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Wednesday 15 July 2020
Notes: 12-channel audio mixer, with DSP effect unit, integrated MP3 player and Bluetooth receiver.

Input channels: 12
Number of mix/mono: 10
No. of stereo: 1
Mic input: 2.2 mV, bal. 10 x XLR
Line input: 50 mV (stereo), 1 x 6.3 mm jack L/R - 30 mV (mono), 10 x 6.3 mm jack
Tape (play): 290 mV, 1 x RCA L/R
Aux input: 420 mV, 1 x 6.3 mm jack L/R
Master output: 880 mV, bal. 1 x XLR L/R - 880 mV, 1 x 6.3 mm jack L/R
Effect send: 9 V, 1 x 6.3 mm jack
Tape (rec): 400 mV, 1 x RCA L/R
Headphones: = 8 O, 1 x 6.3 mm jack
USB: yes
Bluetooth: yes
Frequency range: 20-20,000 Hz
THD: < 0.03%
S/N ratio: > 82 dBA
Equalizer bass: i15 dB/80 Hz
Equalizer midrange: i15 dB/2.5 kHz
Equalizer treble: i15 dB/12 kHz
equalizer:5-band equalizer
Phantom power: +48 V
Power supply: ~ 230 V/50 Hz/30 VA
Mains voltage: ~ 230 V
Mains frequency: 50 Hz
Power consumption, operation: 30 VA:
Admiss. ambient temp.: 0-40 -C
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MRP:$225.25 SAVE 17%
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quote 780314
Notes: 6-channel audio mixer, with DSP effect unit, integrated MP3 player and Bluetooth receiver.

Specs:
Input channels: 6
Number of mix/mono: 4
No. of stereo: 1
Mic input: 2 mV, bal. 4 x XLR
Line input: 100 mV (stereo), 2 x 6.3 mm jack L/R - 60 mV (mono), 2 x 6.3 mm jack
Aux input: 400 mV, 1 x 6.3 mm jack L/R
Master output: 500 mV, 1 x 6.3 mm jack L/R
Effect send: 4.4 V, 1 x 6.3 mm jack
Headphones: = 8 O, 1 x 6.3 mm jack
USB: yes
Bluetooth: yes
Frequency range: 20-20,000 Hz
THD: < 0.03%
S/N ratio: > 83 dBA
Equalizer bass: i15 dB/80 Hz
Equalizer treble: i15 dB/12 kHz
Phantom power: +48 V
Power supply: USB or encl. power supply
Admiss. ambient temp.: 0-40 -C
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MRP:$119.55 SAVE 18%
 1 in stock $98.57
Notes: 6-channel audio mixer, with integrated MP3 player and Bluetooth receiver.

Specs:

Input channels: 6
Number of mix/mono: 4
No. of stereo: 1
Mic input: 2.2 mV, bal. 4 x XLR
Line input: 50 mV (stereo), 1 x 6.3 mm jack L/R - 30 mV (mono), 4 x 6.3 mm jack
Tape (play): 290 mV, 1 x RCA L/R
Aux input: 420 mV, 1 x 6.3 mm jack L/R
Master output: 880 mV, bal. 1 x XLR L/R - 880 mV, 1 x 6.3 mm jack L/R
Effect send: 9 V, 1 x 6.3 mm jack
Tape (rec): 400 mV, 1 x RCA L/R
Headphones: = 8 O, 1 x 6.3 mm jack
USB: yes
Bluetooth: yes
Frequency range: 20-20,000 Hz
THD: < 0.03%
S/N ratio: > 82 dBA
Equalizer bass: i15 dB/80 Hz
Equalizer midrange: i15 dB/2.5 kHz
Equalizer treble: i15 dB/12 kHz
equalizer: 5-band equalizer
Phantom power: +48 V
Power supply: ~ 230 V/50 Hz/20 VA
Mains voltage: ~ 230 V
Mains frequency: 50 Hz
Power consumption, operation: 20 VA
Admiss. ambient temp.: 0-40 -C

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MRP:$162.33 SAVE 17%
 1 in stock $134.22
Notes: MXR-80- 8-channel audio mixer, with integrated MP3 player and Bluetooth receiver.

Input channels: 8
Number of mix/mono: 6
No. of stereo: 1
Mic input: 2.2 mV, bal. 8 x XLR
Line input: 50 mV (stereo), 1 x 6.3 mm jack L/R - 30 mV (mono), 8 x 6.3 mm jack
Tape (play): 290 mV, 1 x RCA L/R
Aux input: 420 mV, 1 x 6.3 mm jack L/R
Master output: 880 mV, bal. 1 x XLR L/R - 880 mV, 1 x 6.3 mm jack L/R
Effect send: 9 V, 1 x 6.3 mm jack
Tape (rec): 400 mV, 1 x RCA L/R
Headphones: = 8 O, 1 x 6.3 mm jack
USB: yes
Bluetooth: yes
Frequency range: 20-20,000 Hz
THD:< 0.03%
S/N ratio: > 82 dBA
Equalizer bass: i15 dB/80 Hz
Equalizer midrange: i15 dB/2.5 kHz
Equalizer treble: i15 dB/12 kHz
equalizer : 5-band equalizer
Phantom power: +48 V
Power supply: ~230 V/50 Hz/25 VA
Mains voltage: ~ 230 V
Mains frequency: 50 Hz
Power consumption, operation: 25 VA
Admiss. ambient temp.: 0-40 -C


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MRP:$174.92 SAVE 17%
 1 in stock $144.70
Cat: 781916 Rel: 15 Jul 20 • View all 音响和MIDI接口转接盒
 
MIDI I/O control interface
Notes: The Meris MIDI I/O is a MIDI-TRS control interface which opens up unlimited control capabilities for up to four Meris pedals. The interface offers remote control, the saving of multiple presets offline and much more, all via your favourite MIDI controller device - even wirelessly via Bluetooth.

Finished in stylish black paintwork, it allows control of all your Meris pedal's parameters via MIDI and can control up to 4 separate pedals, using different MIDI channels.

MIDI I/O supports MIDI input and output from all Meris pedals and therefore allows unlimited offline preset saving and loading, so you can recall all your preset creations and with the amount of control each Meris pedal gives you, this is a hugely valuable feature.

Using a wireless Bluetooth/MIDI dongle and the MIDI I/O also can allows full control of all parameters of your Meris pedal via your iPhone with a suitable MIDI controller app, when using a suitable Bluetooth MIDI adapter (like Yamaha's MD-BT01 or similar). The interface has MIDI in and out activity status LEDs so you can keep tabs on what's sending and receiving MIDI.
As a bonus, the Meris MIDI I/O is also compatible with pedals from other companies like Empress and Chase Bliss*.

9V DC center-negative, 10mA, 2.1mm jack

Dimensions 3.7" wide, 2.6" deep, 1.5" tall

Weight 6.4 ounces

Includes 1 Flat 11" TRS cable. (No power supply included.)
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MRP:$124.58 SAVE 17%
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quote 781916
Cat: 781894 Rel: 15 Jul 20 • View all Foot switches & pedals
 
Pedal controller
Notes: The Meris Preset Switch brings 4-way control to your Meris pedalboard, allowing easy access to saving and recall of up to 4 internal presets to a single or even multiple* Meris pedals, with instantaneous preset switching. No external power is required, simply connect to your pedal's EXP input with the single included TRS cable.

You can also control multiple Meris pedals with the addition of a simple Y cable* to create a full pedalboard preset system. Compact and boasting a stylish black finish, the Meris Preset Switch is designed to be aesthetically placed in front of 2 Meris pedals, its width being that of two of the pedals.

If you're a fan of modifying your pedals or are an adventurous tinkerer, Meris has added a hidden PCB socket inside the Preset Switch which can be used for mini Arduino** DIY midi projects. This can turn your 4-way Preset Switch into a MIDI controller!

8.5" wide, 2.25" deep, 2" tall

Weight 10 ounces

Includes 1 Flat 11" TRS cable.
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quote 781894
Cat: 782716 Rel: 15 Jul 20 • View all Pedal boards and accessories
 
Cable holder
Notes: You will never have to worry about tangled cables again thanks to the Cabli's built in detangler and design which stores the cables in a neat coil.

Prolong the life of your cables by eliminating the issue which causes them to break most often! Few realize, but the reason most audio cables fail is because they become tangled and form kinks. These kinks put stress on the wiring inside, eventually causing them to become noisy or stop working entirely. The Cabli's design prevents cables from becoming kinked, and because of that can extend the life of your cables.

Eliminate cable slack, make your setup look more professional, and keep organized thanks to the Cabli's small housing and ability to store your excess cable length. Additionally, our included hook lets you hang your Cabli on a gig bag or cable rack.

Keep your hands, gear, and clothes clean. There's no need to worry about people stepping on your cable or getting it messy when it's stored within a Cabli. Even if the cable is dirtied, you won't need to worry about it getting you or your gear dirty: the Cabli's housing will hold the cable keeping it off you and your gear.

Wind up your cables faster than you ever thought possible. Thanks to the Cabli's clever design, you can wind up even lengthy 30' braided cables (and 20' rubber cables) in just a couple seconds. This is thanks to its ability to wind both sides of your cable at once and detangle the cable in the process.

Weight: 10 ounces (280 grams).

Dimensions: 7" (17.78 cm) diameter and 1.68? (4.27 cm) thick.

Do not use with any cable with a diameter over 0.3" (7.5mm) (for example, Monster Cables).
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MRP:$30.20 SAVE 27%
 1 in stock $22.01
Cat: 782722 Rel: 15 Jul 20 • View all Pedal boards and accessories
 
Gig bag
Notes: The Cabli Bag is a round black nylon drawstring bag that is 7.48 cm diameter, 7.87 inches high. It can hold up to 5 Cabli units.
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MRP:$13.84 SAVE 24%
 1 in stock $10.48
Cat: 782703 Rel: 15 Jul 20 • View all MIDI controllers
 
Foot controller
Notes: You've never had this much control over the beat, and it's all with your feet.

