エフェクト・ペダル

Notes: Suitable for guitar, synths, drum machines and more, the updated Godeater refines the boutique saturation/distortion pedal, offering more precise control over low frequencies. New filter-keyed sidechain, advanced routing and MIDI integration add major flexibility.

Supplier's Notes:
The new Godeater+ is the successor to the successful Godeater pedal from Indian manufacturer Animal Factory.

The Godeater was primarily designed for electric basses and saturates the sound in the lower frequencies. However, it is not limited to bass guitars. The pedal can also be used with synthesizers or guitars. The pedal can also be interesting in combination with drum computers. The main aim of the Godeater+ is to create a pedal that allows you to create a distorted sound without losing the low frequencies.

Notes: Ozymandias - Dual overdrive pedal for guitar with exceptional distortion sounds

Ozymandias is a stacked dual-overdrive/distortion pedal that offers a plethora of usage options, choices fit for the King of Kings. From a near-clean boost with unparalleled headroom to full bore bourbon-swilling crunch, this one rules them all.

Features and Controls
Ozymandias contains two independent overdrive circuits, with identical controls but marked differences in tone and voicing:

The CROOK channel (left side, blue LED) boasts a full, fat thick sound and amp-like voicing. This channel is more articulate, grainy and has a huge low end.

The FLAIL channel (right side, red LED) is voiced in the midrange, with more drive and compression. This high-mid voicing will cut through a mix on pretty much any instrument.

Both channels have GAIN, TONE and VOLUME controls. For more textural control, each channel has three-way switches for hard (GRIND) and soft (GRIT) clipping, as well range (FULL/MID).

Each channel of the Ozymandias has its own set of input and output jacks. This allows you to split the output from each channel into separate amplifiers or even process two different instruments independently.

The mysterious square in the middle switches between two modes:

Series (Light off): FLAIL channel -> CROOK channel -> Output 2
Parallel (Light on): FLAIL channel -> Output 1; CROOK channel -> Output 2
Thanks to internal 22V operation, Ozymandias offers far greater headroom than most overdrive pedals from a regular 9V pedal power supply. Even with the gain dimed, this pedal is extremely reactive to playing dynamics and pick attack.

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: 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: A modern modulation classic, the MD-500 offers a huge range of effects from chorus to phasers and beyond, many of them based on iconic Boss and Roland effects from the past. Great value for such versatility.

Supplier's notes:
Monster Mod Machine

Powered by advanced BOSS technology, the ultra-versatile MD-500 delivers nearly any type of modulation effect a musician could want, and then some. Included are 28 different algorithms with intensive programming parameters, offering a nearly limitless sound palette to create with. And with class-defying 32-bit AD/DA, 32-bit floating point processing, and 96 kHz sampling rate throughout, you'll enjoy pristine sound quality that extends beyond the capabilities of the very best studio hardware.

Effects in the MD-500 include many new Prime types developed with cutting-edge BOSS tech, plus authentic sonic recreations of vintage classics like the CE-1 Chorus Ensemble, Roland Dimension D, '70s script phaser, '80s tri-chorus, and numerous others. With the ability to use two patches at once with A/B Simul mode, the MD-500 can likely cover all your mod needs with one convenient pedal. And by inserting drive pedals in the MD-500's flexible external loop, it's easy to place mod effects before, after, or around the loop as needed for the very best sound.

Twelve Modes and 28 Mod Effect Types

The MD-500 includes 12 modes with 28 different mod effect algorithms, and every one of them has been newly developed specifically for this pedal. All the go-to standards are here: chorus, vibrato, flanger, phaser, tremolo, rotary, classic vibe, and ring mod. Auto wah and touch wah effects are on hand too, plus BOSS originals like Slicer and Overtone. Slicer fans will welcome the ability to program custom patterns, an additional feature to the original SL-20 Slicer pedal. And with the MD-500's spot-on recreation of Roland's Dimension D from the 1980s, you can add amazing width and depth with one of the most revered studio rack effects of all time.

Prime Tone

For the MD-500, standard effects like chorus, flanger, phaser, and others have been refreshed with BOSS's advanced new Prime algorithms. Using ultra-fast, high-powered DSP and the latest technology, BOSS engineers have reimagined these essential effects for enhanced expression, extended range, and maximum transparency. With an array of adjustable parameters per type, you have a massive range of sound-shaping potential at your fingers. Some effects even have all-new parameters never seen in BOSS effects before, such as the "Bell" and "Sweetness" settings included in the Prime Chorus algorithm.

Extraordinary Sound

The MD-500 features 32-bit/96 kHz AD/DA, exceeding all industry standards for pedal-based effects. All internal processing is 32-bit floating point and runs at a 96 kHz sampling rate as well, delivering pristine sonic quality that goes beyond the highest-level digital processors used in top pro studios. And with selectable true-bypass or buffered-bypass operation, you can choose the best setting to suit the needs of any pedalboard setup.

Advanced Interface, Intuitive Operation

The MD-500 is equipped with a large LCD that clearly shows the patch name and other vital performance information. It also makes it easy to view and adjust the unit's deep editing parameters and advanced control features. With the grab-and-go panel knobs, you have top-level access to essential adjustments like depth and effect level, plus two parameter controls that change dynamically with the selected effect type. And via USB, you can connect with the free MD-500 Editor/Librarian on your computer for remote editing, patch backup, and more.

A/B Simul Mode and Insert Loop Function

A/B Simul mode further extends the MD-500's versatility by letting you run two patches at once. A selectable series or parallel connection enables all sorts of tone-shaping possibilities, and you can even send each effect to its own separate output if you like. The MD-500 also features an external loop that lets you insert gain and drive pedals and set the ideal effect order on a per-patch basis. For example, you can place a phaser or classic vibe before a drive pedal in one patch, and a chorus or flanger after the drive in the next. And when you're in A/B Simul mode, it's even possible to position the loop between two different mod effects.

Specifications
Sampling Frequency: 96 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point
Modes: 12 modes- CHORUS, FLANGER, PHASER, CLASSIC VIBE, VIBRATO, TREMOLO, DIMENSION, RING MOD, ROTARY, FILTER, SLICER, OVERTONE
Memory: 198 (99 banks x 2 [A] [B]), 297 (99 banks x 3 [A] [B] [C])
Nominal Input Level: INPUT A/MONO, B: -10 dBu
Maximum Input Level: INPUT A/MONO, B: +8 dBu
Input Impedance: INPUT 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: 2 k ohms
Recommended Load Impedance: OUTPUT A/MONO, B: 20 k ohms or greater
Bypass: Buffered bypass or True bypass (with relays)

Controls:
A switch, B switch, TAP/CTL switch
DOWN button, UP button, EXIT button, EDIT button
MODE knob, RATE/VALUE knob, DEPTH knob, E.LEVEL knob, PARAM 1 knob, PARAM 2 knob

Display: Graphic LCD (128 x 64 dots, backlit LCD)

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

Power Supply: Alkaline battery (AA, LR6) x 4, AC adaptor (sold separately)
Current Draw: 225 mA
Expected battery life under continuous use: Alkaline: Approx. 4.5 hours
* These figures will vary depending on the actual conditions of use.

