangle shape to a choppy square shape as you turn clockwise.

6. Rate: Controls the speed of the modulation; Clockwise for fast and counterclockwise for short.

Tech Specs:
Flexi-Switchr Technology
This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

Power
This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. Pedal-specific, transformer-isolated wall-wart power supplies, or multiple isolated-output supplies, are always recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 38 mA
Input Impedance: 1 MO
Output Impedance: <1 kO
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MRP:$259.99 SAVE 21%
 1 in stock $205.77
Cat: 781724 Rel: 28 Jul 20 • View all Effects pedals
 
Envelope filter pedal with sample & hold module
Notes: The Spatial Delivery is an oddball, a voltage controlled envelope filter that allows you to step outside the universe of funk while reinforcing your secret love affair with auto-wah. It has 3 modes: Up Sweep, Down Sweep and Sample and Hold.

With Range, Resonance and Filter controls you can get super emphasized filter sweeps in the Up and Down modes. The Range, in combination with pick attack, controls the sensitivity and reaction time of the envelope and thus 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. Reign in the controls a bit, add your favorite overdrive/fuzz after the Spatial Delivery and you've got a real nice resonant, cut-through-the-mix lead tone. Crank the controls back up and you're a neo-bedroom rock god. In the Sample and Hold mode the filter is controlled by random voltage and the Range controls the speed. Add a sub octave into the mix (before or after) and you've just created a deep fried space droid computer freak-out. The filter can be cross faded 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.

Controls:
1. Range: Adjusts the sensitivity of the envelope in Up and Down mode. In Sample and Hold mode, this controls the speed.

2. Mode Toggle: This toggles between Upward Sweep, Downward Sweep or Sample and Hold.

3. Resonance: This is the filter feedback control, it adds more body and ring to the filter voice.

4. Filter: This crossfades between high pass and low pass filters and allows you to get everything in between. High pass is fully counterclockwise, low pass is full clockwise and center is band pass. This is much more useful than a simple switch because it allows you to blend the filters for different sounds!

Suggested Placement
We recommend placing the Spatial Delivery first in your signal chain. However, due to its envelope control, experimenting with pairing and signal chain placement can take the potential of the Spatial Delivery even further.

Tech Specs:
Flexi-Switchr Technology
This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

Power
This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. Pedal-specific, transformer-isolated wall-wart power supplies, or multiple isolated-output supplies, are always recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 68 mA
Input Impedance: 500 kO
Output Impedance: <1 kO
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MRP:$259.99 SAVE 18%
 1 in stock $212.58
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quote 781724
Cat: 781628 Rel: 28 Jul 20 • View all Effects pedals
 
Optical vibe machine pedal
Notes: The Depths is Earth Quaker Devices' take on the classic optical vibe circuit. Now you can swab the decks with the same lush, pulsating, three-dimensional swirling sound you know and love, with some modern accouterments for all you land-lubbers out there.

The Depths is optimized for use with all kinds of instruments, pickups, and to play well with dirt, so nobody's left waiting on shore. If it's got a 1/4" output, plug it in and get deep!

Controls:
1. Intensity: This controls how subtle or intense the overall effect is. Counterclockwise from noon are the more subtle, classic sounds. Clockwise from noon are the more drastic and intense sounds.

2. Voice: Dials in the overall sound. Turn it clockwise for a fuller sound with more lows, bring it back for a thinner, more midrange focused tone.

3. Rate: Controls the speed of the effect. Counterclockwise for slow, clockwise for fast.

4. Level: Controls the volume of the effect. Unity is around 1 o'clock, everything above that is boost.

5. Throb: This controls the low end pulse. It may not be immediately evident on the bridge pickup, but switch to the neck or add some dirt and it comes alive. All the way up for more throb, dial it back for less. Works best when the Voice is set to a warmer tone.

Tech Specs:
Flexi-Switchr Technology
This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

For momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

Since the switching is relay based, it requires power to pass signal.

