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MXR M235FC Custom Shop Smart Gate Pro Dual Remote Foot Controller Pedal (B-STOCK)
MXR
Cat: 650320 Rel: 18 Mar 15
 
B-STOCK: Box slightly damaged, product in perfect working order
Notes: ***B-STOCK: Box slightly damaged, product in perfect working order**


This is the foot controller to accompany the MXR M235 Smart Gate
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 1 in stock $43.62
FORTHCOMING
Solid Gold FX Spanish Castle Dual Vintage Fuzz Effects Pedal
Cat: 792827 Rel: 31 Dec 20
 
Fuzz pedal
Notes: The year 1969: Not only was Led Zeppelin's eponymous album released, but Woodstock took place in August. 1969 marks a turning point in the gear world also; it was the year that Dallas-Arbiter switched Fuzz Face production from the lower-gain germanium transistor core to readily available higher-gain silicon devices. The Spanish Castle pays tribute to this year.

Packed to the turrets with fuzz spread across two separate and footswitchable If 6 Was 9 circuits, the Spanish Castle is the perfect device for the fuzz-crazy and fuzz-curious alike.

The right side of the Spanish Castle represents the warmer pre-'69 circuit and is equipped with low-gain silicon transistors that emulate the rich character of germanium with more stable and consistent operation. Carbon-composition resistors further round everything out for a sound that is just like they used to roll them off the line. Unlike the Faces of yore, this circuit is equipped with a bias circuit to dial in just the right flavor, and cleans up like a champ. The original tenant of the Spanish Castle would have loved it.

On the left side, the post-'69 If 6 Was 9 circuit lies in wait. This wing of the Spanish Castle offers up higher-gain silicon transistors for a more buzzsaw-like grind, metal film resistors for tighter tolerances and an extended bias range for dialing in ripping gated fuzz textures as well as full-bodied snarl.

Each side offers up two toggle switches- Colour is a three-position switch that adjusts the EQ of its respective side, from flat EQ to two settings that shave off treble and mids. The Input toggle is also a three-position switch, changing gain and bass values that make the Spanish Castle adapt better to your wahs and other pedals.

If that's not enough control for you, each side contains an internal switch that changes between Bold and Comp modes, the former increasing the output and midrange, and the latter offering a softer, more compressed tone.

Please enjoy your stay in the Spanish Castle. You'd better make yourself at home. You're going to be here a while.

KNOBS:

Fuzz: Most Fuzz Face-style pedals only produce usable fuzz amounts at the end of the knob. Not ours. Each Fuzz knob is designed to give you an even sweep of fuzz throughout.

Bias: These knobs vary the voltage to the collector of of the second transistor, giving you burlier (clockwise) or leaner/gated fuzz tones (counter-clockwise).

Volume: Gives you more output than vintage-style Fuzz Faces. Note: when running both sides at once, Side B's Vol control becomes the "master volume" while Side A's control becomes a "saturation" control.

TOGGLE SWITCHES:

Color: These three-position switches adjust the EQ of the side they're found on. The center position of each switch bypass the EQing, while the "left" positions shave a small amount of treble and scoop a small amount of mids from their respective sides. The "right" positions shave an even greater amount of treble while scooping a greater amount of mid frequencies.

Input: These three-position switches adjust the input attenuation and wah friendliness of the side they're found on. The "right" positions leaves its respective side alone with regards to attenuation. The center positions heavily cut gain and bass, while the "left" positions mildly cut gain and bass. The center and left positions help adapt the Spanish Castle to a more wah-friendly fuzz.

UNDER THE HOOD:Bold/Comp (internal DIP): Each side contains a DIP switch that toggles between Bold and Comp settings. The Bold side increases the output level and the midrange content, while Comp delivers a softer and more compressed tone. The default setting is with Comp on.

AUXILIARY:

Input: Instrument or other pedal goes here (right side).

Output: Amplifier or other pedal goes here (left side).

True bypass footswitches: Turns each side of the effect on and off.

POWER: The Spanish Castle requires a center-negative 9-to-18VDC power adapter with at least 10mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand. There is no option for a battery.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$326.02 SAVE 17%
coming soon $271.69
FORTHCOMING
Solid Gold FX Surf Rider III Spring Reverb Effects Pedal
Cat: 792828 Rel: 31 Dec 20
 
Reverb pedal
Notes: Reverb purists often point to amp reverb as being the pinnacle of spring reverb. That may be all well and good, but what if your amp just doesn't have reverb? What if your amp's reverb isn't good? What if you want more options after a simple "level" control? It is time to ride the waves into the Surf Rider III.

The Surf Rider III is the 'verb sound that Fender's engineers would have put into their Deluxes and Vibroverbs if they had access to today's technology. Solid Gold's finest 'verb box gives you that familiar Level control but then adds a plethora of options, including a boost and some nifty resonance features that adds some juice to your tank without the springs.

Versatility is the name of the Surf Rider's game. The Level control is just the beginning, adjusting the amount of reverb in the total signal. The Surf Rider also offers a Depth knob that adjusts the intensity of the reverberations, for some hauntingly huge verbs that fill the room. The expression jack on the side overrides this control, should you feel so inclined.