This is the only MIDI Footswitch built from the ground up to work with the BeatBuddy. It ships with a BeatBuddy Mode working right out of the box to boost your BeatBuddy with the following abilities:

Hands-free content control! Never bend down during a show to change a song again!
The ability to choose song parts out of order, including going to the past part.
Single BPM tempo adjustment.
Double time.
Half time.
Easy to format expression pedal tempo control.
Live tap tempo.
Expanded accent hit options including clap, snare, tambourine, hi-hat, and kick.
Single-press stop.
AEROS LOOP STUDIO AND MIDI MAESTRO
Experience full control over your live sound. This is the best MIDI Controller for live song and loop creation.
The MIDI Maestro also features an Aeros Loop Studio mode. It works right out of the box to boost your Aeros Loop Studio with these abilities:

Hands-free song control.
Single-press track muting/unmuting.
One-press undo/redo.
Single-touch new song part recording.
One-touch new track recording.
Mute/unmute any track (not selection specific).
Play song parts out of order.
MIDI MAESTRO AND YOUR GEAR
The MIDI Maestro puts the full power of MIDI into a package that's easy for anyone to use. It's the first MIDI Pedal controller that lets musicians skip on reading lengthy MIDI manuals and just jump right into playing. On top of being easy to use, it has great depth for those willing to explore its features.

With preset in app commands, easy customization, and presets for popular gear, the MIDI Maestro is the premier choice in MIDI Footswitches. Further, there's no stress about pressing the wrong button thanks to the built in displays. In addition, with 10 active pages per preset, and the ability to send up to six MIDI commands in a single press, you won't find yourself limited.
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quote 782703
Cat: 782718 Rel: 15 Jul 20 • View all MIDI cables & adapters
 
MIDI in/out breakout cable
Notes: PS/2 to 5-pin MIDI IN/OUT breakout cable.

Sync your BeatBuddy to your other MIDI enabled devices as either master or slave using the MIDI Sync breakout cable and a male to male 5 pin MIDI Cable (not included)

Create a more powerful live performance with effects and loops synced to your BeatBuddy.

Black on Black design like 50 Cent's Maybach.

Do you use the BeatBuddy along with a looper or other MIDI enabled device? If so, our MIDI Sync breakout cable is designed to help you get the most out of your performance. It enables the Beatbuddy to interact with your other MIDI equipment as a slave or master.

The cable was specifically designed for the BeatBuddy which was too small to house traditional MIDI IN/OUT ports. As a result, a PS/2 connector was incorprated on the BeatBuddy which, when utilized with this adapter and a male to male 5 pin MIDI Cable provides all the MIDI information you'd need.


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MRP:$21.39 SAVE 28%
 1 in stock $15.47
Cat: 767382 Rel: 15 Jul 20 • View all Synth modules
 
Controlled voltage mapper & waveshaper module
Notes: The Flexshaper is a highly versatile module when it comes to modify evolving voltages in other directions and levels.

Five settings allow you to fold/expand/clip/compress/invert partially or completely any CV or audio signal.

The module can act as an envelope-shaping tool, frequency multiplier, waveshaper, clipper, distortion, limiter, curve changer, and more.

Five CV inputs offer limitless control over the placement of the voltage points for dynamic signal sculpting.

The idea of the Flexshaper comes from a feature in the Oberheimr Matrix synthesizers called Tracking Generator.

This signal processor was part of the modulation matrix and meant to be virtually inserted between modulation sources and destinations in order to change the shape of the controlling signal.

The Flexshaper applies the same concept using the same 5 shaping points. However, it goes beyond Oberheim's implementation on two main aspects:
It goes fast enough to process signals at full audio rate.
The 5 points are dynamically adjustable (CV) in real-time.

Besides, the Flexshaper can process adequately bipolar and unipolar Eurorack signals, even chnging them one another.

CV-controlled voltage mapper and waveshaper

The Flexshaper is a highly versatile module when it comes to modify evolving voltages in other directions and levels.
Five settings allow you to fold/expand/clip/compress/invert partially or completely any CV or audio signal.
The module can act as an envelope-shaping tool, frequency multiplier, waveshaper, clipper, distortion, limiter, curve changer, and more.
Five CV inputs offer limitless control over the placement of the voltage points for dynamic signal sculpting.

Birth of the product:
The idea of the Flexshaper comes from a feature in the Oberheimr Matrix synthesizers called Tracking Generator.
This signal processor was part of the modulation matrix and meant to be virtually inserted between modulation sources and destinations in order to change the shape of the controlling signal.
The Flexshaper applies the same concept using the same 5 shaping points. However, it goes beyond Oberheim's implementation on two main aspects:
It goes fast enough to process signals at full audio rate
The 5 points are dynamically adjustable (CV) in real-time
Besides, the Flexshaper can process adequately bipolar and unipolar Eurorack signals, even chnging them one another.
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MRP:$169.88 SAVE 28%
 4 in stock $121.64
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Cat: 784089 Rel: 15 Jul 20 • View all Synth modules
 
Envlopemodule
Notes: Javelin is the envelope WMD have always needed to make. The best parts were taken from Multimode Envelope and combined them with the simplicity and convenience of an ADSR with integrated VCA. The tricks learned from live performance, and use of other awesome synthesizers, were put all together to create the ultimate Eurorack envelope.

Javelin starts out as a simple ADSR envelope. 3 level ranges have been added, giving you control over the envelope's overall amplitude. Next, 3 time ranges allow for quick switching of the feel of the envelope. These ranges were carefully designed to work with each other, making the switch a fun and playable part of the interface. Short and snappy, long and drawn out (max 88 minutes per stage with 5V in a stage's CV input), the Javelin will suit any style of music or playing style.

Expression is key. The addition of Accent and Choke inputs make for very interesting sequences that are just a couple gates away.

The Accent behavior is incredibly unique. Multiple consecutive gates while the Accent input is high cause the envelope to climb a bit higher with each gate, causing whatever you are controlling to accent a bit harder on each next gate. When controlling a filter, this creates a sound that can be personified with breathing, laughing, screaming, or crying, and is the key to the perfect, funky, acid style bass line. This behavior can also be disabled if you prefer a static Accent level.

As if that's not enough, the Accent input is actually a CV input which lets you use CV to effect the amount of accent with intention. 3 different accent ranges let you choose the maximum amount that the envelope will accent to. Complete control!

Reset lets you stop the envelope in it's tracks with a gate signal. This is great for using long envelope times for some steps and cutting them off for others without the need for another CV channel. However, Attack and Release also have CV inputs can can be sequenced externally. Release CV can even be routed to control Decay and Release simultaneously, a common control scheme in vintage style synthesizer envelopes.

Combining all of these methods of control on Javelin let you pinpoint the sound you are after. An absolute joy to work with.

Specs:
Size: 6hp
Depth: 38mm (with cables)
Power: +93mA, -65mA
VCA:
100k ohm input/CV impedance
1k ohm output impedance
Linear curve. 0V = off, 5V = unity
22Vpp range
Envelope: Digitally controlled analog core
Gate/Reset: 100k ohm impedance.
2V Schmitt Trigger
15us Latency (entirely imperceptible)
Attack/Release CV: 68k ohm impedance
Accent CV: 100k ohm impedance. 0-5V
Envelope Levels: 3V, 5V, 7V
Accent Levels: +32%, +42%, +48%
Max Level + Max Accent: 6V, 9.8V, 11.7V (clipped)
1k ohm output impedance
Segment Ranges (Linear)
Fast: 350us to 1.15s
Medium: 700us to 5.5s
Slow: 1ms to 23s
Slow with 5V CV: 240ms to 88 min
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MRP:$235.32 SAVE 18%
 2 in stock $193.99
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quote 784089
Cat: 781838 Rel: 15 Jul 20 • View all Effects pedals
 
Synthesiser pedal
Notes: A multi-voice synthesizer that will track your guitar for tight monosynth leads, complex chord polyphony, or multi-note sequenced arpeggiation. All without any special pickup installation. Just put it on your board and discover your own reality. The Enzo isn't limited to guitar; use it on any instrument whether drum machine, vocals or other synths. Completely transform your input signal and synthesize. Use the full synth palette of multimode analog style synth filters, ring modulation, envelopes and much much more to drive punchy, thick synth textures. Or, explore an altered state of your pure instrument signal by transforming it with pitch, time and modulation effects. Plug in to a revelation generator.

Premium quality 24 bit A/D and D/A

32 Bit floating point DSP hardware

Premium low noise Analog signal path throughout

Digitally controlled Analog Dry path for wet/dry mix

Analog Devices JFET input circuitry

Selectable True Bypass (Relay) or Analog Buffered Bypass

Durable translucent coat of vibrant gold over brushed aluminum

Current draw < 150 mA

Dimensions - 4.25" wide, 4.5" long, 2" tall
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MRP:$376.26 SAVE 15%
 1 in stock $318.79
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Cat: 781875 Rel: 15 Jul 20 • View all Effects pedals
 
Pitch shifter pedal
Notes: Every action has a reaction. A single stone thrown can create riveting ripple effects, while a humble key-turn can unlock a flurry of otherwise before unseen and unheard events. This is the magic Hedra bestows upon you and your instrument, seeing you unearth new harmonic sonic chain reactions with every single note played.

The Meris Hedra is a 3-voice rhythmic pitch shifter capable of adding 3 harmony voices to your instrument and with Tap tempo synchronised delay available for each voice, this beauty far transcends the realms of standard pitch-shifting. In addition, pitch glide, micro tuning, 4 individual delay configurations, adjustable pitch correction and midi keyboard control all combine in making Hedra an instrument and sonic experience like no other.