Power
This device takes a standard 9-18 volt DC power supply with a 2.1mm negative center barrel. Pedals will make extra noise if there is ripple or unclean power. Pedal-specific, transformer-isolated wall-wart power supplies, or multiple isolated-output supplies, are always recommended. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 21 mA
Input Impedance: 1 MO
Output Impedance: <1 kO
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quote 781628
Cat: 781755 Rel: 28 Jul 20 • View all Effects pedals
 
Comrpessor pedal
Notes: Hey boss, thanks for taking a visit from The Warden! The Warden is an optical compressor with a feature set usually reserved for studio grade units. Built with high grade components and internally powered by 18v, The Warden has loads of gain and sustain on tap. With complete control over attack, release, sustain and ratio, The Warden will allow everything from a heavy squash with fast attack and release to "barely there" subtle compression. Optical compression has a reputation for having more character than a VCA or FET-based compression and The Warden is no exception.

Controls:
1. Tone: This pedal was designed to slightly color your tone, and the coloration can be dialed-in to your taste. Counterclockwise is treble cut, clockwise is treble boost. The tone is nearly flat around 11 o'clock.

2. Attack: This controls how quickly the compressor reacts and starts leveling the signal. All the way counterclockwise is a fast, nearly immediate reaction. Turning the attack clockwise slows the reaction time.

3. Release: This controls how long it takes the signal to raise back up to the level determined by the Sustain and Ratio settings. All the way counterclockwise is a fast release and the release time slows as you turn it clockwise.

4. Level: This controls the overall output and is affected by the Sustain and Ratio settings. There is no specific unity setting; adjust to taste when you find your perfect compression setting.

5. Ratio: This determines how much the gain reduction affects the signal. All the way up is full compression and the compression is reduced as you turn this counterclockwise which allows more of the boosted, less-compressed signal to come through. There are no defined ratios here.

6. Sustain: This is the heart of The Warden. It controls how hot the signal is, which changes the dynamics of the compression. The Warden is a feedback-style compressor; the hotter the signal, the more active the compression. Very little Sustain= very little compression, less active Attack and Release and a cooler signal. Max Sustain= heavy compression, longer sustain, hotter signal and more lively Attack and Release.

Tech Specs:
Switching
This device is true bypass and uses electronic relay-based switching. Audio will not pass without power.

Power
This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. Pedal-specific, transformer-isolated wall-wart power supplies, or multiple isolated-output supplies, are always recommended. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 31 mA
Input Impedance: 1 MO
Output Impedance: <1 kO
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quote 781755
Notes: An update on the popular modulation noisemaker pedal. Reflector V3 is a densely lush chorus coupled with three modes of modulation. This is a chorus with a bent, an ephemeral voice floating between aural dimensions.

Controls include Rate and Depth for the Chorus/Flanger/Vibrato speed, Mix for a balance between unaffected and affected signal and Modulate to add Pitch selection, Reverb wash amount or Flanger depth, depending on the mode. A three-way toggle switch allows the player to choose between Wrinkle Mode (A Vibrato-esque warble chorus with the added option of pitch selection, meaning the Modulate knob goes from one octave down to one octave up, with noon being close to pitch unity), Washed Mode (a simple lush chorus, Modulate control adds in a wash of Reverb pre Chorus effect) or Mirrors Mode (Detuned Chorus meets Flanger in which the Modulate knob controls the depth of the Flanger, while Rate corresponds to both the Flanger speed and the detuned Chorus speed).

The Reflector V3 features an expression out jack and clickless switching. The output level can be tweaked via an internal trimpot for boost, slight drop, or unity gain.

9VDC - 2.1mm negative center pin adapter.
60 mA draw.
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quote 782160
Cat: 782224 Rel: 31 Jul 20 • View all Effects pedals
 
Fuzz pedal
Notes: Holy Spirit of the forest, the Fuzzly Bear fuzz pedal is here, so kick the Switch to unleash the beast!

The sound of this fuzz-pedal is influenced by an old rare and underrated fuzz box from the 1970s, the classic Jordan Boss Tone. The main reason though why this pedal did not conquer the world of effects back in the day, was due to its massive lack of bass. However, the fuzz could be heavenly and ranged from a snake's hiss, to a kitten's purr or it could just be downright nasty and trebly. When you found the sweet spot though, it had such a rich voice and all in a day when most fuzz boxes prided themselves on being overwhelmingly grainy or just downright harsh.

KMA refined the circuit to get the essence of that old-school sound, but with a modern twist. First of all, they brought back the low end and added a bias control to explore lots of new capabilities of this long forgotten pedal.

The essential SKIN/MEAT knob controls the bias of the circuit. You can dial in a sharp skinny fuzzy drive tone or a thick and meaty wall of furry. The GAIN control delivers a whole range of different fuzz shapes.