The Decay control increases the size of the virtual reverb tank, opening up the pedal and giving you verb tones that go on seemingly forever. Speaking of tones, there's a handy Tone knob that brightens or darkens the reverb signal, which helps tame harsh pickups or beef up flimsy ones. It's especially helpful if the Surf Rider III is your only pedalia splendid idea.

The Resonance switch unlocks the "drippiness" of the reverb tank, giving you a lot (upper position), a little (lower position) or none at all (center). Cracking open the Surf Rider III gives you a trimpot to set the lower level for just the right amount of splash.

The Boost section lets you boost or cut the reverb level. With the LED on, the pedal is in Hi mode, and off is Lo mode. There's another internal trimmer that lets you dial in Lo mode. Surf's up.

KNOBS:

Tone: This knob lightens or darkens the frequency of the reverb signal only, from dark and moody to bright and biting.

Decay: Turning the Decay control up increases the decay time of the reverb signal, giving you access to huge, surf-inspired 'verbs that linger seemingly forever.

Depth: Increases the size of the virtual spring tank and the intensity of the signal. When connecting an expression pedal, you can control this knob hands-free.

Level: Controls the volume of the reverb (wet) signal.

TOGGLE SWITCHES:

Res: This is a three-position switch that alters the resonance of the tank. The upper position adds a high amount of resonance, while the lower position adds an amount that you set via internal trimpot (see "Under the hood" below). In the center position, the toggle adds no resonance.

UNDER THE HOOD:

Res (trimpot): This trimpot allows you to adjust the amount of resonance in the reverb signal while in the "Lo" (bottom) position of the Res toggle.

Boost (trimpot): When the Boost is in the off position (LED off), a portion of the reverb level is reduced. This trimpot lets you adjust how much is reduced to fine-tune the reverb signal.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

Expression jack: Connecting an expression pedal here gives you hands-free control over the Depth knob.

True bypass footswitch: Turns the effect on and off.

Boost footswitch: With the LED on, the Surf Rider III is in "Hi" mode, boosting the reverb signal. With the LED off, the Surf Rider III is in "Lo" mode, and a bit of the reverb level is reduced. You can adjust how much with the Boost trimpot (see above in "Under the hood").

POWER:

The Surf Rider III requires a center-negative 9VDC power adapter with at least 53mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$251.50 SAVE 17%
coming soon $209.59
FORTHCOMING
Solid Gold FX 76 Octave Fuzz Octave-Up Fuzz Effects Pedal
Cat: 792771 Rel: 31 Dec 20
 
Fuzz pedal
Notes: While the Western world was preoccupied with its Fuzz Faces, Tone Benders and others, the Eastern world was bubbling up with plenty of fuzzes of its own. This very distinct era in fuzz history gave us many treasures that have been crowned fuzz legends - the Univox Super Fuzz, Ibanez Standard Fuzz, Ace Tone Fuzz Master, Shin-Ei Companion and several others.

The 76 offers up a comprehensive guided tour to the best that the Standard Fuzz and its ilk has to offer without any of the drawbacks, such as a quiet signal or fragile wiring. On its face, the 76 gives you a multi-voiced germanium-equipped fuzz unit that gives you hints of octave-up snarl while it ruthlessly pummels your amp with hair and fangs.

Aside from standard volume and fuzz controls, and unlike the original Standard Fuzz, the 76 also gives you a texture control that sweeps the midrange, effectively giving you many flavors of fuzz across several positions. A three-way colour switch offers a little frequency scoop, but the center position is off, for full-frequency fuzz madness.

The internals contain two DIP switches that alter the character of the unit. The first, clip, changes the clipping stack from the stock Standard Fuzz arrangement of two germaniums into a hybrid germanium-silicon arrangement. Engaging this switch opens the sound up, increases crunch and definition for a searing lead tone.

The other switch, Dark, engages a treble cut on the input, which helps to prep the incoming signal for the fuzz onslaught. This switch should be engaged if the 76 follows a bright dirt pedal or a jangly set of pickups.

The new Standard Fuzz is here and is a forced to be reckoned with, leveling audiences with its punishing buzzsaw grind and unbridled harmonics. The 76 is your favourite fuzz nerd's favorite fuzz.

KNOBS:

Fuzz: Turning the Fuzz up ranges from a little crunch to more gain than you could ever want.

Texture: This control adjusts the mid frequency of the 76. Go from a deep scoop to a mid-drenched grind with a simple twist

Level: Adjusts the output volume, with more than enough on tap.

TOGGLE SWITCHES:

Color: Switches between three different frequency ranges, from scooped to full-frequency fuzz tones.

UNDER THE HOOD:

Clip (internal DIP): When on, the 76 employs germanium diodes for a spongier signal and a harder clipping threshold. When off, a silicon-germanium combo is employed, opening the fuzz signal up a little more. The default is on.

Dark (internal DIP): When on, the 76 cuts a good amount of treble from the input signal, useful for single-coils and wicking away treble from anything before it. When off, the treble cut is lifted. The default is off.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

True bypass footswitch: Turns effect on and off.

POWER:

The 76 requires a center-negative 9VDC power adapter with at least 5mA of current (not included). Almost all power supplies meet this requirement.