You can keep it simple and just use Hedra as a standard chromatic pitch-shifter. Or you can begin to pile on the intervals and slip into its dancing diatonic dreamscapes, via its 6 different scales and wealth of rhythmical subdivisions. Now turn up the Glide control and hold down TAP for auto-swelling synthy portamento shifts - or bump up the pitch regeneration - and you'll be floating away on clouds of shimmering sci-fi effects. Hook a MIDI Keyboard or a MIDI Sequencer up to Hedra and turn your source instrument into a mind-bending tapestry of harmonies and hard-tuned pitch glides.

Although it adds an entirely new dimension to the humble 6 (or more) string instrument, Hedra is not limited to just guitars. In fact, you can use the pedal on pretty much any instrument or line-level audio signal you want.

Whether you choose to totally transform your beats on a drum machine, harmonise vocals or completely alter additional synths, loops or any other type of audio, Hedra's advanced pitch-shifting palette is sure to transport you and your sound to entirely new sonic worlds.

Premium quality 24 bit A/D and D/A

32 Bit floating point DSP hardware

Premium low noise Analog signal path throughout

Digitally controlled Analog Dry path for wet/dry mix

Analog Devices JFET input circuitry

Selectable True Bypass (Relay) or Analog Buffered Bypass

Durable transparent coated brushed aluminum

Current draw: < 150 mA

Dimensions - 4.25" wide, 4.5" long, 2" tall
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MRP:$376.26 SAVE 12%
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quote 781875
Cat: 781879 Rel: 15 Jul 20 • View all Effects pedals
 
Reverb pedal
Notes: Inspired by Vangelis' majestic soundtrack for the sci-fi masterpiece Blade Runner, Mercury7 is designed to send both humans and androids into an eternal dream state with its wealth of stunning reverb algorithms.

From subtle plates and huge cathedrals to massive building soundscapes, swirling modulation, epic auto-swells and cascading shimmering pads. Whether you're looking to capture the sound and feel of well-known earthly spaces, or that of huge starlit galaxies far away, the Mercury7 is sure to deliver!

Meris has left no stone unturned in their journey to bring ultra-advanced studio reverb capabilities to your pedalboard. The Mercury7 takes everything that made the original and highly regarded Mercury7 500-series studio rack-unit amazing and distils it all into a compact, sturdy and super intuitive pedal fit for any rig and instrument out there.

Mercury7 sports two different reverb algorithms (Ultraplate and Cathedra), which alone deliver a superb range of ambient tones. Now throw in the ability to modulate, pitch-shift, swell, sustain and EQ the reverb in a million different ways via its rich control set and ALT functions and you have a reverb pedal that has your back whether you're going for smooth on-stage ambience or otherworldly sound designs that could easily form the backdrop to your favourite movie.

In addition, Mercury7 holds one of the most impressive stereo reverb images ever made, vast MIDI capabilities and the ability to seamlessly morph between sounds via an external expression pedal. Mercury7 is in essence way more than just another reverb pedal. It's a deep and highly musical creative instrument in its own right.

Premium quality 24 bit A/D and D/A

32 Bit floating point DSP hardware

-115 dB Signal to Noise Ratio (typical)

Premium low noise Analog signal path throughout

Auto Swell Envelope (variable and foot-switchable)

Analog Devices JFET input circuitry

Wet/Dry signal mix occurs in the Analog domain

Selectable True Bypass (Relay) or Analog Buffered Bypass

Durable transparent blue powder coat over brushed aluminum

Current draw < 150 mA

Dimensions - 4.25" wide, 4.5" long, 2" tall
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quote 781879
Cat: 781884 Rel: 15 Jul 20 • View all Effects pedals
 
Bitcrusher pedal
Notes: From an era when visiting the arcade meant silicon-defined-sonics were burned into so many kids' memories (big and small alike), the Meris Ottobit Jr. is inspired by the world of vintage gaming consoles, bringing those sounds directly to your pedalboard.

So what exactly is Ottobit Jr.? Well, it's a bitcrusher, but it would be an insult to just call it that. It's also an ultra-musical sequencer, stutter and filter effect, but it's not JUST that either. It's the sum of all of these parts that make the Ottobit Jr. what it is: a maniacal side-scrolling, coin-collecting, power-glove-punching-machine with a host of earth-shattering sounds that'll melt your face right off! Heck, the pedal is so unique and innovative that it deserves to have a verb all of its own. So plug in, press play and Ottobit away!

Ottobit Jr. takes everything that made the original Meris Ottobit 500-series unit such an innovative studio tool and crams it down into a rugged and roadworthy pedal suited for any rig, be it guitar, bass or synth. Basically, if you have a creative bone in your body and you love designing crazy and unique sounds unlike anything else, then the Ottobit Jr is for you!

Ottobit Jr. sports a fuzzy bitcrusher with variable sample rate, triggered stutter effects, a multi-mode sequencer module and a mind-blowing low-pass filter that sounds just as good as any analog synth filter out there. All of this is syncable and controllable via tap-tempo, expression and/or midi. But most important of all, Ottobit Jr. always stays super reactive to your playing, seeing you jump from fiery fuzz tones to classic arcade bleeps and bloops, only to end up in a barrage of 6-step sequencing and glitchy stutter effects without breaking a sweat and without ever sounding unmusical.

The Meris Ottobit Jr. is built to Meris' boutique standards in Los Angeles, California, USA. It features an analogue signal path and 24-bit AD/DA with 32-bit floating point DSP to ensure crystal clear sounds with loads of headroom.

Premium quality 24 bit A/D and D/A

32 Bit floating point DSP hardware

Premium low noise Analog signal path throughout

Analog Devices JFET input circuitry

Selectable True Bypass (Relay) or Analog Buffered Bypass

Durable black powder coat with fine metal flake

Current draw: < 150 mA

Dimensions: 4.25" wide, 4.5" long, 2" tall
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MRP:$376.26 SAVE 16%
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quote 781884
Cat: 781888 Rel: 15 Jul 20 • View all Effects pedals
 
Delay pedal
Notes: Inspired by Frank Zappa's and Allan Holdsworth's innovative use of cascaded rack gear, this super-modulated delay was created to bring a new mind-altering dimension to guitar, bass and synth-players sonic palette with its deep and powerful algorithmic flow.

Practically riding on a tidal wave of shimmering stars and orbiting planets, the Meris Polymoon creates everything from perfectly pristine multi-tap delays, sweeping and shooting modulated bursts to swirling interstellar dreamscapes via its rich yet intuitive design. Just plug in and dream away!

Polymoon's unique delay algorithm truly sets the bar for what a modern-day digital delay effect should be. With its 1200ms of delay, 6 different multi-tap delay lines, a multi-mode stereo dynamic flanger, tempo syncable stereo barberpole phaser, dimension control for smearing delay lines together and a wealth of LFO and pitch-shifting modulation available via the ALT button, Polymoon is completely uninspired by specific pieces of classic gear. Instead, Polymoon seeks to capture and inspire certain moods and atmospheres with its epic cinematic sounds.

Sure, you can create a simple digital delay line if you want, but after 10mins you'll find yourself bathing in a heavenly sea of multi-tap delays augmented with pitch-shifting, wild flanger doubling and swirling phasers, all running perfectly in sync with your playing. When it comes to the Polymoon, more truly is more!

Designed to surpass requirements for studio and live use, the Meris Polymoon features 24bit A/D & D/A converters, 32 Bit floating point DSP hardware and a premium analog signal path that always stays true to your core input signal.

Now add one of the best stereo images ever put in a pedal, and extreme expressive capabilities via an external expression pedal or MIDI, and it's obvious that Meris has created something truly special in the Polymoon.

Premium quality 24 bit A/D and D/A

32 Bit floating point DSP hardware

Premium low noise Analog signal path throughout

Digitally controlled Analog Dry path for wet/dry mix

Analog Devices JFET input circuitry

Selectable True Bypass (Relay) or Analog Buffered Bypass

Durable white powder coat with fine iridescent flake

Current draw < 150 mA

Dimensions - 4.25" wide, 4.5" long, 2" tall
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quote 781888
Cat: 782690 Rel: 15 Jul 20 • View all Effects pedals
 
Studio looper pedal
Notes: 6 Track, Stereo Looper Pedal with Touch Enabled Screen, Hands Free Mixing, and Simultaneous Parallel and Sequential Looping

The Aeros Loop Studio includes 3 hours of mono recording time (1.5 stereo), upgradeable to 48 hours when using SD card

This pedal includes 2 x 1/4" (6.35mm) inputs, 2 x 1/4" (6.35mm) outputs, expression pedal support, MIDI in/out, 1/4" (6.35mm) stereo aux input, and 1/4" (6.35mm) stereo aux output.

Built in wifi and bluetooth for over the air updates, the Aeros Loop Studio offers a revolutionary looping experience

Featuring the ability to create 36 unique loops per song, the Aeros Loop Studio goes beyond what's expected of a looper pedal. Add unlimited overdubs for each loop, and record up to 48 hours (when using an SD card).

Blurring the lines between traditional loopers and audio workstations, the Aeros Loop Studio allows you to mix your tracks live during a performance using the built-in scroll wheel, and gives the ability to save and export songs. This will let you share your best loops with your fans.

With its 4.3" touch-enabled screen and color coded cues and waveforms, the Aeros looper will never leave you wondering where you are in the loop.

Additionally, the Aeros Loop Studio packs tons of power into a small form factor. Coming in at just 7.8"? x 5.6" (198 x 142 mm), the Aeros lets you add a 6 track, stereo looper to any pedalboard.

Of course, the Aeros had to be fully compatible with Singiular Sound's drummer pedal: The BeatBuddy. Using the two together is a plug and play experience.