Accessories:
Owner's manual
Leaflet "USING THE UNIT SAFELY"
Alkaline battery (AA, LR6) x 4

Options (sold separately)
AC adaptor: PSA-S series
Footswitch: FS-5U, FS-5L
Dual Footswitch: FS-6, FS-7
Expression Pedal: FV-500H, FV-500L, EV-30, Roland EV-5

Size and Weight
Width: 170 mm / 6-3/4 inches
Depth: 138 mm / 5-7/16 inches
Height: 62 mm / 2-1/2 inches
Weight (including battery): 1.0 kg / 2 lbs 4 oz

* 0 dBu = 0.775 Vrms

Notes: Redefined Vintage Fuzz and Versatile Modern Tones, Brought Together with Waza Craftsmanship

Fuzz was the first type of distortion pedal, and the retro sound of vintage units from the 1960s remains coveted by guitarists to this day. Realized through deep analysis of many legendary pedals and detailed Waza craftsmanship, the all-analogue FZ-1W delivers the inspiring tone, feel, and vibe of classic fuzz in a reliable modern design. And like all Waza Craft pedals, the FZ-1W features premium components for top-quality performance and extended range for maximum tonal versatility.

Discovering the Heartbeat of Vintage Fuzz

When introduced in the 1960s, fuzz pedals changed the game for electric guitarists, giving them a bold and aggressive new voice that redefined the sound of rock music forever. Through those early days, innovative pedal builders tweaked and refined fuzz circuits based on the creative input of many now-legendary guitarists. Ultimately, this led to a small number of standout designs that became the benchmarks for the broad spectrum of players.

While developing the limited-run TB-2W Tone Bender, Boss explored and analyzed many vintage fuzz pedals and gained deep knowledge along the way. This experience inspired Boss' to reimagine the classic fuzz effect with unique Waza craftsmanship and expertise. Unlike previous Waza Craft models, the FZ-1W does not provide a reproduction of a past design. This pedal is Boss' modern interpretation of vintage fuzz, and it carries the number "1" in its name to show great respect for the classic circuits that helped shape the sound of rock guitar and launch the effect pedal industry that we all love today.

The Best Elements of Vintage Fuzz in a Modern Pedal

The simple circuits of the most sought-after vintage fuzz units produce bright and aggressive tones with long sustain. They're very sensitive to playing dynamics as well, and the best designs allow you to clean up the sound by rolling back the guitar's volume knob. But these classic pedals are also famously inconsistent-even between models of the same design-and variables like age, battery type, temperature, and more can have a dramatic effect on their sound and performance.

Backed by Waza innovation, the FZ-1W lets you enjoy all the great musical characteristics of vintage fuzz without the downsides. While inspired by historic circuits, this pedal presents an all-new BOSS approach fuelled by Boss' forward-thinking perspective and deep knowledge of effect design. Using top-quality silicon transistors, Boss have created a unique circuit that delivers authentic tone and response while maintaining stable performance in any temperature or operating condition. In addition, this modern approach greatly expands the sound possibilities over vintage designs, offering higher gain, lower noise, deeper tone-shaping control, and more.

Vintage Mode-Classic Fuzz, Wider Expression

With the FZ-1W's Vintage mode, BOSS has redefined the classic fuzz voice with more gain and wider expressive range. The sound character is raspy and assertive without being harsh, and you can smoothly transition from heavy fuzz to crunch to crystal clean simply by riding your guitar's volume. The powerful Tone knob simultaneously adjusts the high and low frequencies, allowing you to dial in a variety of different fuzz colours. And by turning down the Fuzz knob and cranking the Level, the FZ-1W works great as a boost for your amp and other gain pedals.

Modern Mode-Fat and Focused

Modern mode delivers a more refined and versatile fuzz voice with focused midrange and fatter tone, making it ideal for all types of current music styles. The gain range is even wider than Vintage mode, and cranking the Fuzz knob past three o'clock conjures rich, singing sustain for inspired solo playing. The Tone knob offers a different tuning that lets you tweak the brightness without altering the midrange, ensuring your sound always cuts through. And when used as a boost, Modern mode dishes a heap of girth with rich, mid-driven character.

Waza Craft: The Art of Superior Tone

Since the beginning, the engineers at BOSS have been committed to achieving the finest guitar tones using any technology necessary, from old-school analogue circuits to high-tech DSP. This enthusiastic spirit continues on with the Waza Craft series, bringing you exceptional tone and touch response through carefully selected analogue components, refined circuitry, and meticulous attention to detail. In Japan, "Waza" is the term for art and technique, and these special edition pedals proudly carry the Waza symbol to represent the pinnacle of BOSS design and craftsmanship.

Specifications

Nominal Input Level: -20 dBu
Input Impedance: 1 M ohms (Effect Off), 22 k ohms (Effect On)
Nominal Output Level: -20 dBu
Output Impedance: 1 k ohms
Recommended Load Impedance: 10 k ohms or greater
Controls: Pedal switch, Mode switch, FUZZ knob, TONE knob, LEVEL knob
Indicator: CHECK indicator (Serves also as battery check indicator)
Connectors: INPUT jack: 1/4-inch phone type, OUTPUT jack: 1/4-inch phone type, DC IN jack
Power Supply: Alkaline battery (9 V, 6LR61 or 6LF22) or Carbon-zinc battery (9 V, 6F22), AC adaptor (PSA series: sold separately)
Current Draw: 16 mA
Expected battery life under continuous use: Alkaline: Approx. 33 hours, Carbon: Approx. 14 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 or 6LF22)
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): 430 g / 1 lb

* 0 dBu = 0.775 Vrms

Notes: Powerful GX-100 tone tools in a compact guitar/bass processor with a color touch display, multi-function footswitches, and a built-in expression pedal.

Players everywhere love the GX-100 for its streamlined design, free-flowing interface, and high-quality tones. Armed with the core GX-100 engine, the compact GX-10 brings you the same inspiring experience in an even more portable footprint.

You get loads of AIRD amps and effects for covering every style, plus speedy sound building with the intuitive colour touch display and panel knobs. Adding in multi-mode footswitches, an integrated expression pedal, and USB audio connectivity, the GX-10 seamlessly transitions from nightly stage performing to desktop recording, song creation, and daily practice sessions.

Compact amp/effects processor for guitar and bass

The same sound engine and colour touch display as the GX-100 in a portable, travel-ready design
Exceptional audio quality with 24-bit AD and 32-bit DA conversion, 32-bit floating-point processing, and 48 kHz sampling rate
Authentic tube amplifier tone and touch response with AIRD technology
32 amplifier types and 170 BOSS effects
Ultra-flexible amp/effect routing up to 15 assignable blocks
Wide selection of onboard speaker types and support for loading WAV speaker IRs
Streamlined modern design with a rugged metal chassis
Three footswitches with flexible control modes
Onboard expression pedal with toe switch
Connect up to two footswitches or an expression pedal for expanded control
Send/return loop for external pedals
Record and play tracks in music production software on a computer or mobile device* via a USB-C
Edit sounds from your computer with BOSS Tone Studio for macOS and Windows
Download and share Livesets at BOSS Tone Exchange (compatible with GX-100 Livesets)
Optional Bluetooth Audio MIDI Dual Adaptor allows you to edit sounds and stream audio from an iOS or
Android mobile device
*Compatibility with all third-party devices and software is not guaranteed.

Weights & measures
Product
300 (W) x 183 (D) x 74 (H) mm
11-13/16 (W) x 7-3/16 (D) x 2-15/16 (H) inches
2.2kg (4lb 14oz)

In the box
AC adaptor (PSB-1U + AC Cord Set)
Owner's manual
Leaflet "USING THE UNIT SAFELY"

2.2kg (4lb 14oz)

IN THE BOX
AC adaptor (PSB-1U + AC Cord Set)
Owner's manual
Leaflet "USING THE UNIT SAFELY"

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: 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: 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: 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: 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: 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 ultimate overdrive? Raw version of the Unobtanium pedal adds hand-selected NOS germanium transistors to the circuit. Filthy 60s vibes on tap here. Hard to beat.