DIMENSIONS:

4.77" x 2.6 x 1.39" (121.1 x 66 x 35.3mm)
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MRP:$224.89 SAVE 20%
coming soon $179.63
FORTHCOMING
Solid Gold FX Lysis Poly Octave Down Fuzz Modulator Effects Pedal
Cat: 792822 Rel: 31 Dec 20
 
Fuzz/modulation/filter pedal
Notes: If you've ever awoken in a cold sweat dreaming of synthesizers, here's the ticket: Lysis. There's always been something about synth players for which guitarists and bassists alike have yearned. Though they're essentially the same instrument, the onboard accoutrements are what makes all the differenceioscillators, filters, LFOs; these are the makings of true electronic synthesis, and these are all things we stuffed into the Lysis.

All of the bells and whistles of synths are featured in full within the walls of the Lysis. For starters, the Lysis serves up a specially-designed wave-shaping fuzz circuit. This helps the Lysis sound more like a square wave or sawtooth wave.

The DSP-controlled polyphonic octave circuit takes all the clang you've cooked up and sends it south, to a rich two-voice octave-down synthesizer that tracks one note or 88, all at once. Serve Lysis your longest signal chain on a platter, and it will eat it for breakfast.

The Filter section is where things get really interesting. For starters, the Lysis gives you the option to blend the octave/fuzz section with the filtering, so you can enjoy punishing octave-down fuzz, rich, goopy filter sweeps or anything in between. The Lysis also gives you a switchable high-pass and low-pass filter, along with the option to manually manipulate the filter's cutoff or have it automatically modulate.

If you choose the manual path, an expression pedal jack gives you hands-free control of the Freq knob, for a sound-bending filter-wah effect that can absorb the impact of the most well-equipped dirt section. Should you choose modulation, the Freq knob controls the rate of the effect. An expression pedal gives you foot control over the speed for some psychedelic guitar freakouts or smooth undulation.

An onboard vibrato circuit finishes off the signal path of the Lysis. When in fixed mode, Lysis kicks in the vibrato, but in modulated mode, a filter LFO is engaged and Mod controls the rate of that. The two-position Warp switch works in tandem with the corresponding footswitch, either maxing or killing the Mod knob depending on the position.
Much more than a mere effect Lysis is its own future forward entity, a cellular organism of the sonic variety bursting with possibilities.

POWER:

The Lysis requires a center-negative 9VDC power adapter with at least 60mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand. There is no option for a battery.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$326.02 SAVE 22%
coming soon $252.82
FORTHCOMING
Solid Gold FX Funk Lite Envelope Filter Effects Pedal
Cat: 792818 Rel: 31 Dec 20
 
Envelope filter effects pedal
Notes: If your mothership has touched down on planet Funkatron and you're not sporting a quality envelope filter, it'll be a long time before your tone blasts off. If you need the finest quack on the market, Solid Gold have got it. Introducing the Funk Lite.

The Funk Lite contains the envelope core from Solid Gold's all-encompassing Funkzilla, preserving all the fresh funk and powerful envelope generation you'd come to expect from one of our quackboxes. Unlike many filters that skimp on the features, this has everything you need with a sublime sweep for each knob and some extra bells.

The core of the Funk Lite contains the only three controls that you need: Depth, Freq(uency) and Attack. A toggle switch changes the direction of the sweep, giving you everything from deep dubby sloshes to Zappa filter stabs and everything in between.

Depth adjusts the intensity of the filter sweep, from shallow cuts to deep scallops, while the Freq control adjusts the center frequency of the sweep. The Attack control adjusts two parameters at once- the sensitivity of the filter opening and the decay of the overall tone. As you might expect, these three controls are incredibly interactive, with a multitude of funktions on tap.

The Funk Lite is perfectly voiced to squash any unwanted high peaks or rough envelope artifacts, and is engineered to accept line- or instrument-level signals from guitar and bass to keys and anything else you can think of. Combine all this with an all-analog signal path and true bypass switching, and you have a funk box worth talking about.

KNOBS:

Depth: From light and funky to deep and fun-kay, this knob adjusts the width of the envelope effect.

Freq: This control adjusts the frequency of the filter sweeps. At noon, the control is set neutral. Turn the knob down for lower-frequency dub blasts and turn it up for higher-frequency stabs that really cut.

Attack: This control determines how hard you have to hit the strings to get the filter to "open up." It adjusts two parameters at onceidecay time and the sensitivity. Turning the control up increases sensitivity but decreases the decay time, while turning it down decreases the sensitivity but increases the decay time. Turning this knob to zero slams the envelope shut and you can dial in fixed filter or "cocked wah" tones.

TOGGLE SWITCHES

Dir: Changes the sweep direction between forward and reverse.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

True bypass footswitch: Turns the effect on and off.

POWER: The Funk Lite requires a center-negative 9VDC power adapter with at least 6mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS

4.39" x 2.34" x 1.06" (112 x 60 x 27mm)
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MRP:$224.89 SAVE 17%
coming soon $187.40
FORTHCOMING
Solid Gold FX Funkzilla Tap Tempo Envelope Filter Effects Pedal
Cat: 792820 Rel: 31 Dec 20
 
Envelope filter effects pedal
Notes: When it comes to envelope filters, there are a funkload of options. Unfortunately, there are plenty of parameters with which to control them, and almost all envelope filters deny you access to at least one. "Let's just not give them a frequency control", some might say. Fear not, funkseeker, as the Funkzilla smashes all preconceptions of what an envelope filter should do and sound like- and it works on everything; guitars, bass, keys, you name it.

