エフェクト・ペダル

Notes: ALM's versatile MFX effects module translates to a compact pedal format, suitable for guitar, synth or any other instrument. Understated looks conceal a super versatile combo of 18 stereo programs with assignable parameters and MIDI control.

Supplier's Notes:
Standalone stereo multi effects processor

The 'MFX Pedal' brings all the effects and functionality of ALM's popular Eurorack MFX module to both guitars and synths in standalone form with 18 different fully featured effects programs and additional MIDI, Knob and Expression pedal control, tap tempo, an optional analogue gain stage and true relay (or DSP) based bypass.

Inspired by ALM's favourite classic hardware effects processors, the MFX incorporates DSP effect technologies from the dawn of digital effects in the 70s to the present day. Reshape sounds with the distortion and dynamics engines. Bend time space and pitch with multiple feature rich reverb and delay engines. Modulate signals with the flexible panner, frequency shifter, and range of ensemble effects. Fracture sounds with the one-of-a-kind granular and glitch engines.

The MFX Pedal user interface is designed to be familiar, quick and easy to use. Each program contains a wide range of controllable parameters both directly editable or freely assigned to knobs, MIDI or expression control. Each program includes factory presets as well as the ability to store and recall user presets. All states are preserved across power cycles.

Available for the first time outside of modular, the MFX pedal easily brings the character and uniqueness of ALM effects to your guitar rig, DAW-less setup, mixer effects send or synth collection.

Tech Specs
Power: 9V DC power, center negative
Current Draw: 100mA (200mA+ supply recommended)
Input Impedance: 1MOhm
Output Impedance: 1Kohm
Max Input level: +8 dBu (2 Vrms ~ approx 5Vpp)
Optional Gain Stage: +10 dB
Bypass: True Relay & Buffered DSP based
Expression input: 0-3V
Dimensions: 125x65x70mm
16 Bit / 44.1Khz Stereo processing with 32 bit floating point DSP
ARM CPU based DSP

Notes: Designed in collaboration with JHS, the Lizard King is an octave fuzz pedal for bass which builds on the success of the guitar-focussed Lizard Queen. Dynamically responsive fixed gain fuzz can be blended from fully wet to dry, while octave tone can be blended separately.

Supplier's Notes:
Octave Fuzz for bass and beyond!

Make way for the new heir to the octave fuzz throne, the Lizard King from Electro-Harmonix. Directly inspired by the EHX x JHS collaboration released in 2023, the Lizard King takes the gnarly and responsive octave fuzz circuit from the Lizard Queen and optimizes it for bass and beyond. With updated tone controls and a new Blend knob, the bass's fundamental tone and low-end is preserved while the top-end of the fuzz tone is shaped to fit or dominate any mix!

The EHX Lizard King is a fixed-gain fuzz that is dynamically responsive. Adjustments to your instruments volume affects the amount of fuzz. Lower instrument volumes create a clear, fuzzy overdrive, while full instrument volume sends the gain over the top for ripping riff and searing solo tones. The familiar VOLUME and OCTAVE knobs control overall output and octave blend volume respectively. New to the Lizard King, the BLEND knob sets the mix between your clean and fuzz tones to create the perfect balance of fuzz while retaining your bass's attack and low-end. The TONE knob is a low pass filter that rolls off the highs, while the SUN/SHADOW switch further enhances the tone of the octave fuzz and clean tones. SUN boosts the octave fuzz with a more driving midrange, and the clean tone accessed by the BLEND knob has more treble and bass frequencies. When the switch is set to SHADOW, the clean tone is unchanged, and fuzz tone is tighter.

Specifications

Circuit: Analogue
Bypass: True Bypass
Audio: Mono
Power Supply:9V battery included
Dimensions (in): 4.5 x 2.75 x 2.1
Current Draw: 8mA
Year Released: 2024

Notes: In 2025, MOOER has announced that it will be set to release its latest multi-effects pedal, the GS1000 Intelligent Amp Profiling Processor, an augmented intelligent amp profiling processor. Built on MOOER's advanced third-generation digital platform, the GS1000 introduces groundbreaking MNRS 2.0 technology, allowing guitarists around the world to emulate their favorite gear with immense precision -specifically, for distortion pedals, preamps, amplifier heads, and cabinets.

With this innovation, guitarists can fully capture the essence of their favorite guitar gear without owning the physical hardware, enabling them to carry their favorite tones wherever they go. Users are even able to use third-party IRs for cabinets of their choice, further enhancing the flexibility of this feature.

It's unforgettable how much MOOER's multi-effects pedals have impressed audiences so far, primarily thanks to their robust tone libraries. However, even still, the GS1000 continues to build upon this with storage for up to 120 sampling profiles, along with continued integration with the MOOER Cloud app. Essentially, this cloud integration facilitates infinite upload and download possibilities, giving users access to a global community of shared tones, widely expanding the number of accessible tones. More still, the GS1000's previously mentioned third-party IR cabinet simulations support up to 2048 sample points, guaranteeing studio-grade tonal accuracy across the board.

Even more impressive for the price is how the GS1000 inherits the dual-chain effects architecture that made previous MOOER gear so versatile, making it suitable for highly complex usage scenarios. With over 350 factory effects models and a Sub-Patch preset grouping mode, the GS1000 makes it far simpler for users to make seamless transitions between tones, all while maintaining effect tails to guarantee seamless transitions. Additionally, the reintroduction of the innovative AI-driven EQ Master builds upon MOOER devices' previous capabilities, using intelligent adjustments in real-time to match the musical style of players to tones, while still allowing manual tweaks for precise control.

Impressively, the GS1000 also comes packed with a Groove Station module, consisting of a combination of drum machine and looper features - including 56 high-quality drum kits! It offers a 480-second phrase looper with infinite overdubs, automated detection, and synchronization capabilities, resulting in an intuitive platform for solo jamming, composition, and live loop-based performance. Overall, the Groove Station acts as an all-in-one suite for creating full arrangements, without having to depend on additional backing tracks or bandmates.

Visually and functionally, the GS1000 really stands out thanks to its sleek visual design and enhanced user experience. For example, it features a convenient 5-inch high-resolution touch screen, which is also paired with ambient lighting to add a visually stunning element to the pedal. As a result, the GS1000 is not only designed for convenient touch-based control but also as a standout centerpiece in any guitar rig.

In addition to this touchscreen control system, the GS1000 also provides expanded connectivity options, improving upon the already impressive flexibility of past pedals. Most notably, it supports connectivity with the MOOER F4 wireless footswitch, as well as the ability to control presets via external MIDI devices.

As is expected from MOOER these days, the GS1000 also excels when it comes to routing opportunities, going above and beyond the typical stereo 14" inputs and outputs that would be expected from other brands. Yes, it still includes such staples, but it also includes an XLR microphone input, alongside balanced TRS outputs for long-distance signal clarity. The configurable serial/parallel stereo effects loop enables seamless integration of external effects, and the addition of Bluetooth audio input and MIDI compatibility broadens its wide range of use cases for live and practice-based applications.

Furthermore, the pedal also serves as a professional audio solution thanks to its low-latency 2-in/2-out ASIO USB sound card. Supporting up to 192kHz sampling rates, the GS1000 makes recording and live streaming effortless, as it can easily be used with software DAWs, MOOER's editing software, as well as the USB-based MIDI control.

The GS1000 will be available in two versions - the standard white edition, which is powered by mains power, and the GS1000 Li version, which introduces a 7.4V 4750mAh lithium battery, chargeable through its power port. With this upgrade, users can enjoy up to six hours of continuous power-free playtime, making it ideal for practicing, busking, and generally performing on the go.

Overall, for fans of MOOER's previous amp simulation offerings, the GS1000 represents a natural evolution, building on everything that made its predecessors great while introducing cutting-edge features and expanded capabilities. Most importantly, MOOER has promised to continuously update its MOOER 4.0 tonal algorithms on the MOOER Cloud in line with the release, keeping things fresh for the company's dedicated user base.

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

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

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

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

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

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

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

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

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

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

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

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

Notes: The continued pull, the drift unabated, the controlled wash of gravity and the chaotic meander of its combined uncertainties.

In fact, the original and highly loved Dark Star is a pedal that historically was OBNE's most popular reverb. People bonded with its warmth and aliasing, its long trails and the way it encouraged you to turn the mix fully up.

Now, it's in with the new. Dark Star Stereo expands on the promise of ambient reverb and is a pitch shifting, bit crushing, filtered reverb pedal with just about every feature you could ask for.

One massive stereo voice, with a wide suite of controls that likes to go anywhere in your signal chain - all that's left is for you to decide just how dark you must go.

Reviving the magic of the long-trail lo-fi reverb algorithm that made Dark Star a breakout hit years ago, Old Blood Noise Endeavors announces a new Dark Star for a new era, with a drastically expanded feature set and improved signal quality that is sure to draw in old fans and new.

New features like stereo input and output, on-board presets, trails, expression control over all parameters and MIDI control, of both parameters and presets, all help to give more versatility to this device than ever before. Beyond that, the new Dark Star does away with the three-mode toggle, instead creating a single mode combining all the pitchshifting, bit-crushing, delayed goodness of the original.

Access your favourite sounds as well as new combinations, with new shapers like filter, multiply, volume and stereo-Spread

Notes: The Qi Etherealizer (pronounced "chee ethereal-izer"), a collaborative creation with Yvette Young, is a multi-effects pedal that combines Chorus, Delay, Granular effects, and, of course, Reverb, into a creative playground for atmospheric exploration.

Known for her innovative and explorative fingerstyle playing technique, love of guitar pedals, and leadership of the math rock band Covet, the Qi reflects her approach to creating lush, evolving soundscapes. Named after the vital life energy that flows through all living things, the Qi is designed to deliver rich textures, expansive atmospheres, and dynamic layers. By blending Yvette's artistic vision with cutting-edge design, the Qi opens the door to immersive, otherworldly sounds.

The Qi allows you to mix and match the chorus, delay, and grain and run in series or parallel to create your own inspiring universe of possibility in a stereo field. With the ability to save presets and bypass the chorus, delay, and grain controls, you can quickly and instantly change settings by simultaneously pressing the Bypass and Freeze stomp switches. Go from a traditional chorus with a little bit of delay, or go all in and let the Qi take over with unexplainable washes of glitchy and lush ambiance. Whatever your style is, the Qi will give it a new life.

The Qi is the first creation to emerge from Walrus' groundbreaking proprietary digital processing platform, MDSP. Designed in-house by their talented engineering team, MDSP sets a new benchmark for high-fidelity audio and innovative design, delivering decades of inspiration to creators seeking practical yet forward-thinking gear.

At the core of MDSP is the powerful ARM-based Cortex M7 processor, renowned as the highest-performing processor in its class. With a proven history in high-level electronics, the Cortex M7 has been meticulously tailored for advanced audio algorithm processing in the MDSP platform. This unique system integrates a microcontroller and a DSP into a single compact unit, enabling a smaller, modular design that can seamlessly adapt to a wide range of pedal formats.

This modular and "mini" approach empowers Walrus Audio to push the boundaries of audio processing. The enhanced capabilities of Walrus's MDSP allow for the development and execution of more sophisticated algorithms than ever before, delivering unparalleled creative possibilities for musicians and audio professionals alike.

The MDSP platform also boasts a superior audio codec, supporting faster sample rates, increased bit depth, greater headroom, and an exceptional signal-to-noise ratio. These enhancements ensure outstanding audio performance, setting a new standard in digital signal processing for the music industry.

The introduction of MDSP reflects Walrus Audio's commitment to providing creators with cutting-edge tools that inspire innovation and creativity.

Global Controls


Space Knob: Space adds a delightfully charming reverb to your affected signal. Use this knob to modify the mix and decay of the reverb. Go from smaller room sounds to a huge, diffused ambient reverb at maximum settings. It's lush and complimentary, and adding it in with the other effects will put you squarely in dreamscape territory.


Tone Knob: The Tone parameter controls the cutoff of a synth-style resonant low pass filter, allowing you to shape the tone of the effect output.


Series and Parallel: In series, effects will feed into each other in the order of Chorus > Delay > Grain > Output.


In parallel, all of the effect outputs on Chorus, Delay, and Grain are summed together and do not feed into each other. The top row of knobs will act as level controls, and the user can control the level of each effect.


The Mix/Dry parameter controls the mix of wet and dry signal in series mode and dry level in parallel mode.

Grain Controls


The featured Grain effect features two 'flavours' of operation:


Grain Cloud: This mode triggers small samples (grains) randomly from your playing, which gives you unpredictable, yet charming glitchy texture for your sound. The X knob controls the length of time between grains, so you can go from dense clusters to sparse accents.


Phrase Sample: This mode triggers grains rhythmically from your playing. Initial peaks in your playing are detected and grains are played back starting at these peaks, creating a rhythmic and intentional effect. The X knob controls the tempo at which the samples will be played back. Turning the X knob to the minimum position will sync the Phrase Sample time to the Delay time so that repeated grains are in time with the Delay repeats.


The Grain effect also features 5 playback modes that dictate different ways the grain samples are projected.


x1: Normal
x2: Double-speed and +1 octave
x.5: Half-speed and -1 octave
REV: Reverse playback
RNDM: Randomized combination of the previous four modes.


Delay Controls

The delay effect is a full, clean digital delay that offers repeats for up to two seconds. Use the time knob to control the time between delays as well as the feedback knob to control the amount of delays. The TAP/OSC switch on the bottom right of the pedal can also be used to control the delay effect via tap tempo, or when held down will ramp up the feedback and cause the delay to oscillate.

Subdivisions

Delay trails can be projected in three subdivision modes:

Quarter Note
Dotted Eighth Note
Eighth Note

Chorus Controls

The Chorus effect offers two modes:
Tri Chorus: A multi-dimensional chorus favourite. Lush, complex, modulated sounds combining three voices for a full, vibrant sound.