Supplier's Notes:
A rare sonic element with alternate refinement - meet the new Unobtanium RAW edition!

The main composition has stayed the same as the standard version of the pedal: A recreation of the K-style overdrive true to the last detail finds its place at the right section of the pedal while the left section features two D-style amplifier voicings, the most unobtainable tube amplifiers in the world.

For the RAW edition, Crazy Tube Circuits have added a couple of magic ingredients to the clipping section of the K side: a set of hand selected New Old Stock Mullard/Valvo labelled OC45 germanium transistors from the 60s.

This is the first K-type circuit to feature germanium transistors!

Many germanium transistor types and found that the OC45 transistors added a supernatural feel with organic compression for increased gain and sustain. Fear not - the standard sounds are still there in the stock setting where you listen to germanium diodes clipping like in the original unit.

The amp-in-a-box side of the RAW version is glassier and punchier than the standard version. Think of singing blues rock and classic rock sounds that cut through the mix, flawlessly performing with all kinds of different guitars/ pickups combinations. Think of having the rock/jazz toggle switch set in the rock setting.

As with the standard version, Unobtanium Raw features a passive effects loop to give you the option to connect your beloved pedals between your booster/overdrive and amp in a box or use the two sections as separate and independent effects when using an external bypass switcher/looper.

Note that all pedals inserted in the passive effects loop are still in the signal chain when any or both sections of are in bypass mode.

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

Main sonic differences between standard and RAW versions:

K-side:

Standard version: MOD setting = silicon diodes added in combination with the stock germanium diodes in the clipping section for higher output/less compression.

Raw version: OC45 setting = New Old Stock Mullard/Valvo OC45
germanium transistors used instead of stock germanium diodes for
clipping resulting in higher gain and sustain/compression.

D-side:

Standard version: Smoother jazz/blues oriented tones.

Raw version: Glassier blues rock oriented tones.

The RAW version will not replace the standard one, that will continue to thrive. It will be built in limited quantities, and will stay out there for as long as there is stock of the beautiful NOS Mullard/Valvo OC45.

Warning: This unit was designed for 9V DC input only. Do not use a higher voltage power supply

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


Envelope with filter with serious attitude

This mangled, filter-sweeping, abruptly overdriving pedal is designed to respond to your playing. It syncs its wave-thumping movement with the force at which you play. It multiplies dynamics into a hyper-exaggerated frenzy. It adds just the right amount of movement to punch through the mix and it reacts to an external trigger of your choosing to follow your tempo. Six selectable frequency ranges mean you're always gonna have just the right quack and oomph for whatever's plugged in! The sounds are wild, the thump is thick, and the animation is deep.

Controls

Input: Plug an instrument in to this jack.
Trig: Plug another instrument in to this jack and use it to trigger the filter sweep.
Out: Connect this to the amplifier.
Sensitivity: Determines the point at which the filter engages and the frequency range of the filter shift in relation to the input amplitude.
Intensity: Simultaneously blends in the resonance, amount, and grit of the filter.
Vol: Adjusts the output volume of the DEEP ANIMATION.
Frequency Selector: Selects the frequency range of the filter.
Bypass: True bypass the effect.
Up / Down: Controls the polarity of the filter decay once triggered. UP sweeps the frequency from higher frequencies to lower ones and DOWN, the opposite.
Additional Features: There is a subtle light to indicate the external trigger behind the main bypass LED.

Specifications

Dimensions: 5.92" x 4.72" x 2.34" (including hardware).
Weight: 21 oz.
Power: 9V (runs on standard 2.1mm negative center 9V adapter or included 9V battery).
Current Draw: 18 mA.

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: The original Diamond VIBRATO was conceived in late 2006 with a simple yet ambitious idea: crafting an analogue, true-pitch Vibrato pedal, built around the revered MN3007 bucket brigade chip and promptly became one of the world's most coveted and sought-after Vibrato pedals.

Now, nearly two decades later, the new Diamond VIBRATO is not only back - it's better than ever. This latest and greatest version of the VIBRATO incorporates decades-worth of end-user feedback, better tech, maximum efficiency, modern features, a meticulous redesign for enhanced player experience and the signature Diamond quality that made the original pedal so great.

This reinvented and coveted classic is now available in an updated, compact package, plus the first run of 800 pedals is equipped with NOS Panasonic MN3007 BBDs.

Half the size, all the sound

Don't let the size cause you to underestimate the power packed within. We've managed to stuff all the VIBRATO's analogue audio path, Compandor and BBD Delay circuits in pedalboard-friendly sized enclosure. By using dual stacked PCB's, we've not only optimised space but also enhanced the isolation of the audio path from the power and switching circuits. Add top jacks, soft-touch True Bypass switching, and standardized negative-centre 9-18 V DC input with polarity and over-voltage protection for a bulletproof pedal ready for any gig.

Analogue BBD delay line

At the heart of this pedal lies the revered MN3007 Bucket Brigade Delay chip, renowned for its ability to create the rich, organic, and warbling Vibrato & Chorus tones which make the sounds of the 70s and 80s guitar icons. The MN3007 infuses its signature character to your guitar signal-delivering a natural, liquid-like pitch modulation with a rounded vintage texture and mojo that is missing from modern digital counterparts.

Compander magic

The Compandor Circuit adds warmth and complexity by controlling your dynamics. Acting as both a compressor and expander, it not only gives the VIBRATO its signature feel and response but also reduces much of the noise inherently found in BBD technology. Borrowed from the Memory Lane Jr., the updated compandor design in the VIBRATO provides increased clarity, less distortion and is pre-trimmed therefore will never have to be recalibrated.

Input voltage

While the original VIBRATO could only be powered by an 18 V DC reverse polarity power supply (internally regulated to 15 V DC) - the new VIBRATO offers a much more versatile 9-18 V DC operating range. The voltage is internally regulated based on the power input and as a result, the pedal will sound slightly different depending on operating voltage as the clock frequency will shift.

For classic, pristine and lush Diamond VIBRATO tones with added headroom, power the pedal at 18VDC like the original. Powering it at 9 V DC will add a bit more colour and warble - much like the "High Mode" in the original big-box VIBRATO. You can take advantage of the added range or just dial back the depth. Better yet, grab a Cioks power supply and try it at 12VDC or 15VDC regardless of what you settle on, the Diamond VIBRATO will sound great! As always, it is recommend that you use a good quality, isolated power supply.

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: Make your music Hypersonic

Send your tone soaring with the HyperSonic 3-octave pitch rise.

New octaver blend modes

Create never-before-heard sonic textures with new octaver blend modes.

MIDI-capable

Ready to integrate with advanced performance rigs with support for 5-pin MIDI control.

Artist-inspired design

Unique artwork and signature style make the MonoNeon Signature Whammy a bold addition to your pedalboard.

The DigiTech MonoNeon Whammy pedal goes where no whammy pedal has gone before, with new octave blend modes and up to 3 octaves of HyperSonic pitch shifting. Developed in collaboration with trailblazing bassist MonoNeon, the MonoNeon Whammy delivers mind-blowing pitch manipulation for guitar and bass alike.