The Funkzilla is Solid Gold's take on everything enveloped, filtered or both. While all envelope filters give you the ability to coax that familiar "quack" sound from them, the Funkzilla contains the ability to shift the filtering from envelope control to LFO control. In other words, it's the ultimate funk box.

Attack, Depth and Freq(uency) controls come standard, as does the envelope direction (up or down). Beyond that, the heart of the Funkzilla lies within its Tap/Env switch. This switch toggles between standard envelope filter sounds and more dynamic autosweep sounds that take away the need for dynamics.

With this switch set to Tap, a plethora of options opens up. The Speed and Mode knobs become active, as does the tap switch, along with 1-2-4 and Wave toggles. The Speed knob now controls the speed of the auto-sweep (overridden by the Tap switch), and the 1-2-4 toggle controls the time subdivisions.

You can adjust the Funkzilla's Mode control to one of eight different rhythmic patterns for the utmost expression, and across those patterns, you can choose one of three different waveformsisine, ramp, and square.

An expression jack overrides the Speed control for some truly expressive filtering options, with some phaser and flanger overtones available for the brave.

Even without the bells and whistles, the Funkzilla is one killer envelope box and funks the joint up right out of the box. With the bells and whistles? Look out.

KNOBS:

Speed: When in Tap mode, this knob controls the rate at which the filter sweeps automatically, from near-frozen pulses to hyperdrive.

Mode: This eight-position control cycles through several rhythms and accents when in Tap mode. Because of the different rhythms, it is highly interactive with the standard filtering controls. Turning the Mode control fully left bypasses all functions.

Depth: Controls the intensity of the filter sweep across both Tap and Envelope modes.

Freq: Adjusts the center frequency of the filter sweeps. Turning the knob lower centers the filtering on the dubby side of things while turning it up gets you into Zappa territory. Works across both Tap and Envelope modes.

Attack: This control adjusts the time it takes for the filter to "open." Turning it doesn causes the envelope to open slowly, and turning it up opens the envelope very quickly. This knob works only in Envelope mode.

TOGGLE SWITCHES:

1 2 4: The tempo range of the Funkzilla lives in this switch. In Tap mode, it sets the subdivisions of your tapping. In standard mode, it sets the range of the Speed control.

Wave: A three position switch changes LFO waveforms between Sine, Ramp and Square modes. This switch is only available in Tap mode.

Dir: This switch toggles between forward and reverse envelope operations, and is available across both Envelope and Tap modes.

Tap/Env: Changes between the two main modes: Tap and Envelope. In Tap mode, the filter speed is set by either Speed knob, expression pedal or tap tempo. Each control will override the last one used. Envelope mode works as a standard envelope filter. Make sure that your instrument's volume is set to maximum for best results.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

Expression jack: In Tap mode, connecting an expression pedal gives hands-free control over the Speed knob for some psychedelic filter action. This effect is not available in Envelope mode.

True bypass footswitch: Turns the effect on and off.

Tap tempo footswitch: In Tap mode, sets the tempo of the filter sweeps.

POWER:

The Funkzilla requires a center-negative 9VDC power adapter with at least 15mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$326.02 SAVE 17%
coming soon $271.69
FORTHCOMING
Solid Gold FX If 6 Was 9 - BC183 Fuzz Face Inspired Fuzz Effects Pedal
Cat: 792821 Rel: 31 Dec 20
 
Fuzz pedal
Notes: If there's one pedal that captures the soul of classic rock, the Fuzz Face is probably it. For those unfamiliar with Fuzz Face lore, as germanium parts fell out of vogue due to reliability issues, Dallas-Arbiter shifted to silicon parts. Both versions were used extensively on thousands of records.

Solid Gold's If 6 Was 9 pays tribute to all the players who contributed to the pantheon of rock, with specially selected components to get your mojo working. We put two BC183 devices in each one, which is widely regarded as a happy medium between the potentially mushy compression of germanium and the brash sawmill-like fuzz of silicon. The tone of the If 6 Was 9 is just thatismooth and refined without falling apart on chords, and with loads of sustain on single-note work.

The specially-selected BC183 parts gives you a thick balanced bass response and a tight fuzz tone- just right. The If 6 Was 9 supplies a two-way tone toggle switch that adjusts the fuzz character to match with the rest of your rig.

Fuzz Face tone has been whittled down to such a precise science that players now know what voltage at which they prefer their Fuzz Face to be run. Eric Johnson famously kept a box full of batteries drained to various degrees. Now you can harness this power with an external Bias controliset the voltage to whatever you wish for full-bodied fuzz or ripping splatty tones that explode when you dig in.

The Fuzz and Bias controls work in beautiful synchronicity with your guitar's volume control, bringing all kinds of flavors to the table. Anything from mild overdrive to almost envelope-like snarl is available with just a couple turns. Set the onboard controls just how you like and leave the heavy lifting to your guitar.