Stereo Chorus: This mode is a classic chorus effect but with the modulation of the chorus being offset 180 degrees to the right channel to achieve the stereo width effect.


Other Features

Three on-board presets (red, green, blue) plus a live mode (white).
TRS MIDI 1/8" in and thru ports for MIDI control.
USB-C port included for future firmware updates.
Momentary Grain Freeze
Momentary Grain + Max Reverb Freeze

Notes: Best known for Eurorack synth modules, Noise Engineering's Batverb builds on the brand's extensive experience, offering a performance-focused take on echoes, dynamics and tone.

Supplier's Notes:
Batverb is the stereo reverb that dreams are made of. Taking inspiration from Noise Engineering's famed tail-generating synth modules, Batverb brings reverberation and delay to a whole new level with extensive control of timbre, echoes, and dynamics.

Start by setting a predelay time and adjusting Regen to taste: this will set the length of the tail, from a short slapback-style echo to an infinite wall of reverberation. Add in some chaotic suboctaves with Doom, or some haunting overtones with Shimmer - or both at the same time. If you need to carve the range for your reverb, Batverb has low and high damping settings for the reverb tank. Batverb even has settings for saturation that can be applied to only the reverberant signal, or to the whole output.

Batverb is easy to balance with the rest of the effects in your chain, thanks to its onboard dry/wet Blend control, as well as input and output gain parameters. It also features a unique Duck switch that allows the reverb to duck out of the way of an input signal, or match the dynamics of your playing, similar to a gated reverb.

Batverb was designed to integrate perfectly into your performances. The left switch mutes the input to the reverb and sets the feedback to maximum, creating a wall of sound as long as it's held down. The expression input can also be routed to any parameter on the pedal. Plus, if you're a fan of MIDI, Batverb can store and recall 16 different presets and recall them in response to program change messages.

Batverb is an advanced pedal with state-of-the-art features, but it's incredibly easy to use and immediately fun to play.

Notes: A warm grittiness to the warble, a rippling, wooshing, bubbling irregularity to the modulation and a dynamic response to your picking are all hallmarks of the true vibe experience. Thicker and chewier than any chorus, earthier than any phaser and uniquely magical in front of a driven amp, the perfect vibe pedal moves you to dig in and play without inhibition. This feeling has been difficult to find outside of large and expensive fully-analog boutique units, but the search for that elusive experience is now over.

UltraViolet's simple and responsive controls provide a wider range of sounds than traditional vibe pedals. In addition to the familiar Chorus (50% wet) and Vibrato (100% wet) settings, there is a new Blend setting (30% wet) for an inspiring variety of more subtle effects. A Bias switch gives you three distinct flavors of sweep shape and tone emphasis, allowing for tons of sonic variation. At slow speeds, the intensity range has been expanded beyond that of traditional vibe circuits to push even further into warmly undulating sonic territory.

For UltraViolet's new vibe algorithm, all the elements of the classic optical vibe circuit (and their interdependencies) have been meticulously recreated for a dynamic playing response. From the effects of bias, speed and LFO waveshape on the pulsing of the lamp, to the response of the light-dependent resistors that set the center frequencies of the staggered phasing filters, the entire system has been duplicated and carefully tuned to produce the very best sounds a vibe pedal can offer.

TRS stereo input and output in a dual mono configuration means you can place UltraViolet at any point in your pedal chain with no impact on your stereo image.

Full MIDI implementation with 300 available preset locations ensures that UltraViolet is ready for your MIDI rig. In addition to TRS MIDI, there is a USB-C jack for controlling the pedal via MIDI from a computer or for performing firmware updates. For hands-free control without MIDI you can connect an expression pedal for control over any combination of knobs in any direction (Expression pedal controls Speed by default.) Or attach an optional external switch for tap tempo or favorite recall.

Finally, a high-impedance, ultra-low noise discrete Class A JFET stereo input preamp provides exceptional touch sensitivity, dynamics and feeliall in a rugged and elegantly compact form factor.

Notes: The pedal that revolutionized compact reverb pedals has evolved. Plug into blueSky for the most lush, majestic reverbs imaginable. Transform a single note or chord into vast sonic atmospheres with impossibly gorgeous, incredibly long reverb tails. Hear the inspiring splash of an upgraded spring algorithm dripping with vintage vibe. Lose track of time and space as you interact with deep and expansive new Shimmer sounds never heard anywhere before. Whether you're a classic spring reverb fan, a studio rack aficionado, or an ambient soundscape creator searching for new sonic textures, the sounds you are looking for are here.

BlueSky provides three different reverb types: plate, room, and spring, and each type can produce everything from stunning realism to expanded sounds far beyond what would be physically possible, while always remaining musical and beautiful. Intuitive and powerful tone shaping controls allow you to easily dial in an endless variety of inspiring sounds. And with ultra low noise, high performance 24-bit 96kHz A/D and D/A converters and a 20Hz to 20kHz frequency response, blueSky is equally at home on top of a studio console or in front of a tube amp.

Our second generation blueSky offers true studio quality reverbs in a compact pedal, and adds significant new features, incorporating technological advancements, hardware improvements and design enhancements to give you additional flexibility, power, and ease of use on stage and in the studio. A dedicated Shimmer knob and new Shimmer behaviors yield an inspiring variety of immersive new sounds. A new Mod switch allows you to select the modulation depth for each reverb type. A beautiful new Spring algorithm creates extraordinary vintage spring reverb sounds, as well as expanded spring textures and hauntingly unique interactions with an octave-down Shimmer. A premium analog JFET input circuit ensures superb responsiveness to your playing, and you can select mono or stereo input with the flick of a rear panel switch. In addition, you can now control blueSky with an expression pedal or MultiSwitch Plus.

All this, plus a new ARM DSP chip provides more processing power for every sonic nuance, with less energy consumption on your pedalboard. Full MIDI implementation allows you to control just about every knob, switch, and setting remotely via the EXP/MIDI jack or USB. And you can save and recall all the new sounds you create via 300 onboard MIDI preset locations.

Notes: Diamond Pedals proudly announces the launch of the Dark Cloud, an innovative delay pedal that represents the pinnacle of hybrid analogue-digital design. Drawing on the company's rich heritage in crafting exceptional analogue effects, the Dark Cloud merges classic tone with cutting edge technology to deliver a delay pedal like no other.

At the heart of the Dark Cloud is Diamond's revolutionary Digital Bucket Brigade Delay (dBBD) technology, which seamlessly blends the organic warmth of analogue companding with the precise control of an embedded digital system. This unique architecture allows the Dark Cloud to deliver three distinct and creative delay modes (Tape, Harmonic and Reverse), each meticulously crafted to provide a wide range of sonic possibilities.

Where analogue warmth meets digital precision, the Dark Cloud redefines delay effects to create a pedal like no other.

The Dark Cloud holds special significance as the final project conceived by the original Diamond team before their closure. What began as a modest attempt to repurpose older designs evolved into a masterful blend of the company's most beloved delay algorithms, combined with an entirely new Reverse Delay setting.

As a result, the Dark Cloud is essentially a "greatest hits" of Diamond's delay technology, refined into one powerful pedal that pushes the boundaries of what delay effects can achieve.

Notes: MG-101 is a complete guitarist's tone companion in a compact yet versatile floor unit. Hiding inside the minimalist housing is a full suite of amplifier tones and a huge palette of guitar and bass effects across 10 distinct audio processing blocks. Amp modelling is based on TSAC-HD White Box Amp Modeling Technology, which delivers high definition analogue circuit simulation for pro quality guitar tones, with speaker cabinet emulation processed via an impulse response (IR) loader with 25 internal models and 12 additional user slots for importing your own files. A built-in expression pedal covers wah and swell effects amongst other possibilities. All settings can be edited onboard with parameters shown on the full colour display or via USB using the downloadable PC/Mac Quicktone software and then stored into one of 36 internal memory locations for recalling at will. In addition to the internal metronome, the built-in Jam function has a fully featured drum machine and 30 second stereo (60s mono) phrase looper. To integrate with a DAW studio suite, the USB also functions as a high quality audio interface, completing the studio-ready guitar rig. The main output can deliver stereo or mono audio directly to a PA or to guitar amplifiers, with a separate TRRS minijack output for headphones or 2-way connection to a smart phone for live streaming. Without breaking the bank, you can have world-class amp modelling and effects with all the essential tools a recording and gigging guitarist needs in a portable and convenient package.

Power supply: 9Vdc DC5521 pin-negative (power adaptor included)
Current consumption: <250mA
Inputs: 6.3mm jack (guitar), 3.5mm jack (aux input)
USB port: USB-C audio interface and PC/Mac editing
Sampling format: 48kHz, 32-bit
Frequency response: 20Hz - 20kHz (+/-1dB)
Output: 6.3mm stereo jack line out (to amp or mixer)
Headphone connector:3.5mm jack (TRRS for smartphone livestreaming)
Input impedance: Guitar 470k Ohms, Aux 25k Ohms
Dynamic range: 104dB
Output impedance: 1k Ohm
Dimensions: 289 x 160 x 71mm
Weight: 920g

In the Box:

MG-202 multi-effect pedal
9Vdc 500mA power adaptor
USB cable
User manual
Warranty card

Notes: Black Fountain Stereo Characterful Delay Building on the inimitable Black Fountain, a pedal that put OBNE on the map and for many a favourite always-on device, Black Fountain Stereo is much more than just turning things from mono into stereo. It truly expands Old Blood Noise Endeavors' highly regarded 'oil-can delay' pedal right into a multi-tool.

With a wider control set that's complete with added sonic options, a lower noise floor, dual delay lines that play together in a multitude of ways, presets, MIDI and expression control over everything, Black Fountain Stereo combines a sonic powerhouse of creative delay tones and into a pedalboard friendly package.

Black Fountain Stereo emulates the sound of a spinning oil-can delay. This is a warm, modulated and a little gritty type of tone that's perfect for chorusing, doubling, slap back and long rhythmic delays alike. You choose the amount and rate of modulation, the tone and grit of the core voice, the two delay times and their feedback. Plus, to top it off the mono/stereo voicing of it all can be set exactly as you like and everything can be saved into presets, for easy recall.

The Rate and Depth controls sets the amount of modulation and speed, Tone shapes the warmth of the repeats, while Grit sets the amount of drive in the repeats. To help maintain the clarity of your tone or for more special effects, you can set the mix of volume of either the Dry and/or Wet levels. Space defines the mono delay mode or stereo width and adds diffusion past the noon position.

Separate controls are available for setting the Left and Right Delay Time as well as being able to choose between six subdivisions for each side when holding the Tap footswitch. That little Tap switch (surprise) helps you set the delay repeats in time with your tempo, while holding it down will give for infinite feedback. Optionally, it can also be used as a preset switcher.

Product Height (cm): 6.9
Product Width (cm): 10.8
Product Depth (cm): 12.6
Product Weight (kg): 0.454

Box Height (cm): 7.06
Box Width (cm): 11.43
Box Depth: 12.7cm
Boxed Weight (kg): 0.596kg

Notes: Add warm dimensionality and luscious tape saturation to your signal. Teleport the tones of yesteryear to your board. Effortlessly create a huge range of beautiful, distinctive, and enveloping vintage sounds. From the inherent warmth and luscious tape saturation to the forgotten art of how these machines were manipulated, Deco brings this original inspiration back, giving you these vintage tape effects from the earliest recording studios, right on your pedalboard.

Deco's Tape Saturation smooths out your sound with familiar and delicious tape compression and saturation, while fattening your tone with subtle tape-driven transparent overdrive.The Doubletracker provides the power to shift your sound in many ways, easily allowing you to achieve syrupy slapback tape echoes, psychedelic tape flanging, and gorgeous tape chorusing sounds.
Our second generation Deco gives you the same gorgeous reel-to-reel tape sounds from our original, while adding several significant new features, incorporating technological advancements, hardware improvements and design enhancements to give you additional flexibility, power, and ease of use on stage and in the studio.

Full MIDI implementation means you can control just about every switch, knob, and setting remotely by sending MIDI commands from your controller or DAW via Deco's EXP/MIDI jack or USB-C connection. Lag Deck delay time can be synchronized via MIDI Clock Sync, and the sync setting can be saved for each preset. 300 MIDI preset locations are available for loading and saving your favorite settings.

Deco now comes with an all-new cassette tape voicing that employs an auto level control (ALC) process common to many high-end cassette tape recorders, resulting in a compressed, fat tone. In addition, a new dedicated Tone knob lets you adjust the tone of the Tape Saturation exactly to your liking, from dark to bright.

A premium analog JFET input circuit ensures superb responsiveness to your playing, and you can select mono or stereo input with the flick of a rear panel switch. All this, plus a new ARM DSP chip provides more processing power for every sonic nuance, with less energy consumption on your pedalboard.

Features

High impedance ultra low-noise discrete Class A JFET TRS stereo input.

Low impedance independent TS stereo outputs.

Expression pedal input allows the connection of a TRS expression pedal, MiniSwitch, MultiSwitch Plus, or TRS MIDI connection.

USB jack for controlling via MIDI from a computer or for performing firmware updates.

Dedicated tap tempo & On/Off footswitches

Premium JFET analog front end

Ultra low noise, high performance 24-bit 96kHz A/D and D/A converters provide uncompromising audio quality

520MHz ARM Superscalar processor

32-bit floating point processing

20Hz to 20kHz frequency response

Audio Input Impedance: 1M Ohm

Audio Output Impedance: 100 Ohm

Strong and lightweight anodized dark gray aluminum chassis

9V DC power supply included

Power requirements: maximum 9 volts DC center-negative, with a minimum of 300mA of current

Dimensions: 4.5" deep x 4" wide x 1.75" tall (11.4 cm deep x 10.2 cm wide x 4.4 cm tall)

Designed and built in the USA

Notes: Inspired by modular synthesis, the C4 Synth is a unique pedal which allows you to play synth tones via bass or guitar. Edit using the Neuro Desktop Editor and then get freaky with a wide range of synth sounds.