Included in the box:
MonoNeon Whammy Pedal
Power Supply
User's Manual
2 Guitar Case Stickers
Warranty Registration Information Card
Special MonoNeon Customizing Kit

> Gaffer's Tape - Neon Yellow & Neon Orange
> Mini Permanent Marker

Specifications

Input / Output
Instrument Input Type: Unbalanced 1/4" TS phone jack
Max Input Level: +5 dBu
Input Impedance: 1 MO
MIDI Input: 5-Pin DIN
Output Type: Unbalanced 1/4" TS phone jack
Max Output Level: +10 dBu
Output Impedance: 1 kO

Electronics

Frequency Response: 20 Hz to 20 kHz
Signal to Noise Ratio: >105 dB (A-weighted): ref = max level, 22 kHz bandwidth
THD: 0.004% @ 1 kHz; ref =1 dBu w/ unity gain
Sample Rate: 44.1 kHz
A/D Conversion: 24-bit
D/A Conversion: 24-bit

Physical

Dimensions: 6.5" (16.51cm) x 7.75" (19.68cm) x 2.5" (6.35cm) (WxDxH)
Shipping Weight: 3.8 lbs. (1720g)

Power
Power Consumption: 2.4 W (265 mA @ 9VDC)
Power Requirements: 9 VDC External Adapter (center negative)
Included Power Adapter: PS0913DC (9V DC @ 1.3 A) center negative

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: 50th Anniversary Limited Edition

Hand-built in the USA - only 1,974 units will be made!

3 Overdrives in One

Switch between vintage-authentic SILICON clipping, Ge/ASYM Germanium asymmetrical clipping, or LIFT for no diode clipping for either clean boost use or op-amp rail clipping at higher levels.

Mod-Friendly Components

Equipped with a socketed LM741 op-amp and through-hole components for easier modding just as the original 250 were known for.

For Players and Collectors Alike

Whether you're hitting the stage or simply celebrating a history-making overdrive pedal, you won't be disappointed.

The Overdrive Preamp 250 - 50th Anniversary Edition pedal celebrates the introduction of the original 250 pedal in 1974. Widely considered to be one of the most influential overdrive pedals, the original 250 helped shape the sound of rock and metal in the late '70s and early '80s. The Overdrive Preamp 250 - 50th Anniversary Edition pedal is hand-built in the USA using the authentic design of the original pedal, while adding two extra modes for modern sonic versatility.

The Overdrive Preamp 250 - 50th Anniversary Edition is actually three overdrive pedals in one. Set it to Silicon mode for a faithful reproduction of the original 250's bite and grind, courtesy of an authentic LM741 op-amp. Select Ge/ASYM mode to engage a Germanium diode for asymmetrical even-order clipping that provides a distinct tonal character with incredible touch response. Or switch to Lift mode to remove diode clipping completely from the signal path, for use as a clean boost and preamp.

Complete with a commemorative 50th Anniversary badge, custom artwork and colour-matched LED, and a 50th Anniversary pedal topper, the Overdrive Preamp 250 - 50th Anniversary Edition pedal is ideal for players and collectors alike.

What's in the box

1 x DOD Overdrive Preamp 250 - 50th Anniversary Edition
1 x 50th Anniversary Pedal Topper w/Hex Wrench
1 x Serialized Certificate of Authenticity
4 x Stickers
4 x Guitar Picks
Full-colour owner's Manual


General Specifications

Dimensions: 4.68" (11.88cm) x 2.63" (6.68cm) x 2.25" (5.71cm) / (L x W x H) - (Jack W = 2.92" (7.41cm))
Weight: 0.60 lbs. (272g)
Input: 1/4" Instrument Phone Jack
Input Impedance: >300kO typical
Output: 1/4" Instrument Phone Jack
Output Impedance: 9.1kO - 27.5kO (based on Level control position)
Gain: +9.5 dB to +46.7 dB
Power Input: 2.1mm DC Barrel Jack, centre (tip) negative
Chassis: Aluminium
Power Supply: 9V Alkaline Battery, DigiTech PS0913DC Power Supply, Other well-regulated 9V centre (tip) negative supply +18V tolerant
Consumption: 7mA typical
Warranty:1 year

External dimensions

Dimensions: 6.94" (17.62cm) x 3.38" (8.58cm) x 2.88" (7.31cm) (L x W x H)
Weight: 0.87 lbs. (367g)

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: The latest EarthQuaker Device actually is the same as the latest Death By Audio device - the TIME SHADOWS II - Subharmonic Multi-Delay Resonator. This new pedal is a joint collaboration that brings their sonic soundscape trips to your melted mind.

With the switch to the left Time Shadow's controls are completely the brainchild of EarthQuaker Devices resident genius Jamie Stillman. Flip the switch to the right, and you enter the head of the madman Oliver Ackermann from Death By Audio barely clutching to reality. Place the switch in the middle and enter a whole new realm of pitch warping delays brought to you by a telepathic mind-meld with a 5th dimensional dream being.

All three sounds are wildly different from each other and yet share a perfectly designed harmony to be completely complementary and suitable for every style and genre of music.

The EarthQuaker Devices side transforms whatever you play into the sound of a jazz space bazooka! It's a pitch morphed fuzz delay filter with so much attitude that you are actually intimidated. It takes the input signal, blows it out with power of digital distortion, blends it with a polyphonic sub octave, feeds it into a delay, then spits it out into a highly resonant envelope controlled lowpass filter.

The Death By Audio side is a multi-delay filter remorphinator that goes from icy shimmers to cosmic space caves of bouncing repeats.

The middle position is an energy beam that brings your earthly transmissions repetitively closer to the heavens while simultaneously diving deep into the hells.

In addition to all this madness we also bring you a user assignable expression jack and 6 preset slots to save and recall your favourite settings!

With these three unearthly delights, you should have everything you need to break brains and destroy monotony!

Notes: The EarthQuaker Devices Flexi Loops is a dual effects loop featuring our world renowned Flexi-Switch Technologyr!

Using an effect loop switcher on your pedalboard allows you to easily remove all your effects from the signal path creating a path of least resistance, to help maintain full tonal integrity when they aren't in use. Flexi Loops allows you to create two distinct loops of effects and then introduce or remove them all on the fly with ease and with its dual silent relay-based and true bypass switching, the pedal allows you to simultaneously use momentary and latching style switching.

Flexi Loops allows you to create two distinct loops of effects and then introduce or remove them all on the fly with ease and with dual silent relay-based true bypass switches, the pedal allows you to simultaneously use momentary and latching style switching.

Using high quality, soft touch momentary switches for durability and quick action to ensure a lifetime of switching enjoyment, Flexi Loops is entirely passive and there is no circuitry in the signal path. However, it will require power for the relays to pass signal. For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass. While for momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

But you aren't just limited to using the Flexi Loops as a loop switcher either! You can use one channel as a tuner out/mute or even a plain old mute. Use the sends to run out to different sources and easily select between them. The Flexi Loops uses high quality, soft touch momentary switches for durability and quick action to ensure a lifetime of switching enjoyment. This device is entirely passive and there is no circuitry in the signal path, but it will require power for the relays to pass signal.

Powered by a regular 9 V DC PSU (centre -, 2.1 mm, ~25 mA current draw - not supplied)

Notes: The EarthQuaker Devices A/B Box is a simple tiny tool that lets you choose between two of pretty much anything. Because of its completely passive design, there is no circuitry between the input and outputs which means it can be used in both directions. Use it to switch between two amps, switch between two channels on a multi-channel amp, use it as tuner out/mute switch, run a dry path and a wet path or even switch between two instruments!

The time to passively choose is now!

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.