Back it off to get a dirty chunky overdriven tone, turn it up and your tone becomes thicker and thicker. Set the gain fully clockwise and magic will happen: The smooth decay turns into a starved and gated fuzz sound, perfect for classic tunes.

Powered by an optional standard 9V-18V DC PSU (negative center, 2.1mm, approx. 2mA current draw)

Every pedal is designed, assembled, silkscreened, tested and numbered by hand in our small workshop. Doublesided PCBs designed, tested and assembled by KMA were used, to guarantee a high quality standard and keep the price of the pedals reasonable. The use of an indestructible powdercoated die-cast enclosure ensures maximum durability.



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Cat: 782212 Rel: 31 Jul 20 • View all Effects pedals
 
Buffer pedal
Notes: There once was a time where all the streets were grey and dark, filled with dust, dirt and lifeless existence. Humankind was lost and slowly losing its belief in the beauty of the world. Until one day, something began to tower above the smoke-filled chimneys. Something with a serene and clear clang that steered the people out of the darkness and towards the enlightenment they had craved. Open your ears and hear the sweet chime coming from the graceful Belfry Buffer.

The Belfry Buffer is KMA Audio Machines' take on a high-fidelity studio-quality buffer that'll keep your signal safe from the tone-sucking constraints of long cable-runs and epic pedalboards the size of a small spaceship. This leaves your instrument sounding as crisp, clear and natural as if it was going straight into an amp and nothing else.

Belfry sports a unique multi-path design with two buffers running in parallel in order to greatly reduce noise (123dB signal-to-noise ratio and a mind-bogglingly low Total Harmonic Distortion rating of 0,0007%) and to push the output stage for a supremely free-flowing signal.

The Belfry's high 1Meg input impedance ensures that even pedals with a high output impedance can be used before it without any issues, while the low 200Ohm output impedance will guarantee a full frequency spectrum, independent from what's coming after the Belfry.

Hence you won't experience any tone colouration such as the dreaded over-pronounced and shrill highs, which can be typical for many lower quality buffers. With the Belfry, you will simply sound like you again. Nothing less, nothing more.

Powered by a standard 9V DC power supply, the Belfry internally converts this to 18V for massively increased headroom. This helps you preserve your precious core signal and consequently tone, including all the sparkling highs and that nice round and punchy low-end.

In addition, Belfry sports a super-small housing in order for it to fit on or even under your pedalboard without any problems.

So, plug in to the Belfry Buffer and hear your tone ring out as clear as a bell again.

Studio-Quality Dual Buffer - Perfectly restores your tone with zero colouration
Supremely low Total Harmonic Distortion of 0,0007%
Signal-to-noise ratio of 123dB
Extremely small footprint - Will fit on or under any pedalboard
True-Bypass switching
Powered by opt. 9V PSU
(9V DC, centre -, 2.1mm, ~10mA current draw)
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MRP:$116.28 SAVE 18%
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Cat: 782215 Rel: 31 Jul 20 • View all Effects pedals
 
Distortion pedal
Notes: Deep black mud is covering his jaws, but the rising sun reveals the glancing brake draped antlers of a majestic dead stag. His massive blast of distortion will tear down even the thickest boondock wilderness and set the world on fire.

The Dead Stag is based on one of the most classic discrete fuzz/distortion circuits in pedal history. This design has been built into countless versions by many pedal builders along the last forty odd years, however KMA wanted to take the evolution further than ever before and give you a Big Muff style pedal, but one with many more tonal options and smart features to make as versatile a fuzz/distortion pedal as possible.

Beneath the active Bass/Treble EQ with a 15db cut/boost, KMA designed a parametric mid EQ with a 12db cut/boost between 400Hz and 2.4kHz. Apart from the internal Q Bandwidth control, every EQ control is on top of the pedal which gives you a ton of tonal options.

From a thick low-end rumble or spitty mid-range, to scooped mids or a low mid hump, everything is possible. The MUD control sets up the grade of distortion, while GROWL controls the overall volume.

In addition, you can choose between two gain levels with the high/low switch and give your high mids a boost at the end of the circuit by the smooth/sharp switch.
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 1 in stock $169.73
Cat: 718636 Rel: 01 May 19 • View all Synthesisers
 
Experimental 25-key paraphonic analogue/digital hybrid synth
Notes: A synthesizer like no other, MicroFreak is a peculiar, exceptional instrument that rewards the curious musician. It blends wavetable and digital oscillators with analogue filters. It features a unique poly-aftertouch flat keyboard. It adds controlled randomness to sequences. This isn't a revolution, it's a mutiny.