Supplier's notes:
The C4 Synth unites all the sound creation tools of a classic Eurorack modular synthesizer and packages them in a compact and easy-to-use effects pedal for guitar or bass. Out of the box the C4 offers six dynamic synth tones that range from vintage analogue to the thoroughly modern. It is essentially a modular synth in a small pedal with unprecedented tracking abilities, lightning-fast response, and countless sound options. With the addition of the Neuro Desktop Editor (a free download for Mac and Windows machines) and Mobile App. (for iPhone and Android) it's easy to browse from the ever-growing library of highly-inspired presets created by the Source Audio crew and the expanding community of C4 enthusiasts.

Neuro Editor Features

Connect the C4 Synth to the Neuro Desktop Editor (a free download for Mac or Windows computers) or the Neuro Mobile App (free for iPhone and Android) and explore the power of effect downloading, customization, and sharing that comes with every One Series pedal.

Growing Library of Published Presets: For quick and easy access to a world of great tones, try sampling sounds from a vast collection of published presets created by the Source Audio team and the ever-growing C4 Neuro Community.

Unprecedented Sound Sculpting Options: The Neuro Desktop offers maximum sound exploration possibilities. Use Neuro's modular synthesizer inspired editor to create custom C4 Synth presets that can be burned directly to the pedal, saved to a private cloud based library or published and shared the entire Neuro Community.

Four Independent Voices: Mix together any of the C4's four independent Voices. Assign any of the Voices to an oscillator wave shape, monophonic or polyphonic pitch shifter, intelligent harmonizer, sequencers, or dry signal to distortion, tremolo, and filter effects.

Three Types of Oscillators: Mix and match any of the C4's three oscillator wave shapes for pure synthesizer tones. Choose from sine, square, and saw shaped oscillators.

Eleven Envelope Followers: Select from a comprehensive collection of envelope followers with adjustable attack/decay as well as ADSR triggering envelopes.

25 Filter Effects: Choose from a huge collection of filters, controllable with an envelope follower or independently modulating LFOs.

14 Different LFO Wave Shapes: Use LFO (Low Frequency Oscillators) to control the modulation of filter, vibrato, or tremolo effects. Choose from eight different LFO wave shapes, including sine, square, sample and hold, saw tooth, and more.

Two Programmable 16-Step Sequencers: Run two simultaneous sequencer patterns. Choose from several preprogrammed sequencer patterns or create custom patterns.

USB Connection - Use the pedal's mini USB port to connect the C4 to the Neuro Desktop Editor, which can be used to edit presets or download the latest pedal firmware.

USB to Mobile App Connectivity - Connect the Mobile App to your C4 Synth via the USB port on the top of the pedal and enjoy two-way communication between the pedal and your Neuro Mobile App. This means you can see all of your C4 preset settings on the App. in real time. (Lightening to mini Type B USB cable for iPhone) (Type-C to mini Type B USB cable for Android).

MIDI features

The C4 Synth responds to MIDI Program Change (PC) and Continuous Controller (CC) messages via its mini USB port. The USB port handles communication between the C4 and digital audio workstations (DAW) on Mac and Windows machines as well as external MIDI controllers with USB host support (we recommend the DMC.micro from Disaster Area Designs)

Preset Saving - Save up to 128 effect presets.

MIDI Mapping - Use the Neuro Desktop Editor to easily map MIDI Continuous Controller (CC) messages to a comprehensive list of parameters.

Preset Recall - Use MIDI CC numbers 103 & 104 to recall any of the C4's 128 MIDI accessible presets.

MIDI Clock - Sync the C4's LFO rate with external MIDI clock messages.

The Neuro Hub - Connect the C4 to the Neuro Hub and use MIDI CC messages to control parameters or recall presets.

Note: As of Hub fw 1.18 and C4 fw 1.14, the C4 can now be added to scenes, is visible through the Hub, and can be controlled by PC messages, giving you the full access to 128 preset slots.

Specifications

Includes 9v DC power supply (300mA / Negative Tip)
Includes 1/8" to 1/4" cable for Neuro Mobile App connection.
Power Consumption - 165mA
USB port - Connects to Mac or Windows PC for firmware updates and the forthcoming in-depth effects editing software.
Brushed anodized aluminum housing.
Dimensions: L: 4.5 in./11.4cm x W: 2.75 in./7cm x H: 2 in./5.1cm (including knobs)

Notes: This diabolical fuzz pedal takes your tone on a nightmarish journey through crushing distortion and eerie synth tones.ACreated with the visual design by renowned artist Rob Jones, Knife Drop's visceral appearance perfectly matches its aggressive sound. Whether you're creating monstrous growls or supernatural melodies, Knife Drop is designed to haunt your sound.A

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


Like the Iguana that's malleable to its environment, blending into its surroundings for harmonious balance or standing out with vibrant confidence, the Polychrome Flanger is a uniquely colourful tool for adding modulated textures to songs.

The Polychrome Flanger is a true bypass, all analogue Flanger pulling in familiar layout controls from the Julia and Lillian.
Dial in a wealth of colourful flange with the D-F-V blend knob and the shape and voice switches.
The Shape Switch lets you select from sine, triangle, or random LFO wave to modulate the delay line

The Voice Switch lets you select between two voices for the flanging effect.
In the down position, the flanger is more traditional and full frequency.
In the up position, you get a more complex and notched flange effect with less low end.

Like the other members of the Walrus Audio modulation family, the Polychrome has a blend knob. The D-F-V (Dry, Flange, Vibrato) knob lets you blend the dry and delayed signal from full dry at minimum (no effect), to traditional flange at noon to full pitch vibrato at maximum. Don't sleep on the vibrato sounds in the Polychrome.
Set the D-F-V knob to maximum, feedback to a minimum, and the voice switch up for some unique pitch vibrato.

Top mounted input, output, and power jacks as well as soft switch relay bypassing make the Polychrome fit well on your board and ensure smooth operation for years to come.

Specs
The Polychrome comes in a flat black enclosure with purple, yellow, coral, green and white ink, featuring original artwork by David Huttner.
Power supply not included.

Dimensions and power consumption:
0.25kg
6,6 x 12,2 x 5,6 cm (W x D x H)
50 mA

In the box:

Walrus Audio Polychrome
Manual
Sticker
Guitar pick
Pouch

Notes: Limited black edition of the excellent stereo Dark Star pedal, offering premium reverb with beautifully creative pitch shifting, filtering and bit crushing options. Superb value for money.

Supplier's Notes:
Dark Star Stereo Flagship Reverb Pedal

The continued pull, the drift unabated, the controlled wash of gravity and the chaotic meander of its combined uncertainties. In fact, the original and highly loved Dark Star is a pedal that historically was OBNE's most popular reverb. People bonded with its warmth and aliasing, its long trails and the way it encouraged you to turn the mix fully up. Now, it's in with the new. Dark Star Stereo expands on the promise of ambient reverb and is a pitch shifting, bit crushing, filtered reverb pedal with just about every feature you could ask for. One massive stereo voice, with a wide suite of controls that likes to go anywhere in your signal chain - all that's left is for you to decide just how dark you must go.

Reviving the magic of the long-trail lo-fi reverb algorithm that made Dark Star a breakout hit years ago, Old Blood Noise Endeavors announces a new Dark Star for a new era, with a drastically expanded feature set and improved signal quality that is sure to draw in old fans and new. New features like Stereo Input and Output, on-board Presets, Trails, Expression control over all parameters and MIDI control, of both Parameters and Presets, all help to give more versatility to this device than ever before. Beyond that, the new Dark Star does away with the three-mode toggle, instead creating a single mode combining all the Pitch-Shifting, Bit-Crushing, delayed goodness of the original. Access your favourite sounds as well as new combinations, with new shapers like Filter, Multiply, Volume and Stereo-Spread.

Notes: Based on technology from the award-winning LVX and MercuryX pedals, the Enzo X is a superbly powerful six-voice modular synth, with polyphonic pitch detection and no special pickup needed on your guitar.

Supplier's Notes:
Combining 5 synth modes, Enzo X incorporates each of these into a modular system UI/architecture from both the award-winning LVX and MercuryX pedals.

In addition to being a 6-voice poly synth, Enzo X includes 3 reverbs which are adapted from Mercury X (Prism algorithm), 5 Drives (including Bitcrush), a full stereo 2.5 second Delay and 5 modulation types.

To make this complex system immediately intuitive to navigate, Meris again leveraged the simple and easy to use UI first developed for LVX.

Notes: The genuine BOSS and Roland Dimension effect is back, and it's now more versatile than ever! Designed in the premium Waza Craft analogue tradition, the DC-2W offers not just a perfect sonic recreation of the original DC-2 Dimension C pedal, but also the legendary SDD-320 Dimension D studio rack effect it was based on. The DC-2W features the same intuitive four-button preset interface as the original '80s-era effects, now evolved with electronic switching that unlocks a multitude of sonic variations not available on the vintage units.

Highly sought-after by musicians and audio engineers, the Dimension's unique spatial processing magically enhances the width and depth of any sound, from electric and acoustic guitars to keyboards, vocals, and other sources. Built from the original circuit designs and updated with modern refinements, the DC-2W is the only pedal available that delivers the classic Dimension experience with complete sonic authenticity.

Enhance Your Sound with Natural Width and Depth

The vintage Dimension effect is famous for its innovative 3D spatial processing that just makes everything sound a little better. It's often mistakenly called a chorus effect, but it's actually not. Though time-based like a chorus, the Dimension's circuit is quite unique and sophisticated, subtly enhancing the width and depth of the source audio without any prominent modulated movement. The resulting sound is more open and natural, gently enriching any instrument or mix without making it sound overly processed.

Four Switches, Expanded Sonic Possibilities

Just like the original Dimension effects, the DC-2W offers a simple and direct interface with four preset switches that provide sonic variations with increasing width and depth. While the originals had mechanical switches, the DC-2W is equipped with modern electronic switches and status LEDs for more solid performance. The new switches also allow you to press two at once to access a variety of additional sounds. Across the DC-2W's two effect modes (S and SDD-320), 20 different Dimension variations are possible with just four switches.

Authentic Tones with Modern Refinements

In the Waza Craft tradition, the DC-2W delivers vintage analogue tones with modern design refinements for enhanced performance and versatility. Along with the new electronic mode switches, the pedal features a newly designed internal bypass circuit that greatly improves on that found in the original DC-2. In addition, versatile I/O enables the pedal to blend in with any mono or stereo rig, from regular guitar setups to audio interfaces and studio mixing consoles. And like all Waza Craft pedal models, the DC-2W includes a premium buffer circuit for ultra-transparent tone when the pedal is switched off.

The Roland SDD-320 Dimension D: A Studio Legend

Very quickly after its debut in 1979, the Roland SDD-320 Dimension D became a go-to secret weapon for audio engineers and music producers around the world. It can be heard on countless classic records in all genres, and is still regularly used today. From guitars, electric pianos, and synths to strings, backing vocals, and more, the Dimension D injects instant spatial mojo and sonic glue without creating an obvious "effect" sound.

The DC-2W's SDD-320 mode fully captures the original Dimension D vibe in every way. Many engineers like to press multiple buttons on the Dimension D rack for new and different sounds. But in truth, only two actual sound variations are technically possible with this undocumented feature. With its modern switching, the DC-2W's SDD-320 mode enables six sound variations when two buttons are pressed, including four "in-between" sounds and two all-new voices.

The BOSS DC-2 Dimension C: 3D Sound in a Compact Pedal

Introduced in 1985, the DC-2 Dimension C pedal brought the Dimension D's distinctive spatial effect to the BOSS compact pedal format. While the Dimension D was designed as a studio effect that supported either mono or stereo input sources, the DC-2 was specifically created for mono sources like guitar, and features a modified circuit that produces a Dimension effect with a slightly different tonal flavour.

Specifications

Modes: S (Standard), SDD-320
Nominal Input Level-20 dBu
Input Impedance: 2.2 M ohms
Nominal Output Level: -20 dBu
Output Impedance: 1 k ohm
Recommended Load Impedance:10 k ohms or greater
Bypass: Buffered bypass
Controls: Pedal switch, S/SDD-320 switch, MODE SELECTOR [1]--[4] buttons
Indicators: CHECK indicator (Serves also as battery check indicator), MODE SELECTOR [1]--[4] indicators
Connectors: INPUT A (MONO) jack: 1/4-inch phone type, INPUT B jack: 1/4-inch phone type, OUTPUT A (MONO) jack: 1/4-inch phone type, OUTPUT B jack: 1/4-inch phone type, DC IN jack
Power Supply: Alkaline battery (9 V, 6LR61), AC adapter (PSA series: sold separately)
Current Draw: 65 mA
Expected battery life under continuous use: Alkaline: Approx. 6 hours *These figures will vary depending on the actual conditions of use.
Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Alkaline battery (9 V, 6LR61)
Options (sold separately)AC adaptor: PSA series

Size & weight

Width: 73 mm / 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm / 2-3/8 inches
Weight (including battery): 450 g / 1 lb

* 0 dBu = 0.775 Vrms

Notes: TARS DLX is a dual fuzz with 2 analogue filters inspired by the MS-20.

Probably the only pedal with 4 poles - resonant - Low Pass and High Pass Filters.

It is a stage & studio tool to shape your sound with high precision or an experimental device for loud noise makers.

It is an evolved version of TARS, a robot looking for life in space too. (and a pedal we released a year ago).

Notes from the designers :

Collision Devices took TARS and we pushed it forward.