KNOBS:

Fuzz: Unlike the original, this control has range throughout, instead of just the maximum. Go from sparkling harmonic enhancement to blissed-out sustain with one turn.

Bias: This varies the voltage to Q2's collector, giving you a huge range of tones from zippy and lean to full and throaty.

Vol: There's more on tap here than in the stock unit, letting you really give your amp what-for.

TOGGLE SWITCHES:

Tone: This toggle switch delivers two different fuzz voicings. Chose from Tight (left) or Thick (right).

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

True bypass footswitch: Turns the effect on and off.

POWER:

The If 6 Was 9 requires a center-negative 9VDC power adapter with at least 3mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS: 4.77" x 2.6 x 1.39" (121.1 x 66 x 35.3mm)
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MRP:$224.89 SAVE 17%
coming soon $187.40
FORTHCOMING
Solid Gold FX 76 Plus Octave-Up Fuzz & Filter Effects Pedal
Cat: 792775 Rel: 31 Dec 20
 
Fuzz & filter effects pedal
Notes: Introducing the new 76 Plus Octave-Up Fuzz & Filter Effects Pedal. The 76 Plus takes inspiration from the lauded Univox Super Fuzz, Shin-Ei Companion and Ibanez Standard Fuzz. It's a powerful, cutting fuzz with a baked-in octave up that's especially apparent the higher you go up the fretboard. Do you like fuzz? Then you'll especially like this fuzz.

But what really makes this pedal special is the inclusion of an independent wah-like filter that's as tasty as it is useable. The filter section of the 76 Plus offers a mind-boggling number of ways to add movement to your tone, from triangle and sawtooth waveforms, to 2, 3 and 4-step sequences.

This filter speed can be dialed in perfectly via the speed knob or for you control-freaks, you can use an external expression pedal (not included) to give you infinitely variable control. Rather than "boxing you in," the 76 Plus gives you both options.

Knobs & Switches:

Vol Knob (Right): Adjusts the Fuzz output volume, from quiet to your mum yelling, "TURN IT DOWN!"

Texture Knob: This control adjusts the mid frequency of the 76 Plus from a deep scoop to a mid-drenched grind.

Fuzz Knob: When you turn the Fuzz knob up, you get more fuzz- and vice versa.

Speed Knob: Adjusts the speed of the filter (disconnected when expression is plugged in).

Volume Knob (Left): Adjusts the output volume of the filter.

Color Switch: Shaves some top-end for a smoother, woolier fuzz. "Left" rolls off some treble, "Right" rolls off even more treble, and "Center" rolls off no treble.

Clip Switch: "Left" is the original vintage setting (heavy compression & extra breakup), "Right" is a tamer, balanced option, and "Center" is a punchy setting with the compression dialed back a bit.

Mode Switch: Toggles between three available filter modes: Manual (left), Triangle (center), and Square (right). Each mode has 3 corresponding shapes, controlled by the "Shape" switch.

Input/Output:Instrument or other pedal goes on the right side, Amplifier or other pedal goes on the left side.

EXP Input: Enables the Filter to be controlled by an expression pedal (not included).

True bypass Footswitches:Turns each side of the effect on and off.

Power:This pedal requires a center-negative 9-to-18VDC power adapter with at least 10mA of current (not included). There is no option for a battery.

Dimensions:4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$326.02 SAVE 22%
coming soon $255.04
FORTHCOMING
Solid Gold FX Rosie Tone Bending Fuzz Effects Pedal
Cat: 792825 Rel: 31 Dec 20
 
Fuzz pedal
Notes: There's no doubt that the Fuzz Face and Tone Bender share the crown for "most important fuzz". Just as many iconic records were cut with the Bender as the Fuzz Face, and each original unit commands scads of money in the used marketplace. And with all the reliability issues that plague vintage models, does there exist a silicon Tone Bender MKII?

Introducing the Rosie. Equipped with silicon semiconductors, you won't hear your tone seize up on a cold or hot day, and you won't get a load of choosiness with regards to your guitar stable. The Rosie works effortlessly across all guitar types and in all conditions.

You're treated to a JFET input section that lets the flavor sing regardless of where you place it, even after a wah. It's not what you might expect from a silicon Tone Bender, but Solid Gold are used to exceeding expectations.

The highly specialized transistor selection ensures smoothness and mojo throughout all knob sweeps, with nothing a hair out of place. And the cleanup is exceptional, with a feel befitting a silicon Tone Bender. Just like many silicon fuzzes, you get the best of the worlds of cleanup and screaming leads.

You can pair the Rosie to your specific guitar with Solid Gold's two-way Tone toggle, adapting the Rosie to the thinnest lipstick pickups to the beefiest humbucker you have. An onboard Bias control lets you adapt the voltage to your liking. Ever notice how some fuzzes sound better with old batteries? This is why, and now you can adjust the voltage to taste, lending a different flavor to our silicon Tone Bender.

Whether it's modern chord work or vintage violin-like sustain, the Rosie fulfills all your needs. It's a whole lotta pedal, and it can be yours today.

KNOBS: Turning this control up delivers everything from sparkling crunch to saturated fuzz bliss.