This out-there little music machine features a versatile digital oscillator so you can create rare and interesting sounds with ease. Modes like Texturer, KarplusStrong, Harmonic OSC, and Superwave give adventurous musicians the chance to explore totally new, unheard possibilities. Like having dozens of synths in just one instrument, both wild-eyed newcomers and seasoned professionals will fall in love with MicroFreak's flexible, powerful synth engine.

Physical modelling, wavetable synthesis, virtual analogue, there is nothing as complete and exciting as the MicroFreak oscillator on the market. It's hard to believe from such a small synth, but here it is, ready for you to explore. Excite your creativity and reward your curiosity with a large, diverse sound palette. MicroFreak features 11 awesome oscillators, 4 bespoke Arturia engines, and 7 modes from our friends at Mutable Instruments.

Inspired by the trailblazing 12-dB Oberheim SEM filter, you can make MicroFreak's filter scream or whisper to taste. The filter is state-variable, and can even auto-oscillate! You can use this is any way you like, from taking the edge of the razor-sharp wavetable sounds, or automating the cut-off by modulating it with keyboard pressure or the in-built sequencer.

Record up to four automations, edit notes per step or use the innovative Spice and Dice sequencer functions to find happy accidents. Add randomization to create evolving, original patterns, and virtually rewire and reconfigure its signal chain and controls with the 5x7 modulation matrix.
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MRP:$364.51 SAVE 31%
 More than 10 in stock $250.89
Cat: 781933 Rel: 31 Jul 20 • View all MIDI controllers
 
4x4 matrix of sensitive drum pads
Notes: A 4×4 matrix of sensitive pads to play drums, percussion, melodies or to launch clips. Each pad is sensitive to velocity, vibrato and aftertouch and can be configured individually or in group.
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MRP:$22.21
 1 in stock $20.81
Cat: 784431 Rel: 30 Jul 20 • View all MIDI converters & accessories
 
MIDI thru box
Notes: The MIDI THRU 7 interface is a MIDI Thru box and multiples the incoming MIDI signal to a maximum of 7 MIDI Out ports. To power the MIDI Thru 7 you need an optional USB DC adaptor. In the current version 2 we have increased the stability and reliability of the data transmission.

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MRP:$91.46 SAVE 24%
 1 in stock $69.68
Notes: An always on Buffer and switchable 3 Band EQ. The buffer is helpful for long cable setups or when using an overabundance of pedals. The EQ is helpful in tailoring frequencies to specific parts, guitar switches or using it as an always on EQ.

The Buffer is always on. The On/Off switch only activates/deactivates the 3 Band EQ.

Controls :

Low: Slide up to boost and down to cut a 100 Hz Shelf

Mid:Slide up to boost and down to cut a 500 Hz Bell

High: Slide up to boost and down to cut a 2 KHz Shelf

9VDC, 9 mA
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MRP:$124.12 SAVE 10%
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quote 782181
Notes: Logan is made to transcend the well-known boundaries of overdrive. It doesn't matter if a musician is looking for a pre-amp, a low/mid-gain drive or a screaming resonant cocked-wah sound, Logan will deliver the goods and more! Combined with KMA's active 3-Band EQ, including a fully parametric Mid-EQ with a separate On/Off-Footswitch, Pre or Post Gain position-switch and an expression-in for hands-free filter sweeps, Logan is sure to provide great tones and outstanding flexibility.

Logan's gain structure is carefully balanced for an open and super touch-responsive drive tone, giving you and your instrument ample room to be expressive. You could describe its sound as smooth and harmonically rich, but that would be selling it short. There's a true fire raging under the embers here, one that allows you add more hair, grit and sizzling depth as you pile on the gain, making Logan fit for anything from clean boost, amp-like breakup, indie clang to full-on rock machine.

It also sports an impressively high-headroom-design (up to 25 dB), enabling you to use Logan as a very versatile pre-amp too - all of you amp-less/cab-sim players can thank us later.