The Fuzz circuit has been reworked to be opened in high end - so that it can now sound amazing as a low gain fuzz/distortion. The creamy one we all like in those post-hardcore riffs. It is also more aggressive when Gain is maxed out.

+ Collision Devices worked another fuzz (BLAST) which feedbacks a part of the circuit to give this "burning" feeling for HUGE and abrasive sounds.

The frequency response from both filters has been improved to better work on very low end sources with subby bass sounds.

TARS DLX can be used as clean blend on bass or in insert of a track mix.

The "ADD FUZZ" configuration which is found nowhere else is better than ever with the addition of the high pass after the low pass. It adds a filtered fuzz to the fuzz signal so that the filters can be used as EQ shape / phasing effects. This is amazing.

Of course, Fuzz and filters can be used separately in parallel or in serial. This truly is a beast of a dirt and filtering pedal.

Notes: Harvezi Hazze is a versatile and unique distortion pedal with a wide tonal palette.

The heart of Harvezi Hazze is a waveshaper designed around a unijunction transistor, a relic from the early days of the semiconductor industry unearthed from the e-waste bins of flea markets in Tbilisi, Georgia.

The unique properties of the unijunction transistor allow one simple component to replace a number of very complex devices: depending on the operating mode, we can get a distortion, a limiter, a waveshaper and a generator - with a smooth transition between them. Experiments have shown that this transistor is an excellent basis for a distortion stompbox.

The name translates from Georgian as "a fault on the transmission line" or "signal jamming", and both the semantic and phonetic natures of it unequivocally imply what to expect - an impediment to the input signal, ranging from pleasant harmonic distortions to complete obliteration. The signal chain of the unit consists of an optical compressor with fixed parameters; a dual-mode distorting amplifier with either softer or harsher clipping; a waveshaper built around a unijunction transistor; and a tone stack section trying to tame all this mess.

Signal Chain:

Input -> Compressor -> Distorting amplifier -> Waveshaper -> Tone stack -> Output

Controls:

Gain - controls the output amplitude of the signal in the distorting amplifier section. Depending on the position of the switch, the distortion introduced by this section is soft (switch in the left position) or more aggressive with an abundance of high harmonics (middle position).

Spoil and Spread - control the operation of the unijunction transistor (waveshaper section). Spoil sets the point on the amplitude axis at which the wave will fold, and Spread sets the amplitude of the folding. The sonic meaning of these knobs can be described as follows: the higher the Spread value, the more severe the distortion will be, and Spoil changes timbre and response threshold. By adjusting Spoil you can achieve various gating and cutoff effects. At low Spread values, distortion sounds are mixed into the clean sound.

Tone - adjusts the brightness of the sound; the higher the value, the more high harmonics are present in the signal.

The switch regulates either the distortion mode in the amplifier section (left and center positions), or it turns on the total feedback mode (right position), when the values of all knobs begin to influence each other and effects occur such as resonance at certain frequencies and self-oscillation.

Level - controls the output volume of the signal.

The footswitch routes the signal through the effect circuitry or from input to output directly (true bypass).

The array of switches on the side of the unit gives a few more tonal options:

TONE STACK - routes the signal through the tone stack section (Tone knob).

BASS BOOST - enhances bass frequencies.

TONE MODE - changes the behaviour of the Tone knob (tilt or lowpass).

NOTCH FREQ - changes the central frequency of the filter.

HIGH CUT - attenuates high frequencies.

COMPRESSOR - routes the signal through the compressor.

The lower position of the switch enables the function.

Examples:

Compression:

Switch in the central position, Spoil, Spread, Gain - min, Tone - 12 o'clock.

TONE STACK - on. BASS BOOST - on, TONE MODE - off, NOTCH FREQ - off, HIGH CUT - off, COMPRESSOR - on.

Soft clipping:

Switch in the left position, Spoil, Spread - min, Tone - 12 o'clock, Gain - 2 o'clock.

TONE STACK - on. BASS BOOST - on, TONE MODE - off, NOTCH FREQ - on, HIGH CUT - off, COMPRESSOR - on.

Distortion:

Switch in the middle, Spoil, Spread - min, Tone - 1 o'clock, Gain - max.

TONE STACK - on. BASS BOOST - on, TONE MODE - off, NOTCH FREQ - off, HIGH CUT - off, COMPRESSOR - off.

Fuzz:

Switch in the left position, Spoil - 1 o'clock, Spread - max, Tone - 11 o'clock, Gain - 10 o'clock.

TONE STACK - on. BASS BOOST - on, TONE MODE - on, NOTCH FREQ - off, HIGH CUT - off, COMPRESSOR - on.

Black:

Switch in the left position, Spoil - 12 o'clock, Spread - 1 o'clock, Tone - 3 o'clock, Gain - 3 o'clock.

TONE STACK - on. BASS BOOST - off, TONE MODE - off, NOTCH FREQ - off, HIGH CUT - off, COMPRESSOR - off.

Feedback:

Switch in the right position, Spoil - 11 o'clock, Spread - 4 o'clock, Tone - 2 o'clock, Gain - 9 o'clock.

TONE STACK - on. BASS BOOST - on, TONE MODE - off, NOTCH FREQ - off, HIGH CUT - off, COMPRESSOR - on.

Technical specifications:

Input - 1/4-inch/6,35mm mono jack.

Input impedance - 750 kOhm.

Output - 1/4-inch/6,35mm mono jack.

Output impedance - 100 Ohm

True bypass.

Power - DC 9V, 50mA, DC jack 2.1mm, centre negative.

Notes: Based on Mooer's extensive experience producing looper pedals, the GL100 offers affordable, powerful dual looping options and drum machine features. Two foot switches provide hands-free control for guitarists and keyboard players.

Supplier's Notes:
Throughout MOOER's track record of producing electric guitar pedals, the company has put a lot of its innovative prowess into its range of loop pedals, including 2023's VP3 Loopation. Ever since, MOOER's engineers have been hard at work designing the GL100, a feature-packed dual-footswitch stereo phrase looper and drum machine that has far more on offer than its younger looper siblings.

Perhaps the most impressive upgrade that MOOER has integrated into the GL100 is the sheer amount of looping time that this pedal can provide. In total, the pedal supports 300 minutes of looping time, all of which can be manually or automatically saved into 100 different storage slots.

The two footswitches are the primary means for controlling this feature, used through short presses and holds to trigger phrase recording, playback, overdubs, cancellations, and, most impressively, undo and redos. Most importantly, the pedal's position-jumping function gives users the flexibility to switch between storage slots with the footswitches while performing, providing them with the potential to perform fully structured loop-based music.

In synchronization with the phrase looper, users of the GL100 can also leverage the pedal's integrated drum machine, which contains 11 variations of 20 different drum pattern styles in various time signatures. Ultimately, this ensures that just about every musical genre is covered, regardless of whether it's for music performance, rehearsals, or simply experimenting at home. It's very simple to use, being triggerable with the device's footswitches, editable through the touchscreen, and, of course, tap-tempo synchronisable. Four different stop modes are also provided to facilitate perfect drum machine endings. More still, for the first time, MOOER has integrated its AI Band Technology feature, an intelligent accompaniment system that automatically matches suitable drum patterns based on the character of real-time guitar input, facilitating control-free synchronization.

Notably, MOOER has also made a serious effort to ensure that it is easy to record the perfect loop with the GL100. For example, the count-in function is very easy to use, as is the auto-record feature, which allows users to capture perfect loops by triggering it based on signal detection, preventing the need for perfectly timed footswitch presses. Better still, this signal detection feature can be toggled on or off with a single button press, and the signal threshold is easily adjustable, helping to support instruments of varying signal ranges.
A simple footswitch press also primes the pedal for various drum synchronization features, triggering the drum pattern to stop after one bar, repeat, or reset the looper, making it easy to perfect the loop's ending and creation-not just the beginning. To aid in this, an internal quantizer function is active to ensure that users always trigger and stop recording perfectly, even if they are slightly late with the footswitch press. Better still, the phrase looper even has a time-stretch feature, facilitating the changing of the tempo of a recorded loop but without changing the pitch, allowing any loop to sync perfectly, in key, with the drum machine.

As with any other MOOER product, the team's designers have really pushed the boundaries when it comes to the user experience. Despite packing so many features into such a small device, MOOER's signature multi-purpose footswitches, dials, and, most notably, touchscreen have all been integrated into this pedal to ensure users can squeeze as much dynamic use out of it as possible. A perfect example of this is how users have two different ways to browse through their phrase loop creations-both through using the pedal's menu encoder and by pressing and holding the footswitches, enabling dynamic looping control and real-time phrase selection without needing to stop playing the guitar.

Furthermore, the GL100 also stands out from MOOER's past loop stations for its flexible audio routing functionalities. As you would expect from a modern looping pedal, stereo input, and output are provided, but these inputs and outputs can be used with different amplifiers or instruments depending on the routing settings, allowing performers to coordinate complex loop phrases and drum patterns together in a coherent and sonically diffused manner. This includes mono connections, dual-channel connections, and even the isolation of both drum machine and instrument channels.

Finally, the GL100 comes with its own MOOER Studio software, compatible with both Windows and iOS, which users can use to save, export, import, and delete phrase recordings, expanding the device's storage capabilities. This same software can also be used to download firmware upgrades to the device when available and to complete a factory reset if ever necessary. Overall, this pedal combines an expanded showcase of MOOER's impressive looper and drum machine functions, along with a focus on innovative user experience, convenient performance flexibility, and, most importantly, accessibility to create the perfect loop from start to finish.

2 x 1/4" mono input and output jacks
1 x 1/8" stereo headphone jack
Sample rate: 44.1kHz
Sample depth: 24 bit
Export file format: .wav
9V 300mA power supply (included)
Weight: 200g

Notes: Last year in 2023, MOOER released its Prime Stomp S1 multi-effects pedal, to great critical acclaim. The device expanded on MOOER's previous pedalboard creations, applying a more sleek, lightweight, and, most importantly, chargeable design. Now, the company is turning heads once again with the Prime Minimax M1, an upgraded device that improves functionality not only for electric guitarists, but for bassists too.

Packed inside the Prime Minimax M1 are 149 high-quality effect models across 10 banks, each of which contains 4 patches. These include amp and cabinet simulations and overdrives, along with dynamic, modulation, delay, reverb, and EQ effects, as well as empty user slots. Most notably, though, 20 of the amp and cabinet simulations have been curated specifically for bass guitarists, showing MOOER's dedication to providing support for this additional audience.

As with the Prime Stomp S1 and other recent MOOER multi-effects pedals, the Prime Minimax M1 is supported by the MOOER Cloud, a cutting-edge framework for preset sharing. Not only does this allow guitarists to customize and share their favourite M1 creations via the Bluetooth-compatible MOOER Prime app, but it also supports the importing of third-party IR files of up to 512pts. As a result, the 149 built-in effects are greatly expanded, with users able to simulate their favourite classic amplifiers, cabinets, and tones, whether they have downloaded them online or recorded the IRs themselves.

Taking an all-in-one approach to guitar practice and performance, the M1 also includes a built-in drum machine, complete with 40 different drum grooves and 10 metronomes. This goes hand-in-hand with the 80-second looper, with which guitarists can record electric and bass guitar phrases, play them back, and overdub them, all with simple footswitch presses. The looper can even be triggered automatically through signal detection, ensuring that loops always begin perfectly to form a perfect loop. Moreover, the looper can also be synced with the drum machine, a combination of which results in an all-in-one suite for songwriting.

Rather than the four footswitches found on the Prime Stomp S1, the Minimax M1 features just two footswitches, facilitating a more compact and streamlined design. Each footswitch is multi-functional, supporting a variety of tasks, such as browsing preset slots, triggering loop recordings, activating the device's built-in tuner, the tap tempo functionality, and interacting with the drum machine. The status and information of these features are visualized through the device's LED screen, along with indicators for Bluetooth activation, charging, battery life, and footswitch status. Two buttons are also provided-one to activate the drum machine and another for the device's power toggle.

In contrast to MOOER's recent flagship device, the GE1000 Li, the Prime series focuses heavily on portability and compactness. Weighing up at just 190g and 12cm in length, the Minimax M1 can fit comfortably into any backpack and most pockets, facilitating on-the-go guitar practice and performance. To add to this convenience, the M1 can be charged by USB through its built-in 2000mAh lithium battery. As a result, with the device's portability, guitarists can truly use this multi-effect pedal anywhere, anytime.

Continuing MOOER's reputation for providing flexible audio routing options, the design of the Prime Minimax M1 inputs and outputs are varied. Of course, the usually 14" mono input and 14" stereo output are available, as well as the 3.5mm output for headphone practice and monitoring. However, further options are available, such as Bluetooth 5.0 support for audio playback, allowing users to stream audio from another device to play along with. The device's USB-C port can even be used for OTG recording, allowing users to record their creations directly into the MOOER Prime mobile app.

Overall, the Prime Minimax M1 is yet another welcome addition to the pedal producer's range of multi-effects pedals. In particular, it marks a new level of portability for MOOER's device portfolio, showing just how much functionality its design team can pack into such a small box.

Notes: The Larva is a 6-stage analog phaser with a built-in preamp and morphing capabilities. It offers two phaser settings, letting you easily switch between different sounds or morph between them for unique transitions. Whether used as a classic phaser, a vibe pedal, or just a preamp, the Larva delivers versatility and creative possibilities, always with the Beetronics unique signature.

The interface is intuitive and simple, yet the pedal can produce a huge amount of sounds and movements unique to this phaser. A bar of LEDs tracks the ramp movement, showing if you're in phase one or two, while the bypass LED doubles as a meter to monitor preamp distortion.

As our first phaser, the Larva brings together a large swathe of creative options with a streamlined, user-friendly design-modulation sweetness with a touch of gain.

Notes: Reach Infinity

Let's dive into a Black Hole!