This new looper also features bluetooth and wifi, enabling us to add exciting new features with over the air updates. Simply put, there's no other pedal that can match the Aeros Loop Studio.

SPECIFICATIONS
Quantize your tracks in any time signature or play in freeform mode.

6 parallel tracks and 6 song parts for a total of 36 distinct loops per song and in an industry first, but also, simultaneous parallel and sequential looping.

Unlimited overdubs enable you to create layers and depth in your loops without worrying about restrictions.

Save your loops with the USB port or an SD card.

3 hours mono, 1.5 hours stereo recording time (20 minutes per song) using internal storage and up to 48 hours storage when using an SD card.

32-bit floating point processing, 24-bit recording, professional DACs, <1ms latency, and 20hz - 20kHz range for studio quality recordings.

Digital dry through bypass.

In addition, wifi compatibility for over the air updates and exciting, yet to be announced features.

Bluetooth for reasons.

Four built-in footswitches with our comfort+ switch tops (perfect for playing barefoot or in socks).

There is a built-in scroll wheel for hands-free mixing during a performance.

MIDI in/out ports for syncing seamlessly with the BeatBuddy, other drum machines, effects, and more.

Additionally, it is compatible with any external expression pedal.

I/O: two 1/4" (6.35 mm) inputs, two 1/4" (6.35 mm) outputs, one 1/4" (6.35 mm) stereo aux input, one 1/4" (6.35 mm) stereo aux output.

9v (center negative), 360mA power supply included.

4.3" (109 mm) touch-enabled display.

Small form factor: 7.8" x 5.6" x 2.2" (198 x 142 x 56 mm).

Lightweight: 2lbs 4oz (936 g).

Aluminum construction with chip resistant black coating.

Requires Male to Male MIDI Cable for connecting to the MIDI Maestro and Male to Male MIDI Cable as well as MIDI Breakout Cable for connecting to the BeatBuddy
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quote 782690
Cat: 782700 Rel: 15 Jul 20 • View all Effects pedals
 
Drum machine pedal
Notes: The BeatBuddy is a drum machine in a stompbox, or a drummer pedal for short. Use this drum pedal for guitar and many other instruments. Further, we've meticulously recorded professional drummers and paired their samples with an algorithm that results in the best sounding drum machine you've ever heard.

In addition to being the most realistic drum machine on the market, it's also the easiest guitar drum pedal to use. That is to say, there's no fussing around with sequencers, and controlling the beat during a live performance is as easy as stomping on the pedal to add fills, transitions, and outros.
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quote 782700
Cat: 782709 Rel: 15 Jul 20 • View all Effects pedals
 
Drum machine pedal
Notes: With the BeatBuddy MINI 2 Drummer Pedal, use your foot to take full control over your drummer including transitions, fills, intros, and more.

The ergonomic button makes this drummer pedal perfect for playing or jamming out when wearing socks (or barefoot)!

Over 200 styles and samples of professional drummers result in a versatile and organic feeling drum machine.

The BeatBuddy MINI 2 drummer pedal is a more compact and affordable version of the award winning BeatBuddy drummer pedal. It's used by School of Rock, Taylor Robinson Guitar, Frost School of Music (University of Miami), and more as a tool for efficient and engaging practice.

The ability to play along with beats sampled from professional drummers and control them with nothing but your feet will help you improve your musical talent faster than ever before. Most importantly, the fun you'll be having along the way will keep you coming back for more.

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quote 782709
Cat: 782710 Rel: 15 Jul 20 • View all Effects pedals
 
Footswitch pedal
Notes: When you pair the Footswitch+ with the BeatBuddy or BeatBuddy MINI it gives you even more control over the beat. Right out of the box you get the ability to trigger accent hits, pause/unpause the beat, and navigate songs, genre, and tempo. However, when used with the BeatBuddy, you can do even more with the Footswitch+ like setting it to act as the main pedal.

But, it doesn't stop there! The Footswitch+ is hands down the best multipurpose 2 button footswitch on the market. It's built like a tank, is more comfortable than a footswitch has any right to be, and offers quiet, momentary switches.
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quote 782710
Tuesday 14 July 2020
Cat: 781152 Rel: 14 Jul 20 • View all Synth modules
 
Eurorack module
Notes: The Afterneath Eurorack Module brings the Otherworldly sounds from the effects pedal world right into your modular synthesizer with an expanded feature set. The Afterneath module features one main audio input, one main audio output, an audio send and return for the Reflect feedback path, and nine controls. Four of the parameters are controllable via CV, and each has been equipped with a dedicated attenuverter to process the incoming CV. The Afterneath module has a completely analog dry signal path and a totally digital wet signal path.

1. Input: Adjusts the level of the incoming signal to allow for signals ranging from instrument-level (clockwise) to modular-level (counterclockwise).

2. Dampen: Controls the tone of the wet signal. Clockwise for darker tones, counterclockwise for brighter tones.

3. Reflect: Controls the regeneration of the reverb, turn clockwise for more wash and echoes, counterclockwise for less. This will self-oscillate if turned up high. Acts as an attenuator when there is a signal patched into the Reflect Return jack.

4. Mix: Controls the amount of wet signal that is mixed with the dry signal. Though it does not actually go completely wet, you can achieve a fully wet signal by engaging the Dry Kill switch.

5. Dry Kill: Eliminates the dry signal from the output, leaving only the wet signal.

6. Drag: This digital reverb is made up of a bunch of short delays, Drag separates the delay lines creating a stuttering, pingy effect. This is the coolest control on the Afterneath; we highly advise slowly turning (or modulating) this while you let notes ring out for a cool warped speed effect. The effect is more delay-like as you turn it counterclockwise, and it is more reverb-like as you turn it clockwise. You will achieve shorter delay times as you move the control clockwise, and longer delay times when you turn the control counterclockwise. You will notice a change in pitch when adjusting this control with sound present in the effects buffer, or when the effect is self-oscillating.

7. Mode: Controls the behavior of the Drag control as well as how it responds to control voltage. There are 9 different modes (see the following Modes section for explanations).

8. Diffuse: Smooths and diffuses the delay repeats. Sharper transients with more attack counterclockwise, more ambient, reverb-like and washy as you turn it clockwise.

9. Length: Controls the decay length of the reverb.

10. Mode LED: Visually indicates the current mode.

11. Drag CV Attenuverter: Attenuates or inverts the incoming CV. The CV is at unity gain when the attenuator is fully clockwise, inverted when it is fully counterclockwise and the CV is completely attenuated when the attenuator is in the 12 o'clock position.

12. Mode CV Attenuverter: Attenuates or inverts the incoming CV. The CV is at unity gain when the attenuator is fully clockwise, inverted when it is fully counterclockwise and the CV is completely attenuated when the attenuator is in the 12 o'clock position.

13. Diffuse CV Attenuverter: Attenuates or inverts the incoming CV. The CV is at unity gain when the attenuator is fully clockwise, inverted when it is fully counterclockwise and the CV is completely attenuated when the attenuator is in the 12 o'clock position.

14. Length CV Attenuverter: Attenuates or inverts the incoming CV. The CV is at unity gain when the attenuator is fully clockwise, inverted when it is fully counterclockwise and the CV is completely attenuated when the attenuator is in the 12 o'clock position.

15. Drag CV Input: Allows modulation of the Drag control using external CV.

16. Mode CV Input: Allows modulation of the Mode control using external CV.

17. Diffuse CV Input: Allows modulation of the Diffuse control using external CV.

18. Length CV Input: Allows modulation of the Length control using external CV.

19. Audio Input: Accepts audio signals ranging from instrument-level to modular-level, using the Input knob to adjust the level.

20. Reflect Send: Allows external patching and processing of the Reflect feedback path. Patching from this output does not interrupt the internal feedback path.

21. Reflect Return: Allows return of the externally patched and processed Reflect feedback path. Also, it can be used as an additional audio input if you wish to forgo the feedback. The Reflect knob acts as an attenuator for the audio that is patched to this input. Please note that processing of the Reflect feedback path can easily result in self-oscillation when processing with effects such as distortion or a resonant filter. The Reflect knob can be used to compensate for this factor. Patching a cable to this input will disconnect the internal feedback path, but the Reflect Send will still be active.

22. Audio Output.
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quote 781152
Cat: 784016 Rel: 14 Jul 20 • View all Synth modules
 
Power supply module
Notes: The Source D'Energie is a power supply module designed to power up to a 6U case with +/-12v and 5v rails. Wall wart plugs can be used for a skiff or case with few modules, but for anything more than that, a 4A power supply such as this one is recommended. The Source D'Energie has two 16 pin headers, perfect for powering two rows of your system. LED's on the panel indicate the health of each rail at a glance.

Tech Specs:
- 5hp Eurorack
- 13.5-15 VDC Input
- +12 @ 1.5A / -12 @ 1A / 5v @ 500ma
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Cat: 655797 Rel: 14 Jul 20 • View all Synth modules
 
Analog amplifier module in Eurorack format - 8HP
Notes: The amplifier (AMP) is a 2 stage Class A discrete design using 3 pairs of hand matched transistors. Envelope is usually applied to ST1/1. ST1/2 goes thru an attenuverter and can be used for envelope or modulation. ST2/1 goes to the 2nd stage, and is typically used for volume control. ST2/2 goes thru an attenuverter and is typically used for modulation.

The AMP, the 5089, and the 3003 are Class A circuits. They draw more current from the +12 rail than from the -12 volt rail. If the system power supply is under-sized, hum or buzz may be heard. In that case, larger filter capacitors and/or a larger power transformer will be needed. The 4075 draws equally from both rails, and is more immune to hum. Like our filters Boomstar Modular AMPs are hand-built entirely in the U. S. of A - just ask Rachael Herbison!