Bias: Ever noticed how some fuzz pedals sound better with an old dying battery? The Bias control lets you adjust the amount of voltage to the final transistor, giving you plenty of splatty singing lead tones, full-bodied fuzz and everything in between.

Vol: Unlike most vintage-style fuzzes, the Rosie gives you plenty of output.

TOGGLE SWITCHES:

Tone: This two-position toggle switch changes between standard and bass reduction modes. Standard mode gives you the push needed to fatten up single coils, while bass reduction mode makes sure you don't beef things up too much.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

True bypass footswitch: Turns the effect on and off.

POWER:

The Rosie requires a center-negative 9VDC power adapter with at least 5mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS:

4.77" x 2.6 x 1.39" (121.1 x 66 x 35.3mm)
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MRP:$211.58 SAVE 17%
coming soon $175.20
FORTHCOMING
Solid Gold FX Zeta DLX Deluxe Preamp Overdrive & Boost Effects Pedal
Cat: 792830 Rel: 31 Dec 20
 
Overdriver & boost effects pedal
Notes: Guitar tone is tricky business- guitarists are sometimes forced to choose between great tone and utility. Are you also tired of choosing? Venture ahead, brothers and sisters of tone - introducing the Zeta DLX.

The Zeta DLX combines three of the most useful tricks in the gain-based tonal world: Preamp, drive and boost. The entirety of the Zeta DLX comprises a preamp circuit, so that you can keep your tone fresh even if you have to go direct, or your amp options are limited on fly-out gigs. However, each since each side is individually switchable, we must look at the sum of the parts.

The left side of the Zeta DLX serves up a generous drive circuit that has extremely wide sweeps of all the parameters, from jangly boost to crunchy OD. Three of the toggle switches give you options to tailor the Zeta DLX to your individual needs. The Mids and Body toggles allow you to adjust the range of those particular frequency bands, while the Clip switch lets you change the clipping characteristics. A bonus trimpot inside even lets you adjust the overall gain of the circuit.

On the right side of the Zeta DLX is the JFET-equipped individually selectable boost function, with a single knob to control the amount. The B. Tone toggle gives you control over the bass frequencies of the boost, while Pre/Post lets you choose whether the boost goes before or after the drive circuit. You can use this to great effect when trying to get either a super-saturated dirt tone or a burlier version of the drive side.

Don't get caught between a rock and a tonal hard place againiplug into the Zeta DLX and feel the gear instead of just hearing it.

KNOBS:

Volume: Gives you a tasteful amount of volume on tap, enough to work with all kinds of setups.

Tone: Adjusts the bass and treble content of the drive side.

Gain: Adjusts both the amount of overdrive and the amount of treble. As you roll the Gain up, more high end enters the signal path, allowing for clarity within the saturation.

Level: Governs the amount of boost engaged when in Boost mode. Be careful with this one!

TOGGLE SWITCHES:

Post/Pre: This switch controls the order of both channels when they are used simultaneously. Toggling this switch puts the Boost before the Drive or vice-versa for two different stacked tones.

Tone: This three-position toggle controls the level of the bass frequencies pushed by the Boost channel. When set to the left, the bass is the stock value. In the center, you'll find a bass cut, and the right position is a bass boost.

Body: Controls the level of the bass frequencies in the Drive channel. The corresponding switch positions are the same as the B. Tone switch above.

Mids: Adjusts the amount of mids present in the Drive channel. The left position is flat, center position s boosted, and the right position is scooped.

Clip: This three-position switch controls which type of clipping diodes are present in the drive channel. The left position selects a silicon-germanium hybrid for a bit more compression and crunch, the right position selects silicon parts for a bit more dynamics and sizzle, and the center position removes them altogether for a raw, throaty tone.

UNDER THE HOOD:

Gain (trimpot): Adjusts the overall gain of the drive channel, and thusly, the range of the external Gain control.

Bias 1 and Bias 2 trimpots are not user-adjustable.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

True bypass footswitches: Turns corresponding channels on and off.

POWER:

The Zeta DLX requires a center-negative 9VDC power adapter with at least 30mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$286.10 SAVE 17%
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FORTHCOMING
Solid Gold FX Beta DLX Deluxe Bass Preamp Overdrive & Boost Effects Pedal
Cat: 792793 Rel: 31 Dec 20
 
Preamp overdrive & boost effects pedal
Notes: What if you had an all-in-one tonal powerhouse that could keep your tone snappy and crisp, with a boatload of options to keep your signal buoyant? The Beta DLX is such a device. By pairing it with your bass, you create a highly sophisticated tonal symbiote and your audience and bandmates will thank you.

The makeup of the Beta DLX is a super-customizable drive circuit that's paired with a juicy boost. Let's start with the drive circuit.

Volume, Tone and Gain controls come standard, and each one has an unreal range of flavors, but the five-pack of toggle switches are where the magic happens. The Beta DLX offers up fine-tuning for both channels, but Body, Mids and Clip are within the drive side's domain. Body adjusts the bass frequencies, while Mids does the same with the midrange frequencies. Clip changes the clipping threshold of the drive side. A bonus trimpot inside lets you adjust the overall gain for this side- truly putting the DLX in Beta DLX.