Notes: Sometimes pedals can change. Parts drift, pots break, transistors go bad. They go to new homes; they get neglected and resold. Sometimes people get in there and try to revive them to their original state and sometimes they just throw whatever is laying around inside and hope it does the trick. In this case, EQD are pretty sure all the above happened to the fuzz pedal that made its way to James Murphy and ended up finding a forever home with LCD Soundsystem.

Chelsea really does have something special. It's heavy without being too heavy, clean but not too clean. A simple set of controls yet it has an expansive array of tones that makes it very versatile on a wide variety of instruments, has clarity when you need it and can blur all discernable lines when you don't. It still retains the familiar foundation of the classic fuzz it was intended to be, but something special happened to it over the years and it has very much grown into its own thing

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: 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: The Oceans Abyss expands on Electro-Harmonix's highly acclaimed reverb technology to deliver a truly immersive effects workstation. The pedal is centered around dual reverb engines that are independently programmable with full-stereo algorithms including Hall, Spring, Shimmer and more. Place these reverbs into a customizable signal path with additional FX blocks like Delay, Chorus, Tremolo, or Bit Crusher for a completely unique soundscape building experience.

Electro-Harmonix has paved the way for powerful, accessible reverbs since the release of the original Holy Grail and now we've pushed the envelope deeper with the fully-equipped Oceans Abyss. Featuring a customizable signal path with up to 8 effects blocks, the Oceans Abyss can be configured as individual reverb, modulation, EQ, delay, bit crusher, saturation or volume effects, or as countless combinations for incredibly creative effect shaping. From a simple Spring reverb to a lush stereo field featuring stereo hall and shimmer reverbs, chorus, delay, overdrive, and tremolo, you can go from surf to shoegaze instantly, without breaking a sweat.

Deep parameter editing is accessible via the high-visibility OLED display with multiple graphical views and easy-to-read designs. Expression/CV control over nearly every parameter gives artful control of your effects and dynamics. Fully-stereo I/O plus an FX Loop allows for use with any instrument, recording set up, or live rig. 128 programmable presets via onboard footswitching or MIDI ensure perfect recall in all performance situations. MIDI IN/OUT ports with MIDI IN support of PC, CC, and Tempo Clock expand the already immense talents of the Oceans Abyss. Connect with UBS-C to Windows or Mac for effects editing, preset management, and more with the free EHXport app.

Circuit: Digital
Bypass: Buffered Bypass
Audio: Stereo In & Out
Power Supply: 9.6VDC-500mA power adapter included
Dimensions (in): 7.125 x 5.75 x 2.25
Current Draw: 500mA

Notes: Sculpt your tone to any shape with the LPB-3!

The effect that launched Electro-Harmonix gets a makeover with the Electro-Harmonix LPB-3 Linear Power Booster & EQ. With an active EQ featuring a powerful Parametric Mids control and up to a walloping 33dB of boost, the LPB-3 is the perfect tool for any tone tailoring task. Boost your sound into saturated bliss with transformative precision like never before.

Housed in EHX's Nano-sized chassis, the LPB-3 is capable of boosting up to +33dB of clean gain with the powerful tone shaping of a 3-band EQ with parametric Mids. The active 3-Band EQ features TREBLE and BASS knobs to control the highs and lows plus a powerful parametric Mids control with adjustable MID FREQ and Q. BOOST sets the overall output of the pedal with the MAX switch toggling between 20dB and 33dB of maximum boost. Use the PRE-GAIN knob to fine-tune the total gain and volume of the boost.

This booster pedal's additional features include selectable Buffered/True Bypass switching and internally extended 30V power rails for enhanced headroom.

Specifications

Circuit: Analogue
Bypass: True Bypass
Audio: Mono
Power Supply: 9.6VDC-200mA power adapter included
Dimensions (in): 4.5 x 2.75 x 2.1
Current Draw: 120mA
Year Released: 2024

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: The most powerful POG ever, EHX's iconic Polyphonic Octave Generator gets more effects and more advanced expression features. Same precise polyphonic tracking and versatile sound, from 12-string effects to organ tones and much more.

Supplier's Notes:
The most powerful POG ever!

The world's best octave effect just got better! The POG3 is the most powerful pedal in Electro-Harmonix's revered line of polyphonic octave generators that continues to inspire and captivate musicians of all styles. At its core, the POG3 delivers lightning-fast tracking and perfect polyphony over 4 octaves with smoother tone and performance than ever before. From 12-string jangle to 6-voice drawbar organ sounds, the POG3 delivers an endless possibility of tone creation. The pedal has received many updates that further expand its tone shaping possibilities to enhance your performance on stage and in the studio.

Featuring 6 voices including DRY, -2, -1, +5th, +1, & +2, you can mix each with individual sliders and create enveloping stereo effects with dedicated pan knobs and selectable LEFT/RIGHT/DIRECT outputs. The effects section has been expanded to offer envelope control and adjustable Q for the new multi-mode FILTER, enhanced DETUNE section with SPREAD, and individual DRY effect selection, plus the famous ATTACK slider for subtle or dramatic swell effects. All voices, effects, and additional features are now controllable via expression and MIDI for even more creative control. Unlock new expression effects including Freeze, Glissando, Volume, Filter, X-Fade, and Warp with advanced programming and performance controls. The INPUT GAIN slider is an old friend from the original POG that can add girth and dirt to your tone mix.

With all of this fresh tone creation power on tap, additional storage and editing options simply workflow and sound saving capabilities. 100 onboard presets can be saved and rearranged easily thanks to the POG3's high-visibility OLED display and NAVCODER knob. The EHXport desktop app also allows for easy preset storage and organization as well as streamlined preset editing on your PC or MAC.

Discover your most creative self with the POG3!

Specifications

Circuit: Digital
Bypass: Buffered Bypass
Audio: Mono In & Stereo Out
Power Supply: 9.6VDC-500mA power adapter included
Dimensions (in): 7.125 x 5.75 x 2.25
Current Draw: 300mA
Year Released: 2024

Notes: Empress have brought back the most sought after Parametric EQ pedal with groundbreaking updates.

More Control

Whether you're trying to cut through a mix or fix a feedback issue, you need precision! The ParaEq MKII offers the most control of any pedal EQ on the market.

More Power

The ParaEq MKII pedals operates internally at 27V, providing clean headroom without unwanted clipping.

More Purity

We're able to offer the most control without degradation to the tone due to minimal circuit topology0 the opposite of graphic EQs.

Which ParaEq Do You Need?

The original ParaEq has been loved and trusted by musicians on a variety of instruments for over a decade. Both the ParaEq MKII and the ParaEq MKII Deluxe feature a low-noise, transparent signal path that is extremely versatile.

With three fully parametric bands, you can simultaneously achieve broad tonal shaping and precise fine-tuning to sculpt your perfect sound.

The ParaEQ MKII Deluxe will appeal to players who:

Need high-pass and low-pass filters for precision work at the frequency extremes
Want the glorious sound of Baxandall filters for sparkling high end or extra weight in the low end
Want to be prepared for any EQ situation

Why Parametric over Graphic EQ?

Graphic equalizers provide a convenient visual sense of the EQ curve. However, there is a tradeoff in transparency and precision.

The ParaEq MKII Deluxe excels in precision and transparency compared to a standard 7-band graphic EQ pedal. When both are set to provide a boost, the ParaEq MKII Deluxe offers a much more focused adjustment, affecting only the targeted frequencies. In contrast, the graphic EQ alters a broader range of the frequency spectrum. Moreover, while the ParaEq keeps the rest of the signal unchanged, the graphic EQ can unintentionally reduce other parts of the signal. This makes the ParaEq MKII Deluxe a more transparent and accurate tool for shaping your sound.