Potentiometer Potential:
Two attenuverters and two attenuation pots control the INPUT, ST1 CV2, ST2 CV2, and OUTPUT, delivering smooth, detailed, and complex expression.

Switch it Up:
Uber useful continuous hypnotic DRONE for endless sustain/release, and DRIVE - the overdrive circuit from the Boomstar desktop - for last stage energy, bite, soft clipping, and gonzo '70's era "Distortion Plus" crunchy fuzz.

Patch it Up:
Six patch points: INPUT, ST1 CV1, ST1 CV2, ST2 CV1, ST2 CV2, OUTPUT direct the deepest manipulation.

All Controls and Patch Points:

INPUT - Adjusts the audio input
ST1 CV2 - Adjusts stage 1, control voltage 2
ST2 CV2 - Adjusts stage 2, control voltage 2
DRONE - Sustains the last note received
DRIVE - Final output stage overdirve/saturation
OUTPUT - Adjusts the audio output
INPUT - Audio input
ST1 CV1 - Stage 1, control voltage 1 input
ST1 CV2 - Stage 1, control voltage 2 input
ST2 CV1 - Stage 2, control voltage 1 input
ST2 CV2 - Stage 2, control voltage 2 input
OUTPUT - Audio output

- Size: 8hp
- Depth: 39.7mm with ribbon cable attached
- Power Usage: 35mA, 12mA (+12 / -12)
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quote 655797
Cat: 655848 Rel: 14 Jul 20 • View all Synth modules
 
Ring modulator, noise generator & sample-and-hold generator module
Notes: SCI FI is an ingeniously vintage-circuit-inspired Richard Nicol/Pittsburgh Modular original - jump cut to Mattechmodular to see just how much fun can be wrung out of it!

As the reader might already know, ring modulation is a signal-processing electronic function: an implementation of amplitude modulation or frequency mixing, performed by multiplying two signals. This beloved other-worldly, warm, and at times clangourous colouring dates at least as far back to Bode's Melochord of 1947 technology, which was ultimately licensed to Robert Moog in the early 1960s. Of course analog maestros Don Buchla, and Lord Tom Oberheim made their indelible marks, with circuitry culminating - to our ears - in the brilliantly rhythmic, and wildly expressive Yamaha CS-80 Ringmod's sonic alchemy and "Electone" informed controls.

Back at the Modstar Ranch: The SCI FI's outputted ring-modulated signal is the sum and difference of the frequencies present in each waveform - a signal rich in partials - often producing a haunting, bell-like, metallic, and sometimes softly grinding, understated modulation awash in harmonic and non-harmonic tones. S.E. brought its own brand of dynamic ModMax Pedal-flavoured Ringmod to the world in 2002.

SCI FI is getting better all the time with its companion LFO FREQ (low frequency oscillator), true analog PINK, and digital WHITE noise, S & H - a true sample and hold generator, with RANGE control, and LAG generator - a slew limiter which craftily smooths out changes in audio or modulation signals: higher values = smoother signal flowing. This module is every bit as creamy sounding as it is electrically charged: the higher frequencies coat the sound with a sparkling quality one wouldn't naturally expect, but it is a welcome sound indeed.

Potentiometer Potential:
Six attenuation pots: RING MOD, LFO FREQ, WHITE, PINK, RANGE, and LAG.

Patch it Up:
Seven patch points: RM X IN, RM Y IN, GATE, SOURCE, RM OUT, WHITE, PINK, and S & H OUT.

All Controls and Patch Points:
RING MOD - Adjusts the ring mod depth.
LFO FREQ - Adjusts the rate of the sample & hold.
WHITE - Adjusts the white noise level.
PINK - Adjusts the pink noise level.
RANGE - Adjusts the sample & hold depth or intensity.
LAG - Adjusts the sample and hold lag or slew limiting (glide): in the circuit after the sample & hold and before the range attenuator.
RM X IN - Ring Mod X waveform input.
RM Y IN - Ring Mod Y waveform input.
GATE - External gate input for sample & hold.
SOURCE - External audio/CV input for sample & hold.
RM OUT - Ring Mod output.
WHITE - White noise output.
PINK - Pink noise output - the pink noise is normalled to the source input of the sample & hold.
S & H OUT - Sample & hold output.

- Size: 10hp
- Depth: 39.7mm with ribbon cable attached
- Power Usage: 48mA, 41mA (+12 / -12)
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Cat: 655851 Rel: 14 Jul 20 • View all Synth modules
 
Filter & dual pendulum chaos generator module - 20HP
Notes: Studio Electronics' version of the boxy, Blade Runner-sweet and Boomstar-brash dual mode CS80 filter, initially married to the Omega Series Synths, and then tucked-in the 'Stars, now joins the Modstar Collective. They've twisted and turned the SE88 to unflatten the earth, so to speak; the original CS80 fed a HP filter into a LP filter, but with the SE88 your can select MODE 1's HP or BR to feed MODE 2's LP or BP, or patch it to reverse that pleasant path. The audio signal is completely controllable with input and output levels for each filter. Cherish and respect your filter's input gain stages, for a smooth yet often brassy sound - shed your mercy to strike hard for boiling, snarling bite, even to the blackout/cutout point (see Greg St. Regis, Tim Caswell, and Marc St. Regis' SEM filter commentary for a detailed diatribe on this "feature too far"); then and only then, uniquely blend mode settings for the filter family values you revere.

To get things merrily modulating, each filter employs attenuverters for frequency and resonance experimentation and decimation. While the SE88 does not self oscillate (Yamaha's creation didn't either), we did amp up the resonance level for full-throttle squelching. An additional master FM (frequency modulation) attenuverter-controlled level can feed both filters (when hungry enough) simultaneously, and tracking switches allow for individual keyboard response for each of the contrasting and complimentary filter modes.

Potentiometer Potential:
Five attenuverter and eight attenuation pots control the FREQUENCY MODE 1, FM IN, FREQUENCY MODE 2, RESONANCE, M1 FM, RESONANCE, M1 RES CV 1, M2 RES CV, INPUT, M2 FM, OUTPUT, LEVEL (M1 OUT), and LEVEL (M2 OUT).

Switch it Up:
2/3 - 1/3 TRACK (M1), FULL - HALF TRACK (M2), HP - BR, LP - BP.

Patch it Up:
Ten patch points: 1 V/O, FM IN, M1 FM, M2 FM, M1 RES CV, M2 RES CV, M1 IN, M1 OUT,
M2 IN, M2 OUT.

All Controls and Patch Points:
FREQUENCY MODE 1 - Adjusts the frequency, or cutoff of Mode 1.
2/3 - 1/3 TRACK - Toggles tracking options for Mode 1.
FM IN - Adjusts the master frequency modulation input.
FULL - HALF TRACK - Toggles tracking options for Mode 2.
FREQUENCY MODE 2 - Adjusts the frequency, or cutoff of Mode 2.
RESONANCE - Adjusts the resonance of Mode 1's filter.
M1 FM - Adjusts Mode 1's frequency modulation.
RESONANCE - Adjusts the resonance of the Mode 2's filter.
HP / BR - Toggles the High-Pass and Band-Reject option.
M1 RES CV - Adjusts Mode 1's resonance control voltage.
M2 RES CV - Adjusts Mode 2's resonance control voltage.
INPUT - Adjusts the master audio input.
M2 FM - Adjusts Mode 2's frequency modulation.
OUTPUT - Adjust the audio output.
1 V/O - One volt per octave control voltage input.
FM IN - Master frequency modulation input.
M1 FM - Mode 1 frequency modulation input.
M2 FM - Mode 2 frequency modulation input.
M1 RES CV - Mode 1 resonance control voltage input.
M2 RES CV - Mode 2 resonance control voltage input.
M1 IN - Mode 1 input.
LEVEL - Level control for Mode 1.
M1 OUT - Mode 1 output.
M2 IN - Mode 2 input.
LEVEL - Level control for Mode 2.
M2 OUT - Mode 2 output.

- Size: 20hp
- Depth: 39.7mm with ribbon cable attached
- Power Usage: 42mA (+12 / -12)
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quote 655851
Notes: The Acapulco Gold is a dirt-simple distortion Device modeled after the sound of a cranked vintage Model T amplifier, bringing the openness, clarity, and crunch that only a dimed tube amp can provide, at a fraction of the size, and without expensive maintenance costs!

Since tone is in the hands, the controls of the Acapulco Gold are as simple as possible. The footswitch turns the pedal on and off, and the giant knob controls the output volume. That's it. The rest is at your fingertips. Want less gain? Turn down your guitar's volume knob. Need a darker rhythm tone? Roll back your guitar's tone control. Easy, right?

Big Knob: The big knob sets the output level, sometimes known as Volume. PLEASE BE CAREFUL, the Acapulco Gold is extremely loud!

With your guitar's volume all the way up, the Acapulco Gold roars like a wide-open Model T on the verge of explosion. At just-barely-backed-off, the Gold becomes a raunchy overdrive. At minimum guitar volume settings, the Acapulco Gold delivers a hazy, Nashville-sounding spank to your tone.

How about this? If your guitar has separate volume and tone controls for each pickup and a three-way selector switch, this little one-knob banger becomes a three-channel tone monster at the flick of your wrist!

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. 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.

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs

Current Draw: 18 mA

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Cat: 781154 Rel: 14 Jul 20 • View all Effects pedals
 
Vibrarto pedal
Notes: Aqueduct is a vintage-inspired pitch vibrato with eight modulation modes delivering synth-like sonar pulses, touch-sensitive frequency modulation, gentle rolling pitch-wobbles, steady kosmische pulsations, rapid trills, slimy sonic squiggles, whammy bar wiggles, pitch bends, pseudo-flange, and anything else your pitch-warped brain can picture in your murky mind's eye.