The Boost section of the Beta DLX gives you a powerful JFET-equipped boost. Yes, you can use it just by itself- a miracle! On this side, the B. Tone control alters the bass frequencies of the boost, while Pre/Post determines whether or not the boost side comes before or after the drive sideiuse the Pre side to push the drive side into sweet saturation, or use the Post side to kick your drive tone up a notch.

If you've ever found your bass tone lacking due to the multitude of hurdles you're forced to jump, the Beta DLX is your ace in the hole.

KNOBS:

Volume: Gives you a tasteful amount of volume on tap, enough to work with all kinds of setups.

Tone: Adjusts the bass and treble content of the drive side.

Gain: Adjusts both the amount of overdrive and the amount of treble. As you roll the Gain up, more high end enters the signal path, allowing for clarity within the saturation.

Level: Governs the amount of boost engaged when in Boost mode. Be careful with this one!

TOGGLE SWITCHES:

Post/Pre: This switch controls the order of both channels when they are used simultaneously. Toggling this switch puts the Boost before the Drive or vice-versa for two different stacked tones.

Tone: This three-position toggle controls the level of the bass frequencies pushed by the Boost channel. When set to the left, the bass is the stock value. In the center, you'll find a bass cut, and the right position is a bass boost.

Body: Controls the level of the bass frequencies in the Drive channel. The corresponding switch positions are the same as the B. Tone switch above.

Mids: Adjusts the amount of mids present in the Drive channel. The left position is flat, center position s boosted, and the right position is scooped.

Clip: This three-position switch controls which type of clipping diodes are present in the drive channel. The left position selects a silicon-germanium hybrid for a bit more compression and crunch, the right position selects silicon parts for a bit more dynamics and sizzle, and the center position removes them altogether for a raw, throaty tone.

UNDER THE HOOD

Gain (trimpot): Adjusts the overall gain of the drive channel, and thusly, the range of the external Gain control.

Bias 1 and Bias 2 trimpots are not user-adjustable.

AUXILIARY

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

True bypass footswitches: Turns corresponding channels on and off.

POWER:

The Beta DLX requires a center-negative 9VDC power adapter with at least 30mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$286.10 SAVE 17%
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FORTHCOMING
Solid Gold FX Counter Current Reverb & Feedbacker Effects Pedal
Cat: 792808 Rel: 31 Dec 20
 
Reverb + feedback pedal
Notes: You've dipped your toes in the water with the Surf Rider, now it's time to get swept away in the Counter Current- the do-it-all immersive lo-fi reverb unit that gives you just the type of degraded reverb madness that you need to create crumbling walls of verb, 8-track garage rock ambience, and swells of bit-starved echo.

The heart of the Counter Current is three interconnected and highly interactive controls and one footswitch: F.Back (Feedback), Decay, Drive and the Momentary Feedback switch. By using these controls together and with generosity, all kinds of reverb sounds open right up.

Let's start with the Decay control: This knob affects the end result of all your careful knob placement, by extending the, well, decay time of the virtual reverb tank. Dialing it in nice and high keeps the trails ringing out longer and really lets you flood the front end of your amp with the heart of the Counter Current.

In keeping with lo-fi reverb tradition, the Drive control overloads the virtual reverb tank transducers, saturating the front end with a touch of extra gain that excites your tone in the best way. Dialing this control back gives you a characterfully clean reverb sound that still sounds an absolute treat, but go ahead- tweak that thang.

The Counter Current's Feedback control recycles the post-'verb signal into the front end for a chaotically rich reverb tone, increasing the resonance and augmenting the Drive control. Turning the control fully counterclockwise shuts the back door and keeps the feedback out of the input, retaining sparkle and clarity.

Of course, the Tone knob does wet-signal tone knob things, lightening or darkening the reverb signal, and the Level control adds wet signal to the mix. After you set those, it's time to examine the Momentary Feedback switch. Buckle up.

The Counter Current's secret weapon, the Momentary Feedback switch ramps up the feedback for some oscillating blasts of reverb just when you want them. Not only is it a killer tone, but it's a rock 'n' roll set ender. This switch's function, as you might expect, is extremely dependent on where the "core three" knobs are set, giving you everything from crunchy spring drip to bottomless wells of soft scuzzy ambience and everything in between. Step inside the Counter Current. It'll treat you well.

KNOBS:

Tone: This knob adjusts the frequencies of the reverb signal only, giving you 'verb tones from dark and intimate to bright and present.

F. Back: This adjusts the intensity of the momentary feedback footswitch function and works in conjunction with the drive and tone controls. Increasing this control will create a faster and more intense feedback.

Decay: Increases the size of the reverb space and the intensity of the signal.

Drive: This control lets you saturate the virtual transducers on the reverb unit, giving you additional grit, grime and drive before the 'verb kicks in.

Level: Controls the volume of the reverb (wet) signal.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

Expression jack: Connecting an expression pedal here gives you hands-free control over the Drive.

True bypass footswitch: Turns the effect on and off.

Momentary feedback footswitch: Hitting this switch will cause the reverb to feed back into itself creating sounds ranging from a mild oscillation to a screeching howl depending on where the f.back and drive controls are set.