This combination of transparency and precision is why recording studio control rooms are dominated by parametric equalizers, and why they're a great choice for creative and corrective EQ on your pedalboard.

Specifications

Input Impedance: 1MO
Output Impedance: 100O
Frequency Response (-3dB): 22Hz - 25kHz
Total Harmonic Distortion: < 0.05%
Noise: > 107dB
Headroom: +30dBu
Input Voltage: 9VDC Centre-Negative
Required Current: 300mA
Power Input Connector: 2.1mm Barrel Connector
Height (Enclosure Only): 1.5"
Height (Including Controls): 2.5"
Length: 4.8"
Width: 2.6"
Weight: 1 lb

Notes: Endorphin.es present the rather simple but ever so useful PLUS 3 - desktop expression and sustain pedal that adds controls and unlocks features in MIDI controllers, synthesizers, effects pedals and semimodular/eurorack instruments, some in ways previously not possible

PLUS 3 is designed for musicians who prefer compact desktop control of features accessible via the sustain and expression jacks of their instruments, as opposed to using their feet or bulky sustain and expression pedals on their desk.

PLUS 3 includes a high-quality fader for expressive performance and automation, a momentary sustain key, and an innovative "drone mode" toggle switch, which lets you free your hands and hold notes indefinitely. In drone mode, the momentary key's functionality changes, to let you swap droned notes with new ones.

PLUS 3 is totally passive, meaning it doesn't require any power to work. It's made of aluminium, so it's sturdy, light, and portable. Its sustain key is based on standard mechanical keyboard-style keys, so you can customize it and swap the key out to make the pedal your own with your key of choice.

Capabilities PLUS 3's sustain side unlocks for instruments with a sustain jack, subject to the instruments capabilities are among other:

A momentary sustain button for instruments that don't have a dedicated physical sustain control (most don't!)

A dedicated drone/hold/arp latch switch for instruments that don't have one (many don't!). It's important to note that even if an instrument has a hold button, its sustain jack may unlock additional functionality or behaviour (for example, a button that simply holds notes does not cause Piano VSTs to resonate sympathetic strings in the way using sustain does.

Momentary and toggle control of any parameter mappable in your DAW synth's mod matrix/menu system, or effect pedal (for example, sostenuto, a freeze effect, dry/wet bypass, swapping presets, etc)
Capabilities PLUS 3's expression side unlocks for instruments with an expression jack are, among other:

PLUS 3 is particularly useful for adding an expressive physical fader to MIDI controllers that don't already have faders, but have an expression jack (for example, Native Instruments Kontrol MK3, or M32; or Korg's KeyStage).

Use PLUS 3's fader for direct access and expressive control of any single parameter mappable in your DAW, effects pedal or synth in ways not possible with a regular keyboard (for example, bowing a violin, an orchestral swell, fine tuning a track's level in the mix)

For DAWs, synths with a mod matrix or effect pedals with expression jack mapping capabilities (e.g. many Chase Bliss, Boss, EHX pedals, and the GHOST and GOLDEN MASTER pedals), use PLUS 3's fader as a macro control to change multiple parameters at once - almost similar to preset morphing, based on your instruments ability to map its expression input to multiple parameters

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: 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: Unlimited tone. For all.

An entire rig right in your pocket

TONEX ONE puts IK's revolutionary AI Machine Modeling technology on any size pedalboard, enabling you to perform with the world's most sought-after tones in more ways than ever before. It truly makes unlimited tone accessible to all.

Ultra-compact and powerful, TONEX ONE stores up to 20 hyper-realistic modelled amps, cabs and stomps from a nearly infinite supply, so you can add it anywhere in your rig. You can even load models of your own gear captured with the included TONEX software. Effortlessly fit multiple units on your board for truly limitless tone possibilities.

Small size, huge sound

TONEX ONE packs the same incredible responsiveness and dynamics as TONEX Pedal, but in a mini format that saves space and travels anywhere. You can fine-tune presets on the fly using the onboard gain/volume and 3-band EQ, then adjust FX levels like noise gate, compression and stereo reverb to complement any live venue. With auto save you can quickly adjust settings on the fly without the need of a computer.

Any rig, any size

Designed to fit any pedalboard and small enough to chain multiple pedals, TONEX ONE gives you the freedom to build the perfect fly rig or enhance your existing pedalboard. Use two pedals to create a killer stereo rig or place multiple pedals in series for tone stacking and boosting lead and rhythm tones.

The right connections

TONEX ONE is simple to use and connects to any type of guitar or bass rig including real amps, PA systems and FRFR (Full Range, Flat Response) Cabs. Toggle the "no cab" option for direct connection to cabinets and speaker emulators. Or activate the cab for consistent, pristine miked cabinet tones night after night. Experience rich, cranked amp tones at any volume level, perfect for in-ear monitors or where controlling stage volume is essential.

Your gear forever and always

It's never been easier to make a virtual version of your amps and pedals. Capture your rig with the included TONEX SE software and use it across the entire TONEX Ecosystem including TONEX ONE, TONEX Mac/PC, TONEX Pedal, TONEX ONE and TONEX iOS. TONEX makes it easy to always have your gear collection on hand to play live or in the studio.

Infinite tones on tap

TONEX ONE keeps you inspired no matter where your musical journey unfolds. Store up to 20 presets from the included 200 premium Tone Models or download over 25,000 Tone Models (and counting!) from ToneNET. Add more tones with IK Signature Collections or explore hundreds of ever-expanding Tone Partner collections that feature a variety of rare, vintage and modern amps and pedals.

Ready for the road

TONEX ONE delivers not only jaw-dropping tones and essential effects, but also the right connectivity and controls that make it easy to sound your best at any gig or performance.

AMP / RIG: Load up to 20 presets with 3 playable slots to use any time. You can load any combination of pedal, amp and whole-rig models.

STEREO / MONO: Mono input and TRS stereo and dual mono output. The TRS output also doubles as a headphone out for silent playing.

TWO PERFORMANCE MODES: Select between two performance modes: Dual A/B or Stomp (On/Off) operating modes.

CUSTOMIZABLE MICRO-KNOB COLORS: Choose from custom colours to assign and save to any preset for visual identification during live performances. You can also turn off the light for more formal settings.

IR LOADER: Load any custom IR or use IK's VIR cabinets to fully customize your sound.

EFFECTS / UTILITY: Includes an onboard tuner, noise gate, EQ, compressor and 5 stereo reverbs including: hall, room, plate and 2 spring reverbs.

Your tone in the limelight

TONEX ONE makes it easy to perform and stand out on stage with micro knobs that can be customized using any of the available LED colours. Choose colours to identify different Tone Models, to match your pedalboard aesthetics or to identify different TONEX ONE units on a single pedalboard. The micro knob lights also do double duty when engaging the onboard tuner, which has two selectable modes: Thru and Mute.

Specs

Total Presets: 20
Presets / bank: 2 Presets (A/B Mode), 1 Presets (Stomp Mode)
Bank Controls: Mode Selection (A/B or Stomp)
Onboard IR: VIR multi-IR cab emulation, Custom IR loader
Controls: Bass / Gate, Mid / Comp, Treble / Reverb, Vol / Gain, A/B or Bypass

Effects: Reverb, Compressor, Noise Gate, Bass / Mid / High EQ
Outputs: 1 x 1/4" mono / stereo / headphone
Assignable Colours: 9
Impulse Response: VIR multi-IR Cabinets, Custom IR Loader
Premium Tone Models: 212
Included Software: TONEX SE, AmpliTube 5 SE
Audio Interface: 24-bit/44.1 kHz
Connection: type USB-C

Size & Weight

48 mm / 1.89" W
94 mm / 3.7" D
53 mm / 2.09" H
160 g / 0.35 lbs

Power Source: 9V DC, 120 mA (not included)

Notes: Jackson Audio presents the TWIN TREM, a pedal that features two distinct tremolo effects: a Harmonic Tremolo on the right side and an Optical Tremolo on the left side. Each tremolo is equipped with independent Speed, Depth and Volume controls and can be used separately as stand-alone effects (or combined) to create rich, unique and percussive sounds.