Controls
The controls are simple. Rate (1) adjusts the LFO speed which controls how quickly the pitch rises and falls. Depth (2) controls the LFO amplitude, adjusting the intensity of the vibrato effect. The rotary switch labeled Mode (3) selects between one of eight LFO waveshape and envelope combinations which drastically alter the character of the modulation and make Aqueduct adaptable to nearly any musical situation.

Modes
Sine: The smoothest and most subtle of all waveforms, sine waves are most commonly associated with classic amp-like vibrato. Plug in, turn on, and commence the Chooglin'.

Triangle: Triangle waves have a sharper rise and fall than sine waves with a more pronounced pitch bend at the peak of each LFO cycle.

Ramp: Like a triangle wave with a twist. The Ramp waveform has a sharp sonar pulse followed by a rapid downward slope with a synthesizer-like sustain and release. This is where things start to get a little weird.

Square: Square waves are the most rigid and abrupt of the waveforms. Rather than gliding smoothly between pitches, square waves produce an instant on-or-off transition between notes. Use this mode for trills when you get tired of doing hammer-ons and pull-offs.

Random: This waveform isn't a waveform at all as much as it's a drunken master of modulation who slurs your notes into an unpredictable assortment of greasy pitch-bends before disappearing at last call and leaving you stuck with the tab. It has a "warped record" effect at low Depth settings and becomes sloppier and more randomized as you increase the Depth control.

Env D: This is Envelope-Controlled Depth mode. The waveshape is set to a sine wave, the speed of which may be adjusted using the Rate control. The Depth control sets the sensitivity of the envelope - the point at which the effect kicks in as you play. In this mode, your pick attack sets the intensity of the modulation. The harder you dig in, the more pronounced the effect. Try it during your next motorik jam.

Env R: This is Envelope-Controlled Rate mode. In this mode, the input level (i.e. pick attack) controls the LFO rate. The LFO uses a sine waveshape. Play harder for faster modulation or lay low for slower modulation speeds. The Rate control adjusts the sensitivity of the envelope. Depth selects the LFO intensity.

Env P: This is Envelope-Controlled Pitch mode, which has been lovingly nicknamed "The My Bloody Valentine setting". If your instrument doesn't have a tremolo bar, it does now. In this mode, the LFO is set to a sine waveshape, and frequency modulation is controlled by the dynamics of your pick attack and not the LFO. Do yourself a favor and try this one with Flexi-Switching™.
Depth sets the wet/dry mix. This is the only mode that contains a wet/dry mix and may be set to taste to create touch-sensitive dynamic vibrato, chorus, flanger, or tactile pitch drops. Full counterclockwise is all dry, full clockwise is all wet. With this control set to noon you will get a 50/50 mix with a small amount of phase cancellation.
Rate sets the sensitivity and overall range of the pitch bend.

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs

Current Draw: 68 mA

Input Impedance: 1 MO

Output Impedance: <10 kO
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quote 781154
Cat: 781561 Rel: 14 Jul 20 • View all Effects pedals
 
Pre-amp booster pedal
Notes: The Arrows is an all-discrete tone sculpting preamp booster. It was designed with the intention of adding an additional channel of gain to all your dirt pedals as well as brightening up neck pickups. It boosts midrange, tightens up the low end and makes the top end shine while adding some push to drive your dirt into blooming sustain with excellent harmonics. Its simple interface is no nonsense; a single control that will either boost or cut your signal. Use the Arrows to remove the muck from bass heavy fuzz pedals, push light overdrives into higher gains than you thought possible or even on its own to make your signal really pop with more pizazz. All analog, true bypass and handmade one at a time in the weird pit of Akron, Ohio.

Level: Adjusts Arrows output level. Clockwise is loud, counterclockwise is quiet.

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 generally receommended. 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: 8 mA
Input Impedance: 10 MO
Output Impedance: <10 kO
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Cat: 781605 Rel: 14 Jul 20 • View all Effects pedals
 
Octave synth pedal
Notes: The Bit Commander is a monophonic analog guitar synthesizer with four octaves of vintage square wave synth tones. Its no-nonsense interface makes it easy to add or subtract octaves to create a wide variety of sounds without having to dial in envelopes or oscillators. Ripping sub-octave thump, pulsing octave down, a lightly squared base tone and a swelling transformer based octave up all join together to make a single guitar sound like an army of olde tyme synths.

Controls:
1. Level: Master volume

2. Filter: Tone control more highs clockwise, more warmth counterclockwise

3. Base: Squared input signal level

4. Sub: Two octaves down level

5. Down 1: One octave down level

6. Up 1: One octave up level

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. 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: 25 mA
Input Impedance: 50 kO
Output Impedance: <500 O
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quote 781605
Notes: You hear that EVP? It's the all new, extra spook-tacular, Ghost Echo calling out from beyond the void! The Ghost Echo is Earth Quaker's spooky take on the haunted amp-top spring reverberation units of yesteryear. This creepy analog/digital spring reverb emulation machine boasts a terrifying 30ms - 150ms of pre-delay, controllable via the Attack knob, for everything from a quick rockabilly slapback to viscous pools of ectoplasmic reverberations. When playing staccato, you'll hear the tortured trails of the reverb, resulting in more of a slapback or echo sound. Legato playing will reveal a massive ambient "depth" that fattens up the sound - and look out, it's right behind you!

Phew, that was close. The Dwell control sets the length and thickness of the decay, which is to say that it controls how long the disembodied spirits of notes no longer with us float through the ether. At the maximum setting it will descend into an infinite loop of self-oscillation. The Depth sets the intensity of the reverb, which you probably know as the wet/dry mix.

Controls:
1. Attack: Adjusts the length of the pre-delay, from 30ms at minimum to about 150ms at maximum. When the Dwell is set to self-oscillate, this will change the pitch of the oscillations.

2. Dwell: Adjusts the length of the decay. This will start to self oscillate around 3 O'clock, the pitch of the oscillations can be changed by turning the Attack control.

3. Depth: Mixes in the wet signal with the dry, unity is around noon and everything after is boosted.

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 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: 86 mA
Input Impedance: 10 MO
Output Impedance: 1 kO
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quote 781647
Notes: The Hoof Reaper features Earth popular Hoofr and Tone Reaper fuzz pedals in one handy enclosure with the added bonus of an old school analog octave up. It was originally released as a special limited run item back in 2010 and demand was so high that Earth Quaker decided to reintroduce it back into their line. Capable of creating everything from subtle octave-up overtones through crushing octave squalls that simulate exploding stacks of amps. Each effect can be used individually as well as in series but the order of effects is preset for optimum performance.

Controls:
Hoof
1. Level: Controls the output volume

2. Fuzz: Controls sustain and gain

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

4. Shift: Controls the mid frequencies. More pronounced to the left. Scooped to the right.

Tone Reaper
5. Level: Controls the output volume

6. Fuzz: Controls the sustain and nature

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

Dimensions: 4.75 x 5.65 x 2.25 in. (121 x 144 x 57 mm) with knobs
Current Draw: 18 mA

Hoof
Input Impedance: 130 kO
Output Impedance: <10 kO

Tone Reaper
Input Impedance: 47 kO
Output Impedance: <1 kO

Octave
Input Impedance: 160 kO
Output Impedance: <10 kO
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quote 781683
Notes: The Hummingbird is a choppy, sawtooth tremolo modeled on the vintage "repeat percussion" unit and similar to those found in old Valco and Vox amplifiers. It is capable of producing everything from classic "50's style" shimmering tremolo to a synthy, delay-like chop that turns your signal into a burst of short pings and on through to near ring modulation speeds. Simply choosing between modes 1 (slow), 2 (mid-tempo) or 3 (fast) and adjusting the rate and depth controls will unlock a whole new world of amplitude modulation at your feet. The Rate is also expression pedal accessible to allow instant changes on the fly. Using an expression pedal opens up the possibility of true random amplitude modulation! In addition to the modulation, the Hummingbird has plenty of clean gain on-tap allowing you to either boost or cut the signal using the level control. If the Depth is turned to zero, the Hummingbird will become a JFET clean boost!

Controls:
1. Depth: This adjusts how much the oscillator affects the signal. All the way clockwise produces a full chop, all the way counterclockwise produces no chop and the Hummingbird can be used as a simple JFET booster.

2. Mode: Three way toggle switch which selects the range of the oscillator. Mode 1 is slow, Mode 2 is mid tempo and Mode 3 is fast.

3. Rate: This adjusts the speed of the oscillator. Faster clockwise, slower counterclockwise.

4. Level: Adjusts the output volume

5. Expression Jack: Use an expression pedal to adjust the rate with your foot! When an expression pedal is in use the Rate control is defeated. We recommend the Moog EP-2 expression pedal.

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. 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: 10 mA
Input Impedance: 50 kO
Output Impedance: <10 kO
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quote 781684
Cat: 781694 Rel: 14 Jul 20 • View all Effects pedals
 
Organ emulator pedal
Notes: The Organizer is a polyphonic organ emulator designed to mimic the organ tones of yesteryear crossed with the highly unique "Guitorgan". It has a warm and very analog feel with a hint of Leslie warble that is unlike other modern octave shifters. It is simple to dial in and tracks chords as well as single notes perfectly all over the neck on both guitar and bass. Not only can the Organizer be used on strings, it has been widely used on everything from vocals and synths to horns and drums. If it makes sound, the Organizer can handle it! The Organizer uses a mix of analog and DSP circuitry with true bypass switching and an all analog dry signal path.

Controls:
1. Up: Level control for the octave up.

2. Down: Level control for the octave down.

3. Choir: This control takes a mix of the octave Up and octave Down setting and regenerates it. The end result is an additional 2 octaves up, 2 octaves down and direct signal with a slight delay that adds a "church organ" like feel. This control only works if the octave Up and octave Down are in use.