But what truly pushes Logan over the edge is its 3-band active EQ. The Bass and Treble EQ knobs are able to both boost or cut your signal by around 15 dB. This enables you to beef up thin-sounding single coils, add some chime to chunky humbuckers or get rid of boomy bass frequencies, when changing from a sweet 2x12 to a fat 4x12 cabinet. In addition, the tonal flexibility is even further extended by Logan's fully parametric Mid-EQ section, where the MID control lets you set your preferred mid frequency between 100 Hz to 2.5 kHz, while the CUT/BOOST control lets you cut or boost the selected frequency by up to 12 dB.

But the frequency fest doesn't stop there. Logan even sports a dedicated footswitch to activate or deactivate the Mid-EQ and a position-switch which lets you place it either before the main gain-stage (PRE) or after it (POST), opening up a whole world of tonal possibilities. Place the Mid-EQ post-gain to give yourself a level boost for solos or place it pre-gain to saturate your preferred frequency even more, effectively giving you a second gain-stage.

Then there's the kicker! You can take complete hands-free control of the Mid-EQ Frequency via a regular expression-pedal. This lets you make instant tone changes on the fly, as well as unleash everything from fast and quacky wah-like sounds to slow and enveloping phasery filter sweeps.

You'd think the feature-well would have run dry by now, but no, there's even more cool sonic secrets under the hood.

The pedal has been set at the factory to sound stellar right out of the box, however some people might want to tweak some more options to taste. Via a hole in the base plate, you get direct access to an internal trim-pot to set the bandwidth (Q) of the Mid-EQ. Turn it counter-clockwise for a broad bandwidth, for smooth frequency sweeps or turn it completely clockwise for really resonant sounds. Removing the base plate will reveal a second trim-pot, which enables you to blend in your clean signal with the overdriven tone, making Logan transcend the world of guitar. Bass? Drums? Synths? Vocals? Bring it on! This pedal will handle it all.

Logan really is an all-in-one overdrive solution and trust us, once you plug in you'll never want to turn it off again!

Powered by an optional standard 9V DC (max.) PSU (negative center, 2.1mm, approx. 30mA current draw)
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quote 782231
Cat: 782237 Rel: 31 Jul 20 • View all Effects pedals
 
Octave generator pedal
Notes: Guided by an immortal spirit and encouraged by the old seer's prophecy to plunge into the abyssal sea fulfilling his destiny. He is holding his weapon with ease willing to tame the tremendous beast and showing you the beauty of the deepest sounds. Queequeg - just one man to pave the way for your intense suboctave experience!

Queequeq is KMA Audio Machine's take on a simple, yet massive analog monophonic suboctave generating device. Our aim was to provide a super easy to use and ultra-fast tracking suboctaver in a small footprint that works equally well on guitar, bass and synth, so these classic earth-shakingly awesome tones can find their way to any setup out there.

With its one knob SUB control, you are able to dial in the right blend of the generated suboctave and your clean signal. Queequeq's quick tracking benefits from the all-analog circuit design, giving you a very organic and smooth suboctave sound.

Thickening up your tone slightly, blasting out faux bass-synth resonances or even filling in for a missing bass sound are just some of Queequeg's specialties. The SUB control goes from completely clean on the left, to 100% suboctave action on the right side and with different sonic blends in between.
Your search for an easy to set and great-sounding all analog sub octaver ends right here with the Queequeg.

Powered by an optional standard 9V-18V DC PSU (negative center, 2.1mm, approx. 10mA current draw)
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quote 782237
Cat: 782248 Rel: 31 Jul 20 • View all Effects pedals
 
Distortion pedal
Notes: This dark legend has been told for thousands of years. An old creature, full of grief and malice, it will bring destruction and terror over tracts of the land. Feel the fear and the destructive energy of that ancient monster, with the WURM.

KMA Audio Machines brings you the legendary distortion sound from the out of production Boss HM2 MIJ pedal. Its sound was a key element of the Swedish chainsaw metal, invented by Bands like Dismember and Entombed.

Taking the essential ingredients of this classic, while in the process developing a way more flexible metal-distortion pedal, KMA kept the classic active EQ section and added two more bands, giving a much wider range of tones to tailor your evil and gritty distortion sound. Each band has an internal trim-pot to change the centre frequency and fine-tune your tone.

To switch between the original HM2 high control and the KMA Audio Machines designed EQ bands, KMA added internal DIP switches for even more tonal variations.