Each tremolo side has different LED indicators (red for Harmonic, blue for Optical and magenta for Combined). These LEDs also visually display each section's speed, making it easy to sync the two tremolos together.

The TWIN TREM boasts four top-mounted jacks, allowing versatile signal routing. You can run it like a standard pedal, routing the signal in through the first jack and out through the last. Alternatively, you can route the signal through the Harmonic side first, pass it through a reverb or another effect, and then into the Optical side, preserving the classic placement of optical tremolo after reverb, just like in many amplifiers.

These routing options opens up endless possibilities for integrating the TWIN TREM with other effects in your signal chain. If you have a stereo setup, the right side can run through the Harmonic tremolo, while the left side passes through the Optical.

In addition, offering comprehensive control over pre- and post-effects tremolo placement all helps to make the TWIN TREM an essential tool for building a complete rig.

Notes: The first outing for KMA's unique and custom AI driven True Double Tracker technology was in the ENDGAME, their powerhouse end-of-chain pedal. KMA designed their dead-simple-to-use, TDT Algorithm in ENDGAME to be as authentic to the doubling recording process as possible, but they realise that not everybody needs all the bells and whistles of such an all-encompassing device.

However, the processing power requirements required for TDT meant a simpler device wasn't yet possible. But as demand from the community grew, KMA's team worked hard to squeeze it down and make it happen.

So, meet GEMINUS - all of KMA's True Double Tracker goodness in a compact pedal that's suitable for any board. Whether playing live or recording with a single instrument, GEMINUS is the perfect solution for adding "fatness" and "width" to your performances - it really does feel like you are playing the same riff twice!


Enabled via the soft bypass footswitch, GEMINUS accurately replicates the minor differences that exist between two separate recordings. The TDT WIDTH control spreads your doubled tracks, anywhere from completely centred (0%) to 50% left and right (centre indent) and 100% left and right split.



KMA has carried out extensive research on how to make double tracking sound exactly how they think it should perform. In the process, they've spent thousands of engineering hours working on our own proprietary technology, even developing their own custom neural network AI with onset detection in the process for our algorithms.

The mode for the TRS input and output jacks is selected by the toggle switch. You can choose between stereo in and out, mono in and stereo out or mono in to mono out, so no matter your signal and tonal desires, GEMINUS will fit into your rig with ease.

For the most accurate performance (and just like the real double tracking scenario in the studio), their custom True Double Tracker algorithm should ideally be fed with a mono signal. Obviously if you are trying to emulate what traditionally happens in the studio, you wouldn't normally double up a stereo source. Having said that, the TDT algorithm has been optimised to still have a useful and very pleasing widening effect on stereo input signals, just take care that using too much doubling on some stereo sources may cause your carefully crafted reverb, delay or other modulation effects to turn to mush or even add phase issues.

To help tailor the Doubling to your own taste, the TIME control changes the timing range of the doubled AI-driven onset detection. Essentially, it's all about the tightness of the doubled signal to fit differing playing styles. Variable from an extra tight mode, that's perfect for extra fast riffs, to a looser timing that can just the right amount of density to more open playing styles, this control is a powerful weapon to make your riffs fit your musical goals. The centre detent is GEMINUS' default factory position, but turning the knob left will give a tighter feel. Crank the knob to the right and the doubled signal becomes much more relaxed.


While the LEVEL control affects the balance of the doubled signal against the original source. Useful for those times where you might want maximum width, but a little less (or even more) of the sound to be doubled against the original. Centre detent of the knob is GEMINUS' default factory position. There's some clever panning stuff going on under the hood here too, so neither the doubled or original signal is louder on one side or the other, when in Stereo.

Finally, the new PITCH selector switch can add some additional movement to your doubled signal, extending the usefulness of GEMINUS beyond standard doubling. When the switch is at the centre default position (-) there is no pitch adjustment, (~) adds some subtle modulation, while (?) adds even more wobble. In this mode, it doesn't mean that your second guitarist will sound like they are off on a quest for enlightenment all on their own (!), it is just super handy for those times when you want more chaos and instability in your ensemble.

To top it all off, they've added a switchable real True/Buffered bypass and 'silent' relay-based soft switching. When KMA were testing our new pedal platform, they really loved the clarity and signal integrity of KMA's Buffered Bypass, plus there are zero clicks and pops when switching in this mode, which is why it is the recommended and default mode on shipping. However, they know some players have some special devices like extra fussy vintage fuzz pedals and the like, so they added the ability to select True Bypass mode via an internal dip switch.

Phew, seems that there's quite a lot going inside GEMINUS then. We believe our True Double-Tracker in this pedal is the best sounding, yet easiest to use doubler you'll ever play - period.


Go forth and multiply your riffs!


Product Type:

Stereo True-Double-Tracker (Proprietary Doubler) pedal

Bypass Type:

Switchable True/Buffered Bypass with 'silent' relay-based soft switching

Power Supply Requirements:

9 V DC - Centre (-) negative 2.1mm

Current Draw (max):

< 100 mA

Product Dimensions / Weight:

H: 60 mm / 2.36 inch
W: 74 mm / 2.91 inch
D: 128 mm / 5.04 inch
Weight: 350 g / 12.35 ounces

Notes: Designed as the ultimate choice for the end of your signal chain, Endgame is a stereo pedal with a seriously clever design. An effects loop, amp/cabinet/room simulation and double-tracking features are among the options on offer.

Supplier's Notes:
After years of development work, ENDGAME is KMA Machine's most ambitious creation to date. A highly flexible and comprehensive solution for the end of your signal chain, ENDGAME is a superb problem solver and a convenient creative companion.

Talk about feature packed! With an integrated Stereo FX loop, KMA's proprietary True Double-Tracker doubler and own DUAL IR cab with power amp simulation, an Aux Input (also via Bluetooth), real pro-level XLR outputs and extensive routing options, ENDGAME really is a powerhouse for your board, whether touring as a fly rig or practicing at home with headphones.

And now, you can finally use all your stereo devices with just one easy to use and compact product - let the alchemy begin!

It's no secret that over the past few years stereo pedals have become a huge part of many musician's rigs. While many regular tones can (and should) be mono, KMA are very much fond of stereo effects. But why is it so hard to use them either at home or on the stage? Without the luxury of 2 amps (plus the ability to turn them up if you have them) or for owners of cab/amp simulators that are usually mono input by design, monitoring stereo effects properly can end up being so difficult that many just end up running their stereo effects in mono and therefore lose many of their spatial creativity nuances.

Doubling guitars in recording is also a common practice in a variety of musical styles. In many cases, a single guitarist will record the same track twice with each separate recording being spread to the left and right channels. The effect of this is unmistakable to the ear and the slight differences and nuances between the two separate performances complement each other to create a noticeable thickness, density and weight to the musical experience. This is hard to get sounding right live too. Note this is not the same thing as simple doublers (that just delay one signal with a modulation) or ADT type solutions that are on the market today.