The Black Hole Symmetry is a Modulated Delay / Pitch shifted Reverb / Destruction Fuzz pedal.

Travel through the Ergosphere, the Event Horizon and the Singularity. The 3 parts of the pedal which can be played together or separetely.

Each pedal is designed, assembled, tested and numbered by hand in the Collision Devices workshop in France.

The B.H.S. has a lifetime warranty.

3 effects, one pedal

Singularity

Destruction Fuzz
The single setting "Disintegrate" allows you to raise your sound.
Forget the fact that your drummer plays loudly.
Settings :
Desintegrate : Volume setting with a huge fuzz.
Protect your ears please.

Event horizon
Pitch shifted Reverb
Long reverb based on the FV1 chip.
Harmonizes the reverb signal with a pitch shifter.

Settings:
Mix: Proportion of wet signal in the mix
Echo: Echo time (max 15s)
Radiancy: Proportion of pitch shifter in the echo signal
Pitch: Shifts the pitch of the note

Ergosphere
Modulated Delay
Based on the PT2399 chip to have a warm echo.
The echo signal is modulated by two oscillators.

Settings:
Mix: Proportion of wet signal in the mix
Time: Time between each repetition (From 0s to 1s)
Feedback: Number of repetitions
Modulation: Proportion of modulation in the delay signal
Speed: Speed of the main oscillator
Trimmer: Speed of the triangle oscillator

Specifications

Maximum current draw: 250 mA
Input Impedance: 1 MOhm
Size: 186 x 119 x 56mm

The use of an isolated power supply is recommended for powering all Collision devices Pedals.

Power supply not included.

The pedal is true bypass

Lifetime warranty

Voltage: +9V DC (negative center)
Output Impedance: 1 KOhm
Weight: 200 grams

Notes: Are you tired of trying to fit all of your favourite delays onto your already overflowing pedalboard? Did you constantly have trouble choosing just one pedal to serve as the catalyst of your echo-centric musings? Had you wished that a pedal company would give you more bang for your buck by merging multiple classic delay effects into one simple little box?

Well hold on to your whammy bar, because your problems are solved now that you've found the new Silos Multi-Generational Time Reflection Device! EQD have taken a digital delay, an analogue delay, and a tape delay and merged them all together as one pedal with six presets, a tap-tempo, and user assignable expression control.

It all started when EQD founder Jamie Stillman was admiring his three favourite delay pedals from his personal collection and began ruminating on their vast differences. This sparked an ambitious foray into uncharted territory in finding a way to assemble them all together as one uncomplicated unit. After months of tinkering, his mission was accomplished and the Silos was born. With just four knobs, one three-way switch, one Save/Recall button, and two footswitches, he made the impossible possible and now your guitar playing shall reap the rewards!

Each of the three modes offers up to one second of delay time which allows it to be a longer delay than EQD's other delay pedals. From noon and back is 500 milliseconds to zero, which has its own character. From 500 milliseconds to one second of delay time, it's an entirely different beast. Dial them in for shorter delay times where they really excel and add loads of atmosphere and vibes. Push them further for rhythmic delays that are perfect for strumming and adding extra ambiance for your riffs. And the tap tempo is truly precise and responsive so you can lock in your rate quickly within the first revolutions.

Notes: The RC-500 is an essential partner for guitarists, singer/songwriters, multi-instrumentalists, and anyone who wants to take their looping to the next level. Craft real-time compositions with two loop tracks, mic and stereo instrument inputs, rhythms, and inspiring Loop FX, all backed by premium 32-bit audio quality. Store loops in onboard memories, and explore expanded operation with external controls and MIDI. Filled with next-generation Loop Station features, the RC-500 gives serious creators the tools they need to develop new ideas and deliver impactful performances that will leave audiences wanting more.

Super Sound Quality

Featuring best-in-class 32-bit AD/DA and 32-bit floating-point processing, the RC-500 captures your personal sound with full fidelity and keeps loops crystal clear, even with multiple overdubs. And with 13 hours of stereo recording time, there's plenty of space for extended creative journeys.

Connect, Loop, and Mix

With its versatile I/O and free-flowing interface, the RC-500 is ready to support all your musical visions. Connect mono/stereo instruments and pedal effects, plus a mic to the dedicated XLR input-complete with phantom power if needed. Use the two tracks independently for song-style composition, or together for rich multi-track textures. The LCD backlight changes colour to clearly show the current operation mode, while hands-on track faders and a mic level knob provide direct access to volume control as you loop.

Flexible Creative Control

Three onboard footswitches make it simple to control recording and playback, track switching, and more. For expanded operation, you can connect up to two external footswitches for direct control of many assignable functions, or an expression pedal for continuous adjustments. And for advanced rigs, the space-saving TRS MIDI I/O enables remote operation from MIDI switchers and foot controllers, plus MIDI sync with drum machines and DAWs.

Personalize Your Setup

The RC-500's I/O and footswitches are configured for basic operations by default, but they can be reassigned in a variety of ways to meet your custom needs. Route left/right input sources to separate tracks, or send guitar and vocals to independent outputs. Use the footswitches to turn effects on/off, start/stop rhythms, and more. Custom assignments are saved along with phrase memories, letting you instantly reconfigure the RC-500 for any application.

Energise Performances with Rhythms and Loop FX

Loaded with inspiring rhythms and evocative loop processing, the RC-500 is primed to bring groove and colour to all your looping adventures. Each of the 57 preset rhythms include A/B variations, while 16 different drum kits provide sounds to match any style. Designed for live performance, Loop FX like repeat, scatter, and more infuse your loops with instant sonic energy. There's a cool reverse function too, perfect for creating unique sonic flavours on demand.

Capture, Practice, and Perform

The RC-500's 99 phrase memories let you store loops as fast as you create them, complete with rhythm and kit selections, audio settings, and control assignments. Loop audio can be backed up to a computer via USB. And with WAV import via BOSS Tone Studio, the RC-500 becomes a central playback hub for lesson material, jam tracks, or backing music for your next gig.

Specifications

Sampling Frequency: 44.1 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point
Recording/Playback: Number of Track: 2, Data Format: WAV (44.1 kHz, 32-bit float, stereo), Maximum Recording Time: Approx. 1.5 hours (1 track), Approx.13 hours (total of All memories)
Rhythm Type: 57 Patterns x 2 Variations
Rhythm Kit: 16 types
Effect: LOOP FX (only for loop tracks)
Type: BEAT REPEAT, BEAT SHIFT, BEAT SCATTER, VINYL FLICK, Reverb (only for rhythm part)
Memory: 99
Nominal Input Level: MIC IN:-40 dBu (variable), INST IN A/MONO B: -10 dBu
Maximum Input Level: MIC IN:+8 dBu, INST IN A/MONO, B: +8 dBu
Input Impedance: MIC IN: 4 k ohms, INST IN A/MONO, B: 1 M ohm
Nominal Output Level: OUTPUT A/MONO, B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, B: +8 dBu
Output Impedance: OUTPUT A/MONO, B: 1 k ohm
Recommended Load Impedance: OUTPUT A/MONO, B: 10 k ohms or greater
Bypass: Buffered bypass
Controls: REC/PLAY switch, STOP switch, TRACK SELECT switch, MEMORY/VALUE knob, MIC LEVEL knob, TRACK 1 slider, TRACK 2 slider, TRACK 1 EDIT button, TRACK 2 EDIT button, RHYTHM TEMPO button, RHYTHM ON/OFF button, MEMORY button, MENU button, EXIT button, ENTER button, INPUT button
Display: Graphic LCD (96 x 32 dots, RGB backlit LCD)
Connectors: INST IN A/MONO, B jacks: 1/4-inch phone type, MIC IN jack: XLR type (balanced, phantom power: DC 48 V, 10 mA Max, OUTPUT A/MONO, B jacks: 1/4-inch phone type, CTL 1,2/EXP jack: 1/4-inch TRS phone type, USB port: USB micro B type, MIDI (IN, OUT) jacks: stereo miniature type, DC IN jack
Power Supply: Alkaline battery (AA, LR6) x 4, AC adapter (PSA-S series: sold separately)
Current Draw: 330 mA (with phantom power), 240 mA (without phantom power)
Expected battery life under continuous use: Alkaline: Approx. 3.5 hours (without phantom power), Approx. 2 hours (with phantom power)
*These figures will vary depending on the actual conditions of use.
Accessories: Owner's manual, Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Alkaline battery (AA, LR6) x 4, Rubber foot x 4
Options (sold separately) AC adaptor: PSA-S series
Footswitch: FS-5U
Dual Footswitch: FS-6, FS-7
Expression Pedal: FV-500H, FV-500L, EV-30, Roland EV-5
TRS/MIDI connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight

Width: 170 mm / 6-3/4 inches
Depth: 138 mm / 5-7/16 inches
Height (including rubber foot): 62 mm / 2-1/2 inches
Weight (including battery): 950 g / 2.1 lb

Notes: The M1 MKII is a stereo, all-in-one modulation pedal featuring six studio-grade programs based on fan-favourite modulation tones: Chorus, Phaser, Tremolo, Vibrato, Rotary, and Filter. A sound explorer's delight, the M1 features a dedicated lo-fi knob allowing you to mix various lo-fi parameters to every program. From the swirling, lush sounds of the 80's to more subtle applications that give your tone a distinct flair, this is a hallmark for all kinds of modulation fans, offering limitless creative potential.


Program Controls
Each program can be fully customized to your taste and playing style with the left encoder knob for features like effect type, BPM, wave shape, and more. Refer to the manual for program-specific features.

Programs
Chorus - From subtle chorus to vibrant and lush tri-chorus that will instantly teleport you to the 80s. Type I is a traditional chorus great for tight smooth chorus tones. Type II finds its roots in the classic tri-chorus effect running three chorus units in parallel for a lush multi-dimensional chorus. Type III transforms into a sweeping, vintage-style flanger, a welcome addition for modulation fans.

Phaser - Classic 70s phaser sounds we all know and love, with added features that you wouldn't expect. Similar to the Lillian, Type I is a 2-stage Phaser that produces a single notch to the classic mild phaser. Type II is a 4-stage model producing 2 notches for a stronger effect. Type III is a phaser modelled after the unique tuning and LFO shape found in a Uni-Vibe.

Tremolo - This program emulates a tremolo with three algorithms containing all the bells, whistles, and stereo spread options. Type I is excellent for traditional sounds similar to optical and bias tremolos that raise and lower the entire frequency range - similar to the Monument in standard mode. Type II is a warm and cozy harmonic tremolo - similar to the Monument in harmonic mode. This unique sound is formed by raising and lowering your high and low frequencies opposite each other. Type III offers several predefined patterns for rhythmic sequenced pulsing tremolo.

Vibrato - Make good parts great with detuned, warbly, and vintage sounds that harken back to the 60s. Type I "Traditional" focuses on standard vibrato sounds. Old record players inspire Type II "Vinyl" with classic RPMs on the rate knob and some noise character you'd find in your dad's old dusty Foreigner LPs. The rate knob can select 33rpm, 45rpm, and 78rpm speeds in this mode. Type III "Tape" is our take on the wow and flutter pitch characters found in old tape players. Warm and charming with a hint of nostalgia.

Rotary - Because you can't fit a Leslie speaker on your pedalboard, Type I aims for that traditional watery sound of a well-oiled Leslie speaker. Type II only spins the horn but still plays the sound out of the drum. Type III only spins the drum but still plays sound from the horn. Further fine-tune the drum sounds by experimenting with mic distance in the program controls.

Filter - Add tone-shaping movement to your signal with different modulated filters. Type I is a lowpass filter good for modulated darker tones. Type II is a highpass filter used to creatively modulate your low frequencies. Type III is a bandpass filter forming a sliding "window" of frequencies.

Resonance, envelope speed, and release can all be adjusted on Filter mode, the result being dynamic sweeping sounds and an expressive touch, commonly heard in blues or funk. This program can be easily run as an Envelope Follower type filter.

Lo-Fi Controls:
The M1 Features 6 Lo-Fi-type global controls to make your High-Fidelity modulation machine sound...not so High-Fidelity. Using the Right encoder knob, take your signal back in time and degrade it to sound like tech of yesteryear then use the Lo-Fi knob to adjust in the overall mix.

Env: Envelope allows you to dynamically open the tone based on how hard you play.
Drive: Drive offers a crunchy analogue-style drive to be added to your signal simulating the warm sound of overdriven analogue circuitry.
Space: Space allows you to add some reverb to your modulation chain. Turn to minimum to disengage and turn up to increase mix and decay.
Age: Age engages a complex set of filters used to simulate the limited bandwidth of vintage audio players and recording equipment. From modern, full-frequency at minimum to subtle low-fidelity tones in lower positions and old, thin AM radio sounds in higher positions.
Noise: Noise adds lo-fi analogue inspired noise to your signal.
Warble: Warble manipulates the main LFO wave shape causing it to deform making interesting and less predictable modulation.

Presets
The M1 can save up to 128 onboard presets, which can be held in a preset bank made accessible by tapping down on the bottom left and bottom middle knobs simultaneously. Presets 0-9 are divided into Banks A, B, and C. Select a bank while in the preset menu. Bank A will cycle through presets 0-2, Bank B will cycle through presets 3-5, and Bank C will cycle through presets 6-9. Presets 10-128 can be accessed through manual selection or MIDI.

Notes: The signature tones of a guitar legend on your pedalboard

Joe Satriani's TONEX ONE is the latest product of IK's ongoing relationship with one of the guitar world's most respected players. It is truly something special. Handmade in Italy in a custom chrome finish, this limited-edition pedal comes preloaded with 20 presets created by Joe. These exclusive presets feature Tone Models from his Amp Vault Signature Collection, also included, but go beyond that by incorporating Joe's choice of TONEX FX to recreate the great moments of his recording career.