4. Lag: Delay control for the wet signal. Full counterclockwise is minimal delay. Delay time increases as it rotates clockwise.

5. Tone: Rolls off the high end as you dial it counterclockwise.

6. Direct: Level control for the analog dry signal.

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: 81 mA
Input Impedance: 1 MO
Output Impedance: 500 O
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Notes: After loads of requests, for an overdrive based on the legendary TS808, Earth Quaker Devices finally buckled. Tests were ran with every popular clone on the market as well as several vintage originals, compared, contrasted and took loads of notes. It was exhausting but informative. In the end, Earth Quaker Devices used their ears and came up with the most versatile relative of the 808 available today.

With 6 different clipping voices, 5 bandwidth settings and 2 gain channels, you will be hard-pressed to not find a setting that will wipe every mid-boosting overdrive off your board. The Palisades is a versatile dude that will give you years of loving companionship.

Controls:
1. Boost: Sets the level of the output boost.

2. Gain A: Sets the gain for the Channel A (lower gain)

3. Volume: Sets the output level.

4. Gain B: Sets the gain for Channel B (higher gain)

5. Tone: Brighter clockwise, warmer counterclockwise.

Rotary Switches

6. Voice: This sets the nature of the Palisades distortion by changing the clipping diodes.

No diodes: The most open and least distorted.

LED clipping: Light clipping with a lot of volume.

Mosfet clipping: Light gain OD with great harmonics.

Asymmetrical Silicon clipping: Tighter light gain OD closest to stock 808.

Symmetrical silicon clipping: Tighter distorted tone.

Schottky Diode clipping: Looser fuzzy tone.

7. Bandwidth: This sets the overall tone and gain structure of the Palisades. 1 is the thinnest setting with the least amount of gain and 5 is the fattest setting with the heaviest gain. Everything else is in between. This control has a major effect on all the settings of the Palisades, especially the Gain and Voice controls.

Toggle Switches

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

9. Buffer: Turns the input buffer on or off. ON is a tighter and brighter tone while OFF is a warmer tone with more sag. The buffer is part of the drive circuit & is only available when the Palisades is activated.

Foot Switches

10. Boost: Activates the output level boost, Features Flexi-Switching.

11. Gain B: Activates Gain Channel B, Features Flexi-Switching.

12. Activate: True bypass switch

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 5.65 x 2.25 in. (121 x 144 x 57 mm) with knobs
Current Draw: 25 mA
Input Impedance: 500 kO
Output Impedance: <10 kO
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Notes: Park Amplifiers and Earth Quaker Devices have teamed up to bring you a faithful recreation of the original Park Fuzz Sound! While it retains the original sounds, there are several modern upgrades to improve performance, reduce extraneous background noise and add versatility:

Metal film resistors and caps for quieter performance.

NOS matched germanium transistors for consistent, reliable tones

Wider fuzz range, more than twice the original

Smaller footprint, true bypass switching with LED indication and power supply compatible

Controls:
1. Volume: This is the level control, louder to the right, quieter to the left.

2. Treble/Bass: This is the tone control, thicker tones to the right, brighter to the left.

3. Fuzz: This is the gain control, more fuzz to the right, less to the left.

Tech Specs:
This device can be powered by a standard 9 volt DC power supply intended for musical instruments with a negative center 2.1mm barrel or a 9v battery. Even though this pedal is a germanium fuzz, it will play nice on a daisy chain due to it's internal voltage regulation.

Dimensions: 4.75 x 2.50 x 2.25 in. (121 x 64 x 57 mm) with knobs
Current Draw: 3 mA
Input Impedance: 100 kO
Output Impedance: <1 kO
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quote 781700
Cat: 781720 Rel: 14 Jul 20 • View all Effects pedals
 
Chorus pedal
Notes: The Sea Machine is a chorus pedal with as many modulation possibilities as there are fish in the ocean. That's a lot of fish. And a lot of modulation. From subtle, shimmery chorus sounds, to wobbly, seasick, warbly pitch-bent detuning that rocks the boat, the Sea Machine is the audio bait that'll help you reel in the big one.

The Sea Machine ain't no one-trick seahorse. With a mix of standard and unique controls, everything from subtle warble, classic Leslie, seasick pitch bends, strangled alien sounds, stunted arpeggiations and many more far out sounds are available. Or you could just use it as a chorus. That works, too. Oh, and if you're a bass player who fancies themselves a fan of the classic 80s post-punk bass sound, the Sea Machine is pretty much just like (tone) heaven.

Controls:
1. Animate: How far the pitch shifted signal swings, lower levels equals a tighter and more focused shift a la traditional chorus. As you increase the control a more wild and animated pitch shift begins to emerge.

2. Dimension: Adds a slight slap-back at low levels, reverb-like ambiance at mid levels and an echo-resonance that will lead to self-oscillation at max.

3. Intensity: Adjusts how much modulated signal is blended in with the dry signal. Unity for this control is right around noon, everything above that is boosting the modulated signal.

4. Depth: Adjusts how strongly the LFO modulates the delay time.

5. Shape: Goes from triangle wave to square wave as you turn clockwise.

6. Rate: This sets the speed of the LFO. The miniature LED will blink to the tempo, even in bypass mode.

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: 40 mA
Input Impedance: 10 kO
Output Impedance: <1 kO
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Cat: 781741 Rel: 14 Jul 20 • View all Effects pedals
 
Pedalbord reconciiler pedal
Notes: Swiss Things combines two true-bypass Flexi-Switchr enabled effects loops, a Flexi-Switchr AB-Y box with transformer isolation between outputs, a buffered tuner output, 20dB of clean boost with adjustable gain, an expression pedal output for volume control and a quiet, high headroom output buffer into a compact pedalboard-friendly signal routing junction box that lives at the top-right corner of your pedalboard and really ties your rig together without any signal loss.

This is what you can do with it:

Use as many pedals as you'd like without tone-suck

Quickly and easily bypass or engage all of your effects with one click

Use Flexi-Switchr Technology with every pedal in your setup

Eliminate volume pedal tone-suck by using any expression pedal to control volume

Use multiple amps without phase issues, ground loops, or extra noise

Tidy up your rig, shorten cable runs, and reduce tone loss by keeping all inputs and outputs in one location

Controls:

Here's what the footswitches do:
1. Loop 1: Press this to engage Loop 1. It features Flexi-Switchr Technology and is unbuffered for use with all distortion, overdrive, and fuzz pedals, or anything else that doesn't like being buffered.

2. Loop 2: Press this to engage Loop 2. It also features Flexi-Switchr Technology and is buffered for use with time-based effects (delay, reverb, modulation, etc.).

Note: when nothing is plugged into Loop 2, it functions as a mute.

3. Boost: press this to activate the boost. It is Flexi-Switchr Technology enabled and provides up to 20dB of clean boost post-effects loops and is intended for use as an output booster.

4. A/B: selects between Output A and Output B.

Note: Output B is transformer-isolated and includes a Phase switch for use with pedals and/or amplifiers which invert phase.

5. Both: activates Output A and Output B at the same time and features Flexi-Switchr Technology

Here's what the input, output, send, return, and expression jacks are for:
6. Input: plug your instrument in here.

Note: If you have any "always-on" pedals (compressors, preamps, EQs, etc.) place them before Swiss Things' input.

7. Loop 1 Send: Plug this into the input of the first pedal in the octave/overdrive/distortion/fuzz section of your board.

8. Loop 1 Return: Plug the output of the last pedal of the octave/overdrive/distortion/fuzz section into this jack.

9. Loop 2 Send: Plug this into the input of the first pedal in the modulation section of your board.

10. Loop 2 Return: Plug the output of the last pedal of your modulation section into this jack.

11. Tuner Output: Connect this to the input of your tuner.

Note: Tuner must be always turned on. If you bypass your tuner, you may experience ground loops or hum.

12. Volume EXP: Connect any expression pedal to this output to control volume.

Note: Most volume pedals create "tone-suck" by loading the signal down and have limited travel. This solves that problem with a buffered output and allows you to use any expression pedal with the same results. The expression jack is placed after the "dirt" effects loop (Loop 1) which allows you to change volume levels without affecting gain.

13. Output A: connect this to the input of your amplifier.

14. Output B: connect this to the input of a separate amplifier to use multiple amps and/or to play in stereo.

Note: To use Swiss Things with stereo effects, they should be placed after Outputs A & B and both outputs must be selected using the Both switch.

Note: Output B is transformer-isolated and includes a Phase switch for use with pedals and/or amplifiers which invert phase.

Note: To use stereo effects after Swiss Things, do not have the Phase switch engaged otherwise the L & R inputs of your stereo effects will be out of phase.

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. 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 5.65 x 2.25 in. (121 x 144 x 57 mm) with knobs
Current Draw: 40 mA
Input Impedance: 1 MO
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quote 781741
Cat: 781743 Rel: 14 Jul 20 • View all Effects pedals
 
Octave up pedal
Notes: The Tentacle is a classic analog octave up effect. It is the very same octave from our beloved Hoof Reaper pedal. We got so many requests to make this a stand-alone unit that we just had to make it a reality. You can now add an excellent, swelling octave up to anything your heart desires! Pair it with your favorite fuzz, strap on a headband and unleash your inner Jammy Hendrix. Put it in front of another octave up and blow your amps mind. Throw it in the effects loop of a delay and marvel at what happens (then tell us, we'd like to know too). What's better? It has no controls! Nothing to worry about at all here, just hit the switch and go for it. The Tentacle is an analog octave up, the effect will become much more pronounced when using your neck pickup and playing above the 12th fret.