Activating Switch 1 alone selects the WURM high-mids mode. To get the classic HM2 'chainsaw' high-mids character however, put switch 1 in the off position and switch 2 to on, crank the LOWS and the HIGH MIDS and rip that Swedish forest to shreds.

Activating both switch 1 and 2 together though gives you three bands, which are controllable via the HIGH MIDS control. TERROR dials in the malice and the evil distortion sound you are searching for! Crank it up and you will feel the rage of the ancient WURM.
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Cat: 782243 Rel: 31 Jul 20 • View all Effects pedals
 
Treble booster pedal
Notes: Iceland, a place full of myths, miracles and fairy tales. Mighty forces are hidden underneath the barren valley of Haukadalur. A geyser so graceful, that sees you stand still in awe of the pure power of nature. Its name is Strokkur, the namesake of KMA Audio Machines' Germanium Treble-to-full-range Booster.

Strokkur is KMA Audio Machines' inspired take on the iconic Dallas Arbiter Rangemaster. Well known for its power and exploding harmonics when pushing a tube amp on the edge of breakup, this pedal has helped shape and define legendary guitar tones throughout the ages. Now with Strokkur's updated and refined feature-set, these tones are ready to rock and inspire a new generation of players.

Strokkur is equipped with hand-selected NOS AC125 Tungsram transistors in order to stay true to the power and tone of the original, all while standing out from other germanium treble boosters on the market with its additional RANGE control and its two-band EQ-Section. This allows players to perfectly sculpt their own boosted tone, so it'll suit any amp, any instrument and any style!

With its RANGE control, you can dial in anything between the classic treble booster sound to a full range boost, giving you a meaty sound with tight low-mids. The BOOST control, although not in need of much explanation, is very powerful. Set it low and simply use Strokkur as a subtle tone shaper, or begin cranking it and hear your tone shoot and soar into Rock 'N Roll heaven with its mighty 17dB of boost on tap.

KMA added a passive TREBLE and BASS control to fine-tune your sound. TREBLE tames the high frequencies and the transients (>2.4kHz) when the boost is fully cranked, which helps you to quickly find the sonic sweet spot in combination with your amp. BASS helps to prevent overloading the amp by cutting lower frequencies (<240Hz), but leaves the low- mids untouched. Works especially well with humbucker guitars.

Unlike most germanium boosters on the market, Strokkur is fitted with an internal DC converter and hence works with every regular 9V DC supply without fuss. So, plug in your guitar and feel the force of nature!

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MRP:$220.80 SAVE 29%
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Cat: 782246 Rel: 31 Jul 20 • View all Effects pedals
 
Signal splitter pedal
Notes: Can you hear the sounds coming from the woods? The steely strikes of an axe are echoing clearly through the forest, alongside the separated heavy thuds of chopped trees falling. It's Tyler - a man, rough and towering, wielding his steely axe with only one aim: Splitting up your sound!

KMA Audio Machines bring you Tyler - The Frequency Splitter. The ultimate tool for developing new sounds and pushing your creativity to new unprecedented heights.

Tyler is an active and variable two channel crossover/signal splitter, which divides your signal with HIGH PASS and LOW PASS paths. Both filters have a 12db/Oct. roll-off with a variable cut-off frequency from 20Hz to 3kHz.

Each channel has its own foot-switchable buffered FX-Loop to process your lows (WOOD) or your highs (STEEL) with independent effects loops in parallel. The MIX knob controls the ratio of the Low Pass and High Pass signals. The range goes from 100% LP over to a 50/50 ratio until 100% HP when set fully clockwise. The mix control has a flat response, with equally chosen cut-off frequencies for the LP and HP to avoid notches or bumps. If required, the LEVEL control can boost your mixed signal up to 14dB.

To avoid any phase-cancellation issues when external pedals are inserted, KMA also added a phase inverter and internal trim pots to better control the impedance for not only the main input, but also for each effects-loop. This is pretty handy when you want to insert your favourite fuzz pedal and get the tone just right.

Some examples of use: Bass players want to retain their low end while using their favourite fuzz or dirt pedal. Insert your dirt box in the highpass FX-Loop and adjust the cut-off frequency of the High and Low Pass to your needs. Dial in your preferred ratio of those Low and High Pass signals, engage the STEEL footswitch and you will never turn off TYLER again! You can also insert different modulation pedals, for example insert a lush phaser for the lows and a nice shimmering delay for the highs and TYLER will make it sound like two different guitars are playing at once. Mix up your modulation pedals with any dirt pedals, for a very pronounced and punchy sound all coming from one amp.