"The TONEX ONE roars and shimmers like its full-size big brother, the mighty TONEX Pedal. You can use it as a standalone amp, a recording interface, or even a headphone practice amp. And it looks amazing!"
Joe Satriani

20 Custom presets with TONEX FX

Exclusively with TONEX ONE Joe Satriani, you'll immediately experience 20 presets custom-designed by the artist himself. All presets feature Tone Models from Joe's TONEX Amp Vault collection, plus the new TONEX FX blocks to recreate his essential tones in one compact pedal.

The preloaded tones range from the early years to new sounds featuring his latest Signature 3rd Power Dragon Amplifier. The presets are inspired by and named after classic songs, including "Time Machine," "The Extremist," "Summer Song," "Ice 9," "Crush of Love," "Love Thing," and many more.

Includes Joe's Amp Vault Signature Collection
This limited-edition pedal includes Joe's complete Amp Vault Signature Collection for TONEX, featuring 28 amplifiers from his private collection. Joe handpicked each amplifier, dialed in his favorite settings and captured them using IK's Advanced AI Machine Modeling at Sammy Hagar's Red Rocker Studios.

The 67 Tone Models are incredible and a testament to Joe's relentless pursuit of great tone and generosity in sharing them with the TONEX community.

Specs

TONEX ONE

20 customizable presets
Ultra-low noise, 24-bit/192 kHz converters.
5 Hz-24 kHz frequency response
Up to 123 dB dynamic range
USB connection/ 24-bit/44.1 kHz audio interface
Power Source: 9V DC, 120 mA (not included) or via USB-C
Size: 48 mm/1.89" (W) x 94 mm/3.7" (D) x 53 mm/2.09" (H)
Weight: 160 g/ 5.6 oz

Package includes

TONEX ONE
USB C-Type to USB C-Type connection cable (0.6 m/2 ft)

Notes: Proudly billed as the first fully programmable drum machine in a pedal format, the Step is designed to accompany other instruments. Four-track, 16-step sequencer with 300 Beat presets and 500 kits.

Supplier's Notes:
Step Modern Drum Machine

Step is the first fully programmable drum machine in pedal format. It's an instrument, a co-writer, an accompaniment at a live performance, or a bandmate in an empty studio. Designed with the flexibility to instantly start a unique song but with deep customization options to quickly create fresh beats. Step is for everyone - everyone that isn't afraid to experiment, take chances, try something new, and create original music.

4 Customizable Drum Tracks

Step is a 4 track drum machine with a complete interface. Easily control all parameters for each of the 16 steps on the face of the pedal, no computer editor needed.

Mix & Match

How about an electronic snare with a jazzy kick? With Step, with a twist of a knob, you can create your sound pack by combining sounds from different Kits.

Instant Drum Beat Generator

Tap in the tempo, turn the Beat and Kit knobs to find your groove and play! There are 300 rhythms and 500 kits - it gives tons of combinations.

Modern Sound

With over 2000 samples, from the sounds of classic analogue machines to acoustic drums, anyone can find the sound they want. And, if you're going to create your kits, you can easily do it, too.

Per-Step Control
Customize over 15 parameters for each track's drum sound on a per-step basis. Switch up hi-hat velocity, add reverb to a final crash or throw in a 10% chance for a drum roll.

A Thousand Songs

Create and play complete 16-part songs, easily put together by quick-copying patterns, selecting new beats or making your own. Then make a playlist and go live!

Stomp-In FX

Use the FX stomp-switch to punch in customized effects from delays, reverbs, loopers, rearrangers and more. Every pattern in your song can have a different stomp-in effect.

Expansive Connectivity

Step has all the connectivity you need, stereo input and output, MIDI in and out, expression pedal input, and micro SD card storage with USB-C connectivity.

Nerdy on Demand

Need polymetric or polyrhythmic beats? Or maybe some generative drums? Step offers per-track swing, speed and length, step probability, randomized note playback, and more. You don't have to get nerdy with Step, but you can!

Instant Inspiration

From musicians wanting to quickly play along with a drum kit to deep divers looking to create more than traditional drum beats, Step is for everyone. Either create songs instantly by selecting from 500 preset rhythms and 200 drum kits or use the interface to create completely customized beats anywhere. Loop 16 steps and jam or combine patterns into a 16 pattern song.
A Complete Instrument

Step is a fully customizable drum machine, with features designed to make original drum tracks you want to play along with. All Step's parameters can be controlled directly on the pedal with a straightforward, intuitive user interface. Create complex and evolving patterns using probability, a dynamic drummer by switching up the velocity on eat hit, a sloppy drummer with the humanize, chance and micro-move features, or a perfect robotic machine.

Performance Ready

As a live companion Step can't be beat. With the ability to stomp-in effects and change songs or patterns via the dedicated stomp-switches, Step is a one stomp solution for all your performance needs.

Smash the FX stomp-switch and create interesting transitions or emphasize a solo. Freely assign over 50 effects in 8 different categories to the FX stompswitch, from repeaters and rearrangers to delays and reverbs.

For even more live control, assign the expression pedal to parameters including tempo or volume.

In Sync

Step is the perfect bandmate, keeping everything in sync. Use Step's MIDI input and output to stay in time with your delay, start playback at the same time as a looper, and more.

Keep your devices in sync too. Step's sequences are also compatible with Play and Play+. Create and exchange patterns between grooveboxes and the pedal, in both directions.

Tech specs

Ins & Outs

Stereo/Mono In: jack 6.3 mm
L-Out/MONO: jack 6.3 mm
R-Out: jack 6.3 mm
Expression Pedal
MIDI In: mini-jack 3.5 mm
MIDI Out: mini-jack 3.5 mm
USB-C
Power: 9-18 V DC / min. 500 mA (power adapter not included)

Physical Dimensions

Height: 2.24 inches (5.7 cm) - with knobs
Width: 7.09 inches (18.0 cm)
Depth: 4.72 inches (12.0 cm)
Weight: 2.05 pounds (0.930 kg)

Notes: A hard hitting distortion effect pedal, ideal for metal and hard rock styles. Dial in the desired amount of distortion with Gain and set the output Level to suit. Tone adjusts the amount of grit and bite to accentuate the guitar sound if needed. High gain on demand for high energy music.

Power supply: 9V battery (PP3 included) or optional DC adaptor
Construction: Aluminium housing with rubber base
Controls: Gain, Tone and Level
Dimensions: 115 x 68 x 47mm
Weight: 275g

Notes: Add clean sustain to your guitar notes and chords with the CM-50 compressor pedal. Turning up the Sustain control squashes down the peaks in the signal and lifts the quieter parts, causing notes that are fading out to last longer with effortless sustain. Set the output with the Level control and adjust the amount of picking emphasis with the Attack control. Great for country licks and overlapping arpeggios.

Sustain, Level and Attack controls
9V battery or optional DC adaptor operation

Power supply: 9V battery (PP3 included) or optional DC adaptor
Construction: Aluminium housing with rubber base
Controls: Sustain, Level and Attack
Dimensions: 115 x 68 x 47mm
Weight: 275g

In the Box

CM-50 compressor pedal
PP3 battery

Notes: EQ for bass guitar in a convenient pedal format for tone shaping on the fly. 5 individual frequency sliders help you to accurately sculpt the tone from mid-range growl to deep scooped slap. Perfect for mid-set EQ changes or as an "always on" tone machine.

5 frequency bands tuned for bass guitar
9V battery or optional DC adaptor operation

Power supply: 9V battery (PP3 included) or optional DC adaptor
Construction: Aluminium housing with rubber base
EQ controls: 62.5Hz, 125Hz, 500Hz, 1kHz, 4kHz, Volume
Dimensions: 115 x 68 x 47mm
Weight: 279g

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


Introducing Catacombs - a pedal that eliminates the compromise altogether. It packs 11 of the most popular delay and reverb sounds into one intuitive, powerful package. Whether you're after a trusty digital delay and a plate reverb or a musical shimmer and a spaced out echo - Wampler have you covered!

The team at Wampler have worked for a long time on ensuring Catacombs will become an indispensable part of your rig. You can run one of six delay and one of five reverb programs together simultaneously. Each program offers tap-tempo control and can be saved into one of the pedal's eight onboard preset locations for instant recall. Delays and reverbs can be run in Mono, Stereo, in parallel or in series. It's like having a studio's worth of delay and reverb effects right at your feet.

But it doesn't end there - the pedal also comes with a complete software version as a plugin for your DAW in AAX, AU, and VST3 format for both Mac and PC. The Catacombs plugin is FREE to all customers that register their Warranty online (plugin suite is $49.99 if purchased separately).

Legendary Delays

With six delay programs, you can feel the warmth and depth of analogue delays (ANLG), the harmonic nuances of a Bucket Brigade Device delay (BBD), or the nostalgic modulated vibe of classic artisanal tape and mechanical delays (TAPE). Feeling adventurous? The other-worldly Echo-Space Delay (SPC) awaits. The favourite Wampler Faux Tape Echo (FTE) and an accurate recreation of the classic 2290 digital delay (DIGI) also feature.

Iconic Reverbs

The Catacombs houses five finely tuned reverb programs. With just a twist of a knob, you'll discover expansive halls (HALL), a warm vintage plate (PLT), and that classic spring reverb (SPR) with plenty of "drip." The shimmer reverb (SHMR) allows a whole new layer of sonic texture, especially when paired with an expression pedal, and the intimate ambiance of the ROOM setting creates that perfect studio reverb.

Stompbox-like Control

Like the Terraform and Metaverse before it, the Catacombs is designed to be as quick to dial in as possible. Wampler replaced confusing menus and fiddly touch screens with clearly marked knobs you can adjust on the fly. Controls for Time, Feedback, Modulation, and Level (with Alt functions for each effect type) put all the essential tools right at your fingertips. Each setting offers tap-tempo control and can be easily saved into one of the pedal's eight front panel preset locations for instant recall. It's like having a studio's worth of delay effects right at your feet.

Digital Power with an Analogue Soul

The Catacombs uses a high-performance DSP engine to bring each effect to life with authentic character and gives you eight front panel preset locations where you can save and instantly recall your favourite settings. If you're looking to expand even further, you can access up to 128 presets with full MIDI control, it has configurable mono and stereo routing, a parallel or series switch, and an assignable expression pedal input to control any parameter (or multiple parameters).

Notes: Mobius gives you twelve legendary, versatile, and inspirational modulation machines, all in an easy-to-use package. Go from lush, mouthwatering, vintage chorus sounds all the way to syrupy psychedelic phasers. Get classic, pulsating tremolos all the way to warbling crushed bits. Mobius opens up the history books of music and provides new sounds and inspiration for all of your musical ideas.

Utilizing an insanely powerful SHARC DSP, every drop of power is harnessed. Top it all off with 200 presets, full MIDI implementation and a unique Pre/Post Mode and you're on your way to modulation ecstasy.

Notes: Morph across the spacetime spectrum.

Cosmosis 1 is a high-fidelity digital reverb that delivers premium ambient reverb sounds in a streamlined, single-footswitch enclosure. Cosmosis 1 contains three unique Pigtronix space algorithms with onboard controls for the size of the reverb, wet/dry blend, and filtering. Custom-made LED touch switches provide instant color-coded access to three unique reverb spaces as well as three user-defined presets. Theatre (blue) puts the player in a variable room that ranges from cozy to highly reflective using multiple parallel short reverberators. Temple (amber) occupies a dramatic, large indoor space by implementing numerous long reflections in both parallel and series. And Cosmos (purple) creates an enormous spectrum of heavenly reverb derived from the harmonic content it's fed.

Cosmosis 1 also features Pigtronix's signature 'Morph' function that allows musicians to alter their settings in real-time by pressing and holding the footswitch. This feature provides a simple way for players to trigger a gradual change to various reverb parameters simultaneously. Players can set both "red" and "green" values on their Tone, Blend, and Size knobs, then engage the Morph to traverse the difference between these values as indicated by the color-changing Engage LED. Create elegant morphs for subtle movement or sweeping, cinematic morphs for dramatic sound design effects. Stereo functionality is available via the TRS output jack. Cosmosis 1 runs on standard 9VDC power.

Knob-by-knob

Tone: Clockwise from noon, this control applies a high-pass filter, making the reverb sound brighter. Counter-clockwise from noon, this control applies a low-pass filter, making the reverb sound darker.

Size: Sets the size of the reverb space

Blend: Sets the balance between wet (reverb) and dry (clean signal)

Space Select: Push to toggle through 3 available reverb spaces.

Preset Select: Push to toggle through 4 pre-loaded presets, press and hold to select. To save a custom preset after making changes, press and hold. Presets can also be toggled and selected using only footswitches (see manual).

Three Evocative Spaces

The three unique space algorithms found inside of Cosmosis are entirely original and comprise a combination of primary source impulse responses, imagined reflections, and inspired mathematics. Theatre is a vintage-inspired small room sound ranging from cozy to reflective; Temple is a rich and flowing larger space featuring long reflections in both parallel and series; and Cosmos makes use of divine inspiration to create an enormous spectrum of harmonically-informed reverb. Kill the Size knob in any space to conjure a ghostly, full-wet "reverse" reverb effect.

Single-Footswitch Streamlining

Maintaining all of the functionality of the original dual-footswitch Cosmosis, the Cosmosis I prioritizes a streamlined interface that gets you to your favorite sounds even more quickly, plus its standard stompbox size doesn't disrupt your pedalboard.