So, KMA developed ENDGAME. KMA wanted to make an easy-to-use product that gives the essentials of good tone, nothing more and nothing less. While from the front panel it might look like ENDGAME has lots of controls, compared to many hidden menus and screens in many other products, all means that it is also deceptively simple to use, despite the huge complexity of what's going on inside!

Stereo FX Loop

A Stereo FX Loop isn't a new thing, but in ENDGAME's case it is probably one of the most usable, making this a killer feature!

For maximum flexibility, the serial loop features routing that can exist either before or after the IR loader and/ or Doubler (when active). Buffered for the sake of long cable runs and to maximise signal clarity, you can now hear your stereo pedals and other effects in their true pristine glory! Plus, you can quickly switch the loop on or off via the convenient soft footswitch.

True Double Tracker

Whether playing live or recording with a single instrument, the KMA ENDGAME's True Double Tracker provides the perfect solution for adding a "fatness" and "width" to your performances and really feels like you are playing the same riff twice!

Enabled via the footswitch, the doubler accurately replicates the minor differences that could exist within two separate recordings and the width control can spread your doubled tracks anywhere from completely centred (0%) to 50% left and right (centre indent) and 100% left and right split.

Notes: An original creative take on delays, looping, reverb and modulation, the Technician combines various digital programs to create a hugely versatile all-round audio tweaking toolbox.

Supplier's Notes:
Delay modes

Digital

Starting as a crisp digital delay, this mode, when paired with the tap footswitch, covers a lot of ground for your delay needs. The "Red" modulator lets you adjust the dampening of the delay, making the repeats either brighter (emulating towards a tape or HIFI sound) or darker

Reverse

Instead of reading the delay buffer in a forward direction like the "Digital" delay we read the buffer backwards creating unique sound possibilities. You can further modify this sound with the "Red" modulator to adjust the dampening of the repeats to grow brighter or darker.

Granular

Takes the delay buffer and chops it up into "Grains" and then plays those grains back. The size of the grains, direction (forward/reverse), the speed (pitch) and location in the buffer is all randomized so every time you experience this mode it will be a unique exploration into granular synthesis. The "Red" modulator allows you to adjust the max size of the randomized "size" of the grains and the amount of grains from 1-5.

Re-sample

What if you want a more complex soundscape like other instruments are playing with you? Re-sample accomplishes this by playing the delay buffer at different speeds which changes the pitch and timing of the delayed phrases creating a more complex musical expression of what you are playing. "Red" lets you adjust the mix of the octave down and the octave up.

Reverb modes

Hall

The least diffused of the reverb modes "Hall" allows you hear the reflective nature of the hallway your sound is in.

Plate

Emulating a classic plate reverb sound that is diffuse and reflective.

Chasm

An exploration into reverb design feedback networks that can allow for unnaturally large decay lengths.

Grim

Takes the "Chasm" mode and splits the output to a parallel octave down so you get the normal output + the octave down for a deep rich soundscape.

Looper modes

Gives you latching control over the rec/dub of your looper.

Momentary

Only rec/dub while holding the rec/dub switch.

Quantise

Works like the latching but will trim your loop to a division of the existing delay time.

MOD ONE and MOD TWO allow you adjust the following modulators

Modulators

Delay

Vibrato - an asymmetrical modulation of the reverbs pre-delay to create sonically pleasing movement in your reverb.
Auto-Filter - takes control of the "Filter" DSP block and modulates it with an LFO. Adjust the "Resonance" of the "Filter" block to get a more dramatic effect.
Shimmer - Adds an octave feedback path in each reverb mode and can be octave down or octave up.
Dampening - adjust the LPF and HPF of the reverb feedback path drastically changing the tone and how the reverb reacts to input.

Reverb

Vibrato - an asymmetrical modulation of the reverbs pre-delay to create sonically pleasing movement in your reverb.
Auto-Filter - takes control of the "Filter" DSP block and modulates it with an LFO. Adjust the "Resonance" of the "Filter" block to get a more dramatic effect.
Shimmer - Adds an octave feedback path in each reverb mode and can be octave down or octave up.
Dampening - adjust the LPF and HPF of the reverb feedback path drastically changing the tone and how the reverb reacts to input.

Looper

Clock: fine detail adjustment of the speed and direction of the clock.
Quantized Clock: Quantized adjustment of the speed and direction of the clock locked to octave intervals.
Loop Start: Adjust the starting point of the loop.
Loop End: Adjust where the loop will end.

MIDI: 3.5MM IN/OUT
USB: USB-C
Expression: TRS input

Controls

MIX (mod one)- The mix of the Reverb DSP block
DECAY (mod two)- The time it takes for your instruments reverberations to fade away, or die.
FEEDBACK (mod two)- How many repeats the delay will have
MIX (mod one)- The mix of the Delay DSP block
CLOCK (pre-delay)- Adjusts the "size" of the reverb DSP block
MIX (mod one)- The mix of the Looper DSP block
FREQUENCY (resonance)- Adjusts the Frequency of the Filter DSP block
TIME (dry mix)- Set the time of the Delay DSP block up to 2 sec

Modifiers

Reverb Mode (modulators)- Sets what Reverb Algorithm is active
Looper Mode (modulators)- Sets how you control the Looper DSP block
Tap Division (effect order)- Sets which tap division is active for the Delay DSP block. 1/2: Half note, 1/4: Quarter note, .1/8th: Dotted eighth note, 1/8th: Eighth note
Delay Mode (modulators)- Sets which Delay Algorithm is active

Input/Output: Stereo / mono - stereo / stereo - mono / parallel mono
Bypass: True Bypass / Tails
Power: 9v 400MA
Dimensions: 4.8 x 5.5
MIDI: Yes. 3.5mm Jack
USB: Yes
Jacks: Top Mounted Input And Output Jacks

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


MOOER is well known for producing highly versatile multi-effect pedals, but its latest product announcement, the Prime Stomp S1, is not just a multi-effect pedal. It is an all-in-one pedalboard for guitar effects and tones, looping, and music production, complete with a unique portability-focused design.

Initially, guitarists will be impressed by its 126 internal guitar effects and tone presets, which are editable, sharable, and downloadable through the MOOER Cloud platform, fostering unlimited tonal flexibility. However, these capabilities shine particularly brightly when combined with the pedal's recording features.

This includes a looper module, which facilitates up to 80 seconds of looping, whilst also providing functionality for real-time playback, loop deletion, and overdubbing. Loops and arrangements can also be recorded directly onto a mobile phone or tablet through a USB/OTG cable.

When combined with the pedal's 40 synchronizable drum machines, 10 metronomes, and tuner, these looping and recording capabilities empower guitarists to craft complete musical arrangements within a single unified pedalboard, without the need for studio equipment. All features can be controlled by four simple footswitches, making for a powerfully minimalist user experience.

Whilst MOOER offers several pedalboards that offer similar functionality, the Prime Stomp S1 stands out due to its focus on portability. Instead of being powered by a mains power supply, it is powered solely by an integrated lithium battery. This battery is charged by a USB C port, enabling users to charge the pedal with a portable power bank, laptop, or regular USB C charger. The device also weighs just 350g, making it effortless to carry in a backpack.

Whilst the Prime Stomp 1 primarily caters to traveling musicians, it still includes industry-standard pedal features, such as a 1/4" input, stereo 1/4" outputs, and an independent headphone output. All of these features are presented in a sleek case and are visualized by MOOER's signature digital LED display, making for an unbeatable unified toolkit for traveling guitarists.