As you can see, TYLER is like a Swiss army knife for your tone, being both a sonic tool and a supreme source of creativity - so take your axe and let the magic happen.

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Cat: 784351 Rel: 30 Jul 20 • View all MIDI keyboards
 
USB/MIDI keyboard
Notes: The MIDISTART MUSIC 25 comes in a black aluminium case! It is fully USB powered and works class compliant under Windows XP, Vista, Windows 7 and Mac OS X - this is real plug 'n' play! It combines great look with extensive functionality to an attractive price!

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MRP:$91.46 SAVE 29%
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Cat: 784353 Rel: 30 Jul 20 • View all MIDI keyboards
 
USB MIDI keyboard
Notes: The excellent PRO-KEYS keyboard of the MIDISTART-3 is also used in the new MIDISTART MUSIC! Class compliant for Windows XP, Vista and MAC OS X - this is real plug 'n' play!

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MRP:$126.73 SAVE 39%
 1 in stock $77.70
Cat: 784361 Rel: 30 Jul 20 • View all MIDI keyboards
 
USB MIDI keyboard
Notes: The i2-Mini 32 Plus Keyboard is a USB master keyboard in ultra-compact format, but with medium sized keys. Smaller than normal piano keys, but the keys are larger than normal mini keys. This makes the keyboard much easier to play, but the keyboard remains very compact - ideal for on the go.

In addition to 32 velocity-sensitive mini keys, this keyboard provides direct access to the most important functions:
Pitch bend, modulation wheel, octave +/- buttons, TAP, ARP, and CHORD buttons facilitate access to important master functions. Transpose, Velocity and Scale are programmed from the keyboard. The arpeggiator can also be adjusted. Especially the arpeggiator increases the fun factor of the i2-mini 32 PLUS immensely. In battery mode you are also ready for mobile use.
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MRP:$91.46 SAVE 33%
 1 in stock $60.96
Cat: 784367 Rel: 30 Jul 20 • View all MIDI keyboards
 
MIDI USB keyboard
Notes: The I2-Mini 32 masterkeyboard is a very compact USB masterkeyboard for all musicians, who are looking for a very compact small masterkeyboard which is small enough to take it with you in your hand luggage.

You will find beside the 32 dynamic minikeys the most important functions in direct access:
Octave +/- buttons, Transpose +/- buttons, Volume slider, Pitch Bend and Modulation Wheel are provided with the Miditech I2-Mini 32.

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MRP:$67.94 SAVE 31%
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Cat: 782232 Rel: 31 Jul 20 • View all Effects pedals
 
Fuzz pedal
Notes: Conqueror of old lands and cursed with the unholy horned bastard son, King Minos has returned, filled with anger to deliver those ancient tones of fuzz-history!

The Minos is KMA Audio Machines' modern approach to the old-fashioned and beloved three- stage germanium fuzz sound, derived from and inspired by the legendary Tonebender MKII and the unique, but now hard-to-find Superfuzz pedals. However, much more than just mere recreations of these classics, Minos is a versatile tool for many different styles of fuzz sounds and music.

With the INPUT control, you can dial in the perfect amount of pre-gain and bass input. Turn it to the left and it gives you a gritty and crisp overdriven tone, which is perfect for garage and blues, while turning it in the other direction gives you a thick and woolly fuzz.

KMA's attempt of the 'Tonebender-ish' style of pedal has a much broader range of gain structures though. Sweep through any shades of dirty tone, from raunchy low gain distortion to thick angry fuzz.

Every combination of amp and instrument behaves differently, so to help tailor the pedal to your own rig, KMA added some additional tone-shaping controls. Tailor the bass response at the output with the three-way switch. This allows you to choose between lo-fi jangle, punchy low mid or a deep and boomy fuzz that will tear down everything! If it is all too shrill though, you can modify the high-end with the tone-cut, which tames the brightness on full gain.

The overall character of the fuzz can be changed with two internal trim-pots which set the bias of the second and third transistor. Change that bias at your own risk though, as it may unleash the wrath of the Minotaur!

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quote 782232
Cat: 784425 Rel: 31 Jul 20 • View all MIDI converters & accessories
 
MIDI THRU/filter box
Notes: MIDI THRU and Filter Box shares 1 MIDI IN signal to 4 MIDI THRU ports.