Specifications

Function: Stereo Ambient Reverb with Morphing
Bypass: Buffered

Electronics

Voltage: 9VDC
Current Draw: 100mA
Input Impedance: High
Output Impedance: 1k

Body

Length (inches): 4.5
Width (inches): 2.5
Height (inches): 2
Weight (lbs): 1

Notes: Dark Star Stereo Flagship Reverb Pedal

The continued pull, the drift unabated, the controlled wash of gravity and the chaotic meander of its combined uncertainties. In fact, the original and highly loved Dark Star is a pedal that historically was OBNE's most popular reverb. People bonded with its warmth and aliasing, its long trails and the way it encouraged you to turn the mix fully up. Now, it's in with the new. Dark Star Stereo expands on the promise of ambient reverb and is a pitch shifting, bit crushing, filtered reverb pedal with just about every feature you could ask for. One massive stereo voice, with a wide suite of controls that likes to go anywhere in your signal chain - all that's left is for you to decide just how dark you must go.

Reviving the magic of the long-trail lo-fi reverb algorithm that made Dark Star a breakout hit years ago, Old Blood Noise Endeavors announces a new Dark Star for a new era, with a drastically expanded feature set and improved signal quality that is sure to draw in old fans and new. New features like Stereo Input and Output, on-board Presets, Trails, Expression control over all parameters and MIDI control, of both Parameters and Presets, all help to give more versatility to this device than ever before. Beyond that, the new Dark Star does away with the three-mode toggle, instead creating a single mode combining all the Pitch-Shifting, Bit-Crushing, delayed goodness of the original. Access your favourite sounds as well as new combinations, with new shapers like Filter, Multiply, Volume and Stereo-Spread.

Notes: Iridium

Leave Your Amp At Home.

Nothing reveals the true nature of your guitar and your playing like a world-class tube amp driving a perfectly matched speaker cabinet in a great sounding room. Now there is a pedal that truly delivers that sound and feel, with simple controls for effortlessly dialling in the perfect amp tone when going direct. Discover inspiring tube amp responsiveness, unprecedented impulse response speaker cabinet realism, and controllable natural sounding room ambience.

Iridium gives you three iconic amplifiers, with a total of nine impulse response speaker cabinets that complement the tonality of the amp. Skip the hassle of lugging around or miking amps. Place Iridium on your pedalboard and send gorgeous stereo amplifier tones, stunningly realistic cabs, and lush room ambience direct to a recording interface or PA system. With Iridium, it's a snap to dial in a direct tone that will truly inspire and sound great whether you are monitoring through in-ears, floor wedges, reference monitors, or studio headphones.

Three Iconic Amplifiers

The Matrix Modeling process captures all the subtleties and unique tonal qualities of each amplifier. Strymon have taken three iconic tube amps with distinct characters and mathematically modelled every aspect of their circuitry with absolute precision to deliver the response, feel, and inspiring experience of playing through the original amps at their best. Taking the process a step further, Strymon have hot-rodded each amp to provide an extended range of tonal options beyond what was available from the original designs.

Nine Stereo IR Cabinets

Iridium's speaker cabinets offer a level of realism and responsiveness unprecedented in outboard effects. Iridium delivers full stereo 24bit 96kHz resolution for the entire 500 milliseconds of its speaker cabinet impulse responses. Until now, IRs of this resolution have only been available for use within studio recording software. Iridium's breakthrough technology means you can use the very best impulse responses available, bringing maximum realism to your pedalboard.

Adjustable Room Ambience

Iridium's hybrid room reverb combines a 256 millisecond stereo impulse response with Strymon's reverb tank algorithm for extended decay. This combination places your amp and cab in a natural sounding room (small, medium, or large), creating a space for your amp to open up and breathe.

Round Amp - Based on* a Fender Deluxe Reverb

The Deluxe is one of the most recorded amps in history for good reason. This amp is clean, bright, and mid-scooped, with plenty of headroom. At higher Drive settings it delivers an overdriven sound unique to its architecture. Strymon chose the Deluxe's Normal channel for its round tone that plays well with pedals. While preserving access to all the tones originally available with this channel, our model gives you something extra: a midrange control. With the midrange at noon, you get the original fixed-resistor value and standard tonal characteristics of the Deluxe. Turn down the midrange for a more scooped sound, or turn it up for tweed-era tones.

Chime Amp - Based on* the Brilliant channel of a Vox AC30

The amp that defined the guitar sound of the British Invasion. Our model of the AC30 Brilliant channel (Top Boost) is jangly, bright, and chimey, providing air for subtle passages with a light touch, and bite when you want to dig in. For this amp, the Middle knob acts a Tone Cut knob, providing high-end roll-off just before the power tubes, per the original AC30 design. In addition to the full available gain of the original amp, toward the top end of the Drive knob's range of travel, Strymon have added a frequency-shaped front end boost to tighten the low end while driving the amp further into saturation.

Punch Amp - Based on* a Marshall Plexi (Super Lead model number 1959)

This powerful amp is meatier, with higher gain than the other two amps, and has a powerful midrange response. This amp features a buttery, smooth overdrive. At higher Drive settings it will deliver all the high gain distortion and growl this amp is known for, and then some. Setting the Drive control at around 2 o'clock gets you the maximum gain the original Plexi design allowed. Beyond that, our model has some additional gain on tap, giving you access to custom hot-rodded Plexi high gain tones.

*All product names are trademarks of their respective owners, which are in no way associated or affiliated with Strymon. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Strymon's sound design process. Fender and Deluxe Reverb are registered trademarks of Fender Musical Instruments Corporation. Vox is a registered trademark of Vox R&D Limited. Marshall is a registered trademark of Marshall Amplification Plc.

A Carefully Curated Cab Collection.

Iridium comes pre-loaded with a carefully curated collection of premium cabinet impulse responses from OwnHammer, Celestion, cabIR and ValhallaIR.

Round A - Deluxe Reverb 1×12" by OwnHammer
Impulse captures a vintage Fender Deluxe Reverb open back 1×12" combo loaded with a 1978 Fender CTS ceramic 12" speaker.

Round B - Blues Junior 1×12" by CabIR
Impulse captures a 1×12" Blues Junior cabinet, loaded with a Jensen C12N speaker.

Round C - Vibrolux 2×10" by cabIR
Impulse captures a Fender Vibrolux from 1965 with 2×10" Jensen C10NS speakers from 1965.

Chime A - AC30 2×12" Alnico by OwnHammer
Impulse captures a Vox AC30/6 open back fawn 2×12" combo with 2001 Celestion T0530 Blue AlNiCo speakers.

Chime B - 1×12" Alnico by Celestion
Impulse captures Celestion Blue Alnico speaker in a closed back 1×12" cab.

Chime C - Mesa 4×12" by ValhallaIR
Impulse captures a 4×12" Mesa Boogie "Halfback", which is loaded (open back) with two Black Shadow MC-90 speakers from CelestionTM and two Black Shadow EVM12-L from ElectroVoice.

Punch A - GNR 4×12" by OwnHammer
Impulse captures a 1971 Marshall 1960B "basketweave" 4×12" cabinet.

Punch B - 2×12" Vintage 30 by Celestion
Impulse captures a Celestion Vintage 30 in an open back 2×12" cab.

Punch C - Marshall 8×12" Alnico by cabIR
Impulse captures a re-issue of the 1965 Marshall 8×12" full stack cabinet, loaded with Celestion T652 AlNiCo speakers.

Load Your Own Impulses.

It's easy to replace the pre-installed IRs with custom IRs from your own collection by using Strymon Impulse Manager software.

Stereo Output
Operates at instrument and Line Level input sources
Discrete transistor headphone amplifier
Expression pedal input provides seamless morphing between knob positions (Expression mode), or smooth pre/post volume control with logarithmic taper (Volume mode)
USB jack for connecting to Strymon Impulse Manager software
to add and edit your own speaker cabinet IRs
Compatible with Strymon MultiSwitch Plus for remote selection of up to 4 presets
Full featured MIDI control accessible via EXP Jack for remote parameter control and access to 300 preset locations (requires Strymon MIDI EXP cable or MIDI to TRS interface)

Audio Quality

Ultra-low noise, high performance 24-bit 96kHz A/D and D/A
converters provide uncompromising audio quality
Super high performance SHARC and ARM co-processors
32-bit floating point processing

More

Transparent Analogue Buffered Bypass
Strong and lightweight anodized black aluminum chassis
9V DC power supply included
Power requirements: maximum 9 volts DC center-negative, with a minimum of 500mA of current
4.5" deep (11.43 cm) x 4" wide (10.16 cm) x 2.4" tall (6.1 cm)
Designed and built in the USA

Notes: EarthQuaker Devices is proud to introduce you to your new best bud, Gary. This little big guy was dreamt up by the one and only Lee Kiernan from the crushing and most necessary band, Idles!

Gary started as a simple request to create a compact version of the now discontinued Gray Channel, which was a mainstay on Lee's board and a big part of his main drive tone. This was all fine and good, and sounded quite sick, but it was worth and exploring his dark side a little more, Gary after dark, Saturday night Gary. So, he was sat down and began the trek of figuring old Gare-Bear out once and for all. The result is a real exercise in light and dark; smooth to shredded and everything in between.

Gary's right brain consists of a dynamic and destructive fuzz that is both domineering and interactive. It is a ripping fuzz tone with an envelope-controlled variable pulse width and enough volume to blow everything up. This nasty little fuzz turns the signal into a square wave and allows you to dynamically adjust the duty cycle with pick attack. Yes! Controls the sensitivity of the envelope. When this is all the way down you will get an unadulterated thick and heavy square wave fuzz tone that will sustain for days and go dead quiet when you stop playing. As you increase the Yes! control, the envelope becomes more interactive, and the pulse width narrows the harder you hit it. As the pulse width narrows, the tone becomes more nasal and biting until it gets so narrow that Gary goes to his dark place and disappears completely. In other words, with higher sensitivity settings, the sound will disappear entirely and come cruising back to Gary's big guy tone. With proper playing dynamics, this creates a very cool effect that can sound like an exploding amp coming in and out of life, blown through a phase shifter.

This effect can also be controlled with an expression pedal for manual operation or for finding just the right pulse width to cut through the mix for a set-and-forget operation. When using an expression pedal, Yes! operates in conjunction with the expression pedal to set the peak of the sweep. Set Yes! to the desired stopping point and express yourself as you please without worry of taking Gary over the edge!

Oosh acts as the master volume for Gary's nasty side. There is an insane amount of volume on tap so use this control wisely!

Gary's left brain displays his softer side. This is a simple and natural sounding overdrive that keeps your tone lively and drives your amp crazy. This side is based on the green channel of the Gray Channel, which is Earthquaker's take on the classic little yellow overdrive that started it all. Lee used this pedal with the clipping switch permanently set to the middle position, which removes all the diodes from the circuit, producing a full-bodied, cutting opamp distortion with plenty of volume on tap. Earthquaker have reproduced that tone here with exacting precision. Go sets the opamp drive and can range from a simple full-range clean boost all the way up to a smooth and natural distortion. In conjunction with That's It, which is the master volume for the drive side, you can use Gary's softer side as a clean boost to push your amp into overdrive or turn up Go and use all of Gary's internal magic to create the finely tuned dirt you desire.

Gary's signal path is fuzz into overdrive for total tonal integrity and cannot be changed. This is where Gary put his foot down.

Each and every Gary was softly brought to life by the delicate hands of EarthQuaker Devices in the elegantly unrefined canal-front city of Akron, Ohio USA.

Notes: Active gain boost pedal to increase the level of your guitar signal with 2-band EQ for tone shaping. Ideal for driving the input of a guitar amp to a point to make it distort the true sound of the amplifier, or as a signal booster for pushing the guitar forward in the mix for a solo, or even a combination of both.

Low & High tone controls
9V battery or optional DC adaptor operation

Power supply: 9V battery (PP3 included) or optional DC adaptor
Construction: Aluminium housing with rubber base
Controls: Low, High and Level

Dimensions: 115 x 68 x 47mm
Weight: 275g

Notes: Pico-sized version of EHX's best-selling looper with 360 seconds of loop recording time, 11 storable loops, Overdub Control, Loop Fadeout and more!

Building on the simplicity of our Nano Looper 360, this Pico-sized 360+ Looper pedal is packed with musical features to keep you jamming without missing a beat! With 6 minutes of loop recording time with unlimited overdubs over 11 loop memory banks, the 360+ also features an OVERDUB control which sets the level of playback of previously recorded loops while overdub new loops, making it possible to create ever-changing loops and ambient soundscapes.

Undo-Redo allows for quickly taking out the last overdub to change texture on the fly or fix a pesky mistake. Programmable Overdub/Playback order lets you change which mode the looper enters after recording the initial loop. Adjustable fadeout time from 1-10 seconds applies a musical fade to your loop when you stop the loop. DRY and LOOP levels are independently adjustable for a precision blend of layers.

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 3.65 x 2.0 x 2.0
Current Draw: 100mA
Year Released: 2024

Notes: Discover your amp's potential

Riverside's cascading gain stages create harmonically rich tones that are immensely musical and natural-from silky clean overdrive to colossal distortion, and all points between. The analogue JFET front-end ensures that Riverside responds to your guitar with uncompromised dynamics and feel. The precision crafted DSP generates dynamic complexity and pleasing harmonics at every stage, letting your amp shine at any gain level. Riverside takes your amp to places you never knew it could go.

Overview

Infinite sweet spot

Riverside's continuously variable circuit tuning dynamically tweaks multiple parameters under the hood so that the sweet spot follows you at any gain setting. As you turn the Drive knob, Riverside makes continuous adjustments, tuning the circuit for optimum tone. This results in an incredibly versatile drive pedal that is equally capable of providing sparking cleans, mild overdrives, high-gain leads, and heavy saturated distortions.

Flexibility to adapt to any amp

Your amp choice has a large influence on the sound of any drive pedal connected to it. Riverside's musical 3-band EQ, with independent Bass, Middle and Treble knobs, is designed to complement your amp's tone with the flexibility needed to dial in your sound effectively and efficiently. The three-position Presence switch tailors the highest frequencies, allowing Riverside to integrate perfectly with any amp or setup, no matter how dark or bright.