Tech Specs:
Flexi-Switch 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. 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 2.00 in. (121 x 64 x 51 mm) with footswitch
Current Draw: 10 mA
Input Impedance: 100 kO
Output Impedance: <1 kO
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quote 781743
Cat: 781748 Rel: 14 Jul 20 • View all Effects pedals
 
EQ & boost pedal
Notes: This compact Boost & EQ device is based around the tone-shaping options available in old audiophile-grade stereo preamps, making it a great addition to your pedalboard, no matter what instrument you play.

So what does that mean, exactly? It means that you'll hear full frequency response from your Tone Job everywhere you plug it in - guitar, bass, drum machine, synthesizers, steel drums, harpsichord, kazoo, car stereo, or wherever!

The Tone Job has active EQ controls for Bass, Mid and Treble, with up to 20 dB of cut or boost, which is handy for pairing up with other pedals in your chain to breathe new life into old dirt. Unlike boring old graphic EQs, the Tone Job's EQ controls are interactive, so you can experiment with different settings to alter the response and overall feel of the device, getting your tone out of the lunchroom and back on the clock.

Place the Tone Job at the beginning of your chain to alter the overall character of your guitar, or use it at the end to boost output at the end of a long cable run and fine-tune your tone. The Level control on the Tone Job can boost your signal up to 5x the original input level, so you'll always be heard, and makes for a fantastic solo and/or clean boost!

Controls:
1. Level: Post EQ volume control. Can boost the signal up to 5x the input. Unity is around 10 o'clock.

2. Treble: The center position is flat and marked with a center detent in the potentiometer. All settings above this point boost the treble and all settings below cut treble.

3. Bass: The center position is flat and marked with a center detent in the potentiometer. All settings above this point boost the bass and all settings below cut bass.

4. Middle: The center position is flat and marked with a center detent in the potentiometer. All settings above this point boost the middle and all settings below cut middle.

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 9-18 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 781748
Cat: 781758 Rel: 14 Jul 20 • View all Effects pedals
 
Overdrive manipulator pedal
Notes: Westwood is a touch sensitive translucent overdrive manipulator as clean and pure as the breeze which blows through a grove of Douglas Fir trees, and as hot as a damn fine cup of coffee.

This mild-mannered light to medium-gain overdrive with active EQ controls will still knock the socks right off your trusty low-wattage combo amp, pushing it into anything from cutting, edge-of-breakup rhythm tones, all the way to articulate, singing lead tones stacked high with pleasing even-order harmonics and sweet, sweet sustain. And if you pair it up with your favorite head and cab, you should probably call the neighbors first, because the Westwood's Level control has enough output on tap to alert the proper authorities. Even the FBI.

Each and every Westwood is a real Blue Rose case, hand built by a team of special agents in the Black Lodge of Akron, Ohio, USA, where the owls are not what they seem, there's always music in the air, and the birds sing a pretty song.

Controls:
1. Level: Adjusts Westwood's output level. Clockwise is loud, counterclockwise is quiet.

2. Drive: Adjusts the amount of overdrive. Clockwise is dirty, counterclockwise is clean.

3. Bass: Selects amount of low frequencies around 80Hz. Clockwise to boost, counterclockwise to cut.

4. Treble: Selects amount of high frequencies around 2kHz. Clockwise to boost, counterclockwise to cut.

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 18 mA
Input Impedance 1 MO
Output Impedance <1 kO
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quote 781758
Monday 13 July 2020
EBS
Cat: 783270 Rel: 13 Jul 20 • View all MIDI cables & adapters
 
MIDI cable
Notes: The BlueDot MIDI cables are a unique design that allows for flexible angle of the contact that is desirable when space is limited.

Flip the angle of the contact 90 degrees either way or leave it straight. A blue bracket attaches the cable to the angled positions with a click.

The flat cable design fit within the EBS unmatched space-saving accessories program.

Flexible contact angle.

Flat cable design.
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EBS
Cat: 783261 Rel: 13 Jul 20 • View all MIDI cables & adapters
 
MIDI cable
Notes: The BlueDot MIDI cables are a unique design that allows for flexible angle of the contact that is desirable when space is limited.

Flip the angle of the contact 90 degrees either way or leave it straight. A blue bracket attaches the cable to the angled positions with a click.

The flat cable design fit within the EBS unmatched space-saving accessories program.

Flexible contact angle.

Flat cable design.
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 4 in stock $5.51
EBS
Cat: 783266 Rel: 13 Jul 20 • View all MIDI cables & adapters
 
MIDI cable
Notes: The BlueDot MIDI cables are a unique design that allows for flexible angle of the contact that is desirable when space is limited.

Flip the angle of the contact 90 degrees either way or leave it straight. A blue bracket attaches the cable to the angled positions with a click.

The flat cable design fit within the EBS unmatched space-saving accessories program.

Flexible contact angle.

Flat cable design.
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 4 in stock $6.03
Cat: 781493 Rel: 13 Jul 20 • View all Studio monitors
 
2 way active monitor
Notes: Experience the true sound of your mix with the astonishing performance and versatility of the 8040B.

Active Crossovers

Directivity Control Waveguide (DCW) Technology

SPL

105 dB

Frequency Response

41 Hz - 21 kHz (-6dB)

Dimensions

H 365 x W 237 x D 223 mm, with Iso-Pod (view in inches)

Pristine performance
The choice of recording professionals the world over, the 8040B's pristine performance extends to an SPL of 105 dB and reaches right down to 41 Hz. This is a nearfield monitor that can provide truthfulness and energy in equal measures.

Speed and accuracy
The 8040B's recycled aluminium cabinet design combines transparent, uncoloured audio quality with a unique aesthetic beauty. You'll work with speed and accuracy, producing mixes that translate beautifully. And when you've finished, our Intelligent Signal Sensing (ISS) circuitry will automatically switch the 8040B into a green, 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 8040B Studio monitor
1 x Operating manual
1 x Mains cable 1,8 m

Technical Specifications

SPL
105 dB

Amplifier Power
90 W Bass (Class AB) + 90 W Treble (Class AB)

Frequency Response
41 Hz - 21 kHz (-6 dB)

Accuracy of Frequency Response
i 2 dB (48 Hz - 20 kHz)

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

Dimensions
H 365 x W 237 x D 223 mm, with Iso-Pod (view in inches)

Weight
9.4 kg / 20.7 lb

Connections
1 x XLR Analog Input
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MRP:$1,194.22 SAVE 21%
 2 in stock $941.70
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quote 781493
Cat: 781299 Rel: 13 Jul 20 • View all Audio adapters
 
Headphone adapters for RØDECaster Pro
Notes: The HJA-4 is a pack of four high-quality adaptors for converting headphones with 3.5mm plugs (as used on most consumer devices) for use with equipment that has the larger 1/4" headphone sockets. They are particularly suitable for connecting headphones to the RODECaster Pro and the AI-1.

Dimensions (mm):
45mm W x 10mm H x 10mm D (each)
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MRP:$15.10
 1 in stock $14.42
Cat: 781279 Rel: 13 Jul 20 • View all 音响线材和电源适配器
 
TRRS to TRRS cable for RØDECaster Pro
Notes: The SC9 is a high quality 3.5mm TRRS to TRRS cable designed to connect a wide range of audio devices. At 1.5 metres long, it is particularly suitable for connecting a smartphone to the RODECaster Pro Podcast Production Studio.

Output: 3.5mm TRRS
Input: 3.5mm TRRS
Length: 1.5m
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MRP:$31.46 SAVE 12%
 1 in stock $27.53
2hp
Cat: 766649 Rel: 13 Jul 20 • View all Synth modules
 
Compressor module
Notes: Compressor with side chain functionality.
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MRP:$154.78 SAVE 17%
 2 in stock $128.97
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quote 766649
2hp
Cat: 766648 Rel: 13 Jul 20 • View all Synth modules
 
Compressor module
Notes: Compressor with side chain functionality.
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MRP:$154.78 SAVE 17%
! low stock $128.97
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quote 766648
Cat: 782271 Rel: 13 Jul 20 • View all Synth modules
 
Synthesiser module
Notes: 20HP hardwired synth voice for fast set up times, with a decidedly East Coast feel.

Monograf is a fixed signal path monophonic synth voice with many unique features, including a number of patch points for flexibilty within a modular setting. Our aim was to design the simplest full featured and good sounding single VCO synth within as small a space as possible, while offering a broad sonic palette and fast setup times. Monograf includes the following elements:

Onboard LFO for PWM, and onboard sub osc for thick and juicy synth lines

Super stable AS3340 based VCO featuring sawtooth, triangle and square waveforms, as well as rotary switch control of octaves and an onboard LFO for PWM. Features highly accurate 1V/octave tracking, as well as extenal CV control of linear FM.

Sub oscillator featuring -1 octave and -2 octave square waveforms. Add a big bottom to your sound.

5 toggle switches for fast waveform selection, allows for super quick changes. Additionally, the triangle waveform is routed directly to the VCA, bypassing the VCF, to maintain a rumbling low end with higher resonance settings, this is a little known modular trick which was practised by the ancients.

12dB/octave OTA lowpass VCF based upon ARP Odyssey Mk1 'whiteface'. A very characterful VCF with cutting resonance whose audio inputs can be driven into clipping via a dedicated Drive control. The chosen level of drive can have a profound effect over the character of the filter, and heavy drive will saturate the input while simultaneously reducing resonance. Cutoff frequency can be controlled manually, from the LFO, from the ADSR, normalised from a 1V/oct source, or from an external CV.

Vintage ARP style VCA with gated/ADSR/drone options via two toggle switches.

AS3310 based ADSR for super snappy envelopes. CV control of envelope output is available for velocity controlled dynamics etc.

5V draw: 0mA
Depth: 35mm
Width: 20HP
12V draw: 38mA
-12V draw: 34mA
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MRP:$332.22 SAVE 23%
 1 in stock $256.91
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quote 782271
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