Programmable MIDI filters:
1. MIDI Channel mapping
2. MIDI Transpose
3. Velocity
4. Program switch ON/OFF
5. CC Controller ON/OFF
6. Pitch bend / After touch ON/OFF
7. System Exclusiv ON/OFF
8. Realtime Messages ON/OFF

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quote 784425
Cat: 784389 Rel: 30 Jul 20 • View all MIDI converters & accessories
 
USB/MIDI interface
Notes: New version of the MIDIFACE with MIDI in, MIDI out and MIDI thru, Class Compliant - runs without drivers on MAC OS X, Windows XP SP2, Windows Vista, Windows 7, 8 and 10!
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Cat: 784377 Rel: 30 Jul 20 • View all MIDI keyboards
 
USB/MIDI keyboard
Notes: MIDI masterkeyboards with dynamic minikeys are much more popular today as the keyboards with 25 normal sized keys. The minicontrol-32 offers more keys as the normal sized masterkeyboards at a very compact size. The minicontrol-32 offers 32 dynamic minikeys, 4 free assignable controller v-pots, 8 free assignable drum trigger pads, octave and transpose buttons, and much more. A volume slider gives you fast access to the volume level. With its class compliant driverless USB MIDI technology you can work easy, without any driver installation with Mac OSX, Windows 7,8,10 and iOS and Windows Tablets.

On top of this great features you will find the miditech free software bundle as download licences, a powerful software package to create your own music!

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quote 784377
Cat: 782134 Rel: 31 Jul 20 • View all Effects pedals
 
Flanger pedal
Notes: The Flat Light is a flanger aiming to be something else. It explores choral pitch shifted flanging, from octave down to a shimmering octave up and all the odd nooks and double-tones in between. Cascading lines form a lush modulation that becomes metallic and resonant as you push it. Reverb-like delays turn a stereotypical jet plane flange into more of an exploratory space mission. Push the controls and sense the terrain, yet trust your intuition maybe not with your life, but with your sound.
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quote 782134
Cat: 782174 Rel: 31 Jul 20 • View all Headphone amplifiers & monitors
 
Dual headphone amp
Notes: Designed with Brian Hamilton from smallsound/bigsound for OBNE demo boards, Old Blood Noise deemed it a reasonable idea to offer every bedroom player a way to not annoy those around them. Simply plug in the output of your pedalboard to the headphone amp, plug in headphones and blast your volume. Play whatever you like, you're the only one who can hear. Or a buddy can plug into the additional Headphone output. Headphone output is mono out.

Two 1/4 Headphone Output jacks allow two users to simultaneously listen.

9VDC
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quote 782174
Cat: 782235 Rel: 31 Jul 20 • View all Effects pedals
 
Octaver pedal
Notes: Moai Maea is KMA Audio Machines' answer to long forgotten analog octaver tones. The pedal generates one higher octave and up to two sub-octaves, helping you generate a huge wall of sound by playing just one note.

The higher octave has an edgy and fuzzy character which is reminiscent of old late '60s early '70s octave-up tones, as used by legends like Hendrix or The Stooges. The sub-octaves turn your guitar into a filthy bass guitar with ground shaking lows. Choose between either the first (-I), the second (-II) or both together (-I/-II), which gives you the sought-after wall of sound.

The Moai Maea also gives you the possibility to create an individual mix of each generated octave and the original signal. To expand your soundscapes, the pedal features a serial buffered FX-Loop, within the clean path, plus a phase inverter to avoid phase-cancelation when mixing signals this way. Each octave section is foot-switchable. You can turn on and off the higher octave by jumping on the SHRIEK switch and the sub-octave by the DRONE switch.

So if you are looking for a pedal to you that extra edge for your guitar sound, Moai Maea might well be the nirvana you've been looking for.

Powered by an optional standard 9V-18V DC PSU (negative center, 2.1mm, approx. 20mA current draw)

The Moai Maea is an analog octaver and works monophonic only, not polyphonic! That means for a clean and perfect tracking, you have to play single notes because of the analog circuit design. Keep in mind that chords will sound glitchy, but charming anyway.

Every pedal is designed, assembled, silkscreened, tested and numbered by hand in our small workshop. External manufactured PCBs to guarantee our high quality standard and keep the price of our pedals reasonable. The use of an indestructible powdercoated die-cast enclosure ensures a maximum durability.
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