Digital or analogue? Strymon choose both

The first stage of Riverside's custom multistage drive topology is an all-analogue, ultra low noise, discrete, class-A JFET circuit. This gain stage is digitally controlled to maximize headroom while adding as much as 20dB of pure analogue gain, with tight integration to the subsequent DSP gain stages. With Strymon's hybrid approach you get the best of both analogue and digital worlds: The JFET stage provides exceptional touch sensitivity and dynamic interaction with your guitar, while the incredibly powerful SHARC DSP facilitates the great level of detailed complexity and responsiveness you'll want to hear.

Tone Adjustment and Shaping

Drive adjusts the amount of gain applied to the signal. Employs continuously variable circuit tuning which adjusts many parameters as you turn the knob.

Level controls the output volume level when the effect is engaged.

Gain toggles between low or high gain channels.

Low sets a gain structure allowing for a wide range of low to medium gain sounds. At high Drive settings the sound is heavily overdriven, and slightly 'loose' like a dimed vintage amp.

High increases the gain throughout the signal path and tightens things up. Stays relatively clean at low Drive settings, shifting to heavy saturated distortion at maximum.

Push toggles between flat or enhanced midrange frequencies.

Norm can be used for cleaner, more transparent tones.

Mid adds a mid-band EQ push just after the analogue front-end gain. This pushes the subsequent drive stages harder, tightening up the response. Perfect for fat drive tones, or pushing a distorted or on- the-edge amp into further breakup.

Bass is an active shelving/parametric low frequency control. The control is post-drive, shaping your drive tones before they reach your amp.
Middle is a parametric mid boost/cut control with optimized frequency centre. The control is post-drive, shaping your drive tones before they reach your amp.

Treble is a wide-ranging high frequency active shelf control. The control is post-drive, shaping your drive tones before they reach your amp.

Rear Panel

Presence is a three position switch that tailors the highest frequencies of the output signal.

Minus (-) provides clarity with a controlled top end that works well with many amps that have a brighter voice.

Enhanced (centre) extends the top end to allow for more sizzle on high gain tones. Useful if you want enhanced detail in the uppermost frequencies.

Plus (+) delivers extended high end detail to the darkest amps, and is also useful when plugging directly into a power amp.

In is a high impedance mono input. Plug your instrument in here.

Out is a mono signal output. Connect to your amp, other pedals, mixing board, etc.

Boost allows use of an external switch to toggle up to +6dB of post boost on/off. Or connect to the EXP input of another Strymon pedal and simultaneously engage the Favorite settings on both pedals with Riverside's Favorite switch.

Expression Pedal Input provides continuous expression pedal control over any or all of the knobs, in any direction, with your foot. Or can be used in Volume Mode to control the volume level of the effect.
Power - Plug your power supply in here. Maximum 9 volts DC centre-negative, with a minimum of 250mA of current. Standard 5.5mm x 2.1mm barrel connection.

Secondary Functions

Press and hold ON footswitch to enter Secondary Function mode. Release the footswitch, then turn the desired knob to adjust the parameter.

Optional variable-threshold Noise Reduction tames hum, buzz, and system noise when you're not playing. A downward expander with advanced signal detection techniques creates a seamless transition to noise reduced silence with all types of input signal dynamics.

Boost Level sets up to +6dB of available boost when using an external Boost footswitch.

Ins, Outs, Switches

High impedance mono input
Mono output
Favorite footswitch to save a favorite setting
Favorite Input to connect an external MiniSwitch to recall a Favorite preset
Expression pedal input allows the connection an expression pedal for simultaneous morphing control over multiple parameters (Expression mode), or logarithmic taper for smooth volume control (Volume mode)
MIDI accessible via Expression jack for remote parameter control and access to 300 preset locations
Boost pedal input allows connection of an external footswitch for up to +6dB of analog boost, or to toggle the Favorite preset on other Strymon pedals (Favorite Out mode)

Analogue Quality

Ultra low noise, high performance 24-bit 96kHz A/D and D/A converters provide uncompromising audio quality
Premium analog front end and output section
Super high performance SHARC DSP in a compact form factor
32-bit floating point processing

More

True Bypass (electromechanical relay switching) or selectable transparent Analog Buffered Bypass
Strong and lightweight anodized gold aluminum chassis
9V DC power supply included
Power requirements: maximum 9 volts DC center-negative, with a minimum of 250mA of current
4.5" deep (11.43 cm) x 4" wide (10.16 cm) x 2.4" tall (6.1 cm)
Designed and built in the USA

Notes: A fresh, original take on pitch shifting, the HammerOn generates hammer-on pitch shifts which alternate between two different intervals. Seven modes provide a range of effects, from simple hammer-ons to automatic techno guitar sequencing with trills.

Supplier's Notes:
Hands-free Hammer-Ons

Hammer-on notes in conjunction with your hands to create never-before-heard licks and riffs - the only limit is your imagination.

7 pedals in 1

Seven modes range from pitch jumps and harmony effects to pitch sequences and drop/capo tunings - HammerOn is like seven pedals in one.

Play the Impossible

Impossible Mode allows you to hammer-on pitch shifts that alternate between two selectable pitch amounts.

The DigiTech HammerOn is a versatile effects pedal with an amazing amount of flexibility and options to create and channel your musical ideas. Take the time to get to know the many options and see if it sparks new creative ideas.

The PITCH 1 footswitch is dedicated to always be a hammer-on selectable momentary pitch shift above or below what you are playing. PITCH 2 footswitch has 3 different modes of operation selectable using the MODE button. There is a button called DRY+ that can turn on the dry signal and a button called TRILL that can mimic rapid presses of the footswitches.

With all these options it's like having 7 pedals in one:

1. HAMMER-ON: An instantaneous momentary pitch shifter pedal
2. HAMMER-ON with TRILL: A rapid fire hammer-on action pedal
3. HARMONY-ON: An instantaneous harmony creation pedal
4. The IMPOSSIBLE Pedal: A dual alternating momentary pitch shift pedal
5. DROP/CAPO SEQUENCE: A multi-setting pitch transposition pedal
6. SEQUENCE with TRILL: An automatic guitar riff sequencer
7. SEQUENCE with DRY and TRILL: An automatic techno guitar sequencer

Specifications

Electronics
Sample Rate: 44.1 kHz in classic mode, 22 kHz in chords mode
Frequency Response: 20 Hz-16 kHz (classic mode), 20 Hz-11 kHz (chords mode)
Signal to Noise Ratio: > -106dB (A weighted); ref = max level, 22 kHz bandwidth
THD: 0.004% @ 1kHz; ref= 1 dBu w/ unity gain
A/D/A Conversion: 24-bit

Input / Output
Input Type: 1/4" Unbalanced TS
Max Input Level: +5 dBu
Input Impedance: 1MO
Output Type: 1/4" Unbalanced TS
Max Output Level: +10 dBu
Output Impedance: 1kO (Effect enabled or effect bypassed), True Bypass

Physical

Dimensions: 5.12"(13.00cm) x 3.57"(9.06cm) x 1.84"(4.67cm) (L x W x H)
Weight: 1.12 lbs. (508g)

Power

Power Consumption: 2.3 Watts (258 mA @ 9VDC) typical
Power Requirements: External Adapter (included), 9 VDC 1300 mA

Notes: The Reissue series 63 Diamond pedal offers players a range of overdrive that emulates the sound of a classic British 30-watt class-A valve amplifier, much-revered by guitarists since 1959 for its tonally rich clean and crunchy overdrive sound. The styling of the 63 Overdrive is a nod towards the cabinet that stood behind the bands of the British blues invasion and rock bands of the 1970's through to present day guitar bands. Volume and Master controls let you dial in the drive, with a tone Cut control just like the real amplifier. A Top boost switch introduces additional bite and was a later addition to the design in 1963, which is where this pedal gets its name. Invoking 60's British cool in a single pedal was never this easy before.

Batteries: 9V PP3 (supplied)
Power supply: Optional 9Vdc 300mA regulated (not supplied)
Controls: Volume, Master, Cut, Top Boost & foot switch
Input impedance: 1M Ohms
Output impedance: 10k Ohms
Dimensions: 121 x 77 x 48mm
Weight: 230g

In the Box

63 Diamond overdrive pedal
9V PP3 battery

Notes: The Bass War was born with a clear mission: to take Death By Audio's legendary Fuzz War and craft it into the ultimate weapon for bass. Death By Audio didn't just tweak the formula, they reimagined it from the ground up, infusing classic circuit designs with our own twist. The result? A harmonically rich octave fuzz that doesn't just deliver - it dominates, with exceptional gain, a wide tonal range and a MIX control that puts the power of mind-blowing bass fuzz at your fingertips.

This pedal isn't here to play nice, it's here to push boundaries. The super-extended control ranges let you sculpt your sound from a gritty, grinding drive all the way to a thick, bone-crushing distortion. The FUZZ knob is your key to unlocking everything from a subtle growl to an all-out sonic assault.

The TONE knob is your secret weapon, acting like a notch filter that lets you sweep through a massive arsenal of fuzz tones, each one rich, heavy, and impossible to ignore. And with the MIX control, you can blend just the right amount of fuzz with your clean bass, keeping your sound powerful and balanced, no matter how intense things get.

The Bass War isn't just another Fuzz pedal, no it's your ticket to a bass tone that demands attention and leaves its mark. If you're ready to take your sound to the next level and carve out your own sonic territory, the Bass War is your go-to pedal. Plug in and let your bass do the roaring.

Notes: The JamMan Solo HD has all the same great features as the JamMan Solo XT including stereo looping, Micro SD/SDHC compatible memory card support, Auto Record, selectable Stop Modes, and the revolutionary JamSync feature which allows for syncing of multiple JamSync compatible devices. Even better, as its name suggests, the JamMan Solo HD features improved High-Definition audio performance with its Next-Gen HD A-D/D-A Audio Converter!

The JamMan Solo HD features 200 internal memory locations that can hold up to 35 minutes of loops. Installing a Micro SD/SDHC card into the memory card slot adds another 200 memory locations which can store over 32 hours of loops! (Compatible with Micro SD/SDHC cards up to 32Gb)

The JamMan Solo HD has USB connectivity for syncing to DigiTech's free JamManager HD software. JamManager HD organizes and saves your loops to a computer (PC) and lets you quickly create JamLists to take to your gig. The JamMan Solo HD is the perfect stereo looper/phrase sampler for practicing, composing, and performing.

Use the JamMan Solo HD to:

Record rhythm loops, then solo over them on the fly, completely Hands-Free.
Slow down or speed up the tempo of any loop without changing pitch.
Sync multiple JamSync compatible JamMan devices for multi-track looping capabilities.
Seamlessly transition between recorded loops during playback.

Next-Gen HD Audio Performance

Sound better than ever with improved high definition, low-noise, low-distortion A-D/D-A audio converter.

32 Hours of Looping Time

Compact stereo looper with 35 minutes of on-board memory, PLUS up to 32 hours of looping time with a MicroSD card. (MicroSD card not included)

Professional Drum Loops

Includes 10 carefully mastered drum loops from Pat Mastelotto (King Crimson, Stick Man, Mr. Mister).

Glitch-Free Time Stretching

Adjust the tempo of your loops anyway you like, completely glitch-free.

JamSync Enabled

Sync multiple JamSync compatible JamMan devices for multi-track looping capabilities.

JamManager HD

Connect via USB to transfer loops to and from your PC using JamManager HD.

Notes: The Singularity is basically the fuzz section from the Black Hole Symmetry which is unique in sending the signal through a JFET transistor then 3 silicon transistors to end up being destroyed!

The Singularity keeps the look and fun of the Disintegrate setting to a single output volume control and adds a 3-position toggle switch to cut the output Low-Pass filter at 3 different frequencies.

Controls

Volume: Fuzz level.
3-position switch: Low-Pass filter frequency at 1.5 kHz (BHS style), 3.3 kHz, 16 kHz.

Notes: The Singularity is basically the fuzz section from the Black Hole Symmetry which is unique in sending the signal through a JFET transistor then 3 silicon transistors to end up being destroyed!

The Singularity keeps the look and fun of the Disintegrate setting to a single output volume control and adds a 3-position toggle switch to cut the output Low-Pass filter at 3 different frequencies.

Controls

Volume: Fuzz level.
3-position switch: Low-Pass filter frequency at 1.5 kHz (BHS style), 3.3 kHz, 16 kHz.

Notes: The EarthQuaker Devices Passive ABY box is the perfect solution if you can't decide when and where you would like your signal to go. In its most basic form, this passive little box is commonly used to run a single input out to two destinations and lets you choose between using either individually or both at the same time.

The most common problem an ABY is used to solve, is one input being sent to out to two amplifiers, but it doesn't have to stop there! Because of its completely passive circuitry, Passive ABY can also be used in reverse to choose between two inputs to a single output. Use it to simultaneously run two different instruments to one source input. An oboe and a bass, a keyboard and a harmonica, a lute and a modular synth... you know, whatever!

This compact little device has a small footprint, won't take up much real estate on your board and is built using high quality parts that will withstand years of use and keep going.

Notes: A buffer is an important tool to combat tone loss with long cable runs or in signal chains running lots of true bypass pedals. With its high 1 M ohm input impedance and low 100 ohm output impedance, the EarthQuaker Devices Buffer/Preamp will restore your tonal integrity, to give you back the clear and dynamic signal you deserve and your amp craves.

Want more? Not only will Buffer/Preamp restore high end loss, this device has a little trick up its sleeve that will also give your low end a subtle, yet powerful, little kick for some added dimension. While it is commonplace to add a buffer at the beginning of the signal chain, we find this to best at the end for optimum results. That said, it'll work great anywhere you decide to place it. For best results, make sure the EarthQuaker Devices Buffer/Preamp is placed AFTER any fuzz pedals that typically like to see the guitar at their input.