POWER:

The Counter Current requires a center-negative 9VDC power adapter with at least 53mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$251.50 SAVE 17%
coming soon $209.59
FORTHCOMING
Solid Gold FX Communication Breakdown Dual Fuzz Effects Pedal
Cat: 792803 Rel: 31 Dec 20
 
Fuzz pedal
Notes: Sporting two different modernized takes on the legendary Tone Bender circuit in one box, Communication Breakdown is an unabashed sonic love letter to the glorious fuzz tones of yesteryear.

This pedal is ready to reveal the stairway to tone heaven through its wide gain range, intuitive tone controls and the ability to use the two channels individually or together. From clear and refined low-gain grime, crushing walls of sound to beautifully compressed and singing leadtones, Communication Breakdown is sure to bring all of the good times and none of the bad.

Adding not one, but two amazing fuzz pedals to your collection, all in one compact box of gainy goodness. Fuzz A is born out of the fire and flames of the rare Tone Bender MK1.5, but brings it into the modern era by using hotter silicon transistors than the original. This results in a wide range of extremely powerful yet refined fuzz tones.

Fuzz B, on the other hand, takes a page (see what we did there) from the book of the classic Tonebender MKII, and preserves everything good and great about that snarling, saturated and compressed box of fuzzy wonder. But as an extra bonus, we added our JFET pre-amp to the equation in order to breathe more stability and tonal clarity into this legendary circuit.

But the really cool part is of course that you can use the two channels either individually or together, seeing you jump from a hairy rhythm tone to a soaring lead in seconds, or lets you sculpt unique dirt tone never heard before.

Each channel sports the same super intuitive controls, so you won't be left dazed and confused exploring its vast fuzzy playground. Besides the ubiquitous Fuzz and Volume controls, each side has a Bias knob, whichlets you vary the voltage sent to the circuits. Clock-wise will give you beefy and bold dirt tones, whereas counter-clockwise sees it unleash a more lean, choppy and gated fuzz tone.

On top of that you can further sculpt the overall tone of each side viathe simple three-way Color toggles, for everything from bright and biting full-range tones to smooth and dark, while the Input toggles let you adjust the input attenuation of the pedal, making sure that it plays well withany wahyou want to put in front of it.

So whether you're a classic fuzz connoisseur looking to nail history defining dirt tones or simply searching for a versatile fuzz pedal to jump-start your creativity, then the Communication Breakdown is sure to deliver.

KNOBS, SWITCHES, ETC.

Fuzz Knobs: Want less fuzz? Turn these suckers to the left. Boom, you're there. Want some more fuzz? Of course you do. Just take these fellas on a spin to the right.

Bias Knobs:These knobs vary the voltage to the collector of the second transistor. Turn 'em clockwise to fatten up your fuzz, or turn 'em counter-clockwise for a lean, choppy, gated fuzz tone.

Vol Knobs: Makes things louder, or less loud. Note: when running both sides at once, Side B's Vol control becomes the "master volume" while Side A's control becomes a "saturation" control.

Input Switch: These three-position switches adjust the input attenuation and wah friendliness of each side. "Right" is no attenuation. "Center" heavily cuts gain and bass, and "left" mildly cuts gain and bass. The center and left positions help adapt the Communication Breakdown to a more wah-friendly fuzz.

Color Switch: These are special three-position EQ controls that help you dial in your fuzz even further. "Left" rolls off some high-end and scoops the mids, "right" rolls off even more high-end and scoops even more mids. "Center" bypasses the EQ entirely.

Internal DIP Switches:Each side contains a DIP switch that toggles between Bold and Comp settings. Bold increases the output level and the midrange content, Comp delivers a softer and more compressed tone. Comp is the default setting, feel free to switch it up.

Input/Output:Instrument or other pedal goes on the right side; Amplifier or other pedal goes on the left side.

True bypass Footswitches:Turns each side of the effect on and off. Both Fuzz A and Fuzz B are independent.

Power:This pedal requires a center-negative 9 VDC power adapter with at least 10mA of current (not included). There is no option for a battery.

DIMENSIONS:

4.67" x 3.68" x 1.18" (119mm x 94mm x 30mm)
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MRP:$326.02 SAVE 22%
coming soon $253.94
FORTHCOMING
Solid Gold FX Electroman MKII Oscillating Delay & Modulation Effects Pedal
Cat: 792811 Rel: 31 Dec 20
 
Delay + modulartion pedal
Notes: The debate over which type of delay is "the best" is one that has plagued guitar shops and internet forums for half a century. On one hand, we have analog purists that prefer the murky degraded repeats of an analog delay, while digital users prefer the exacting repeats of ones and zeroes. But Solid Gold simply like delays that are excellent, and the Electroman MKII is just that: An excellent, feature-rich delay that does everything right.

The core of the Electroman MKII is two cascaded digital delay lines, making bold strides in the arena of PT2399 chips. The PT2399 is a chip developed for DJ rigs and karaoke machines, and when tuned correctly, blurs the line between digital and analog.

The mode toggle takes advantage of that unique dual-line approach, giving you standard delay or one that sends the repeats only to the second chip for a cool half-time sound that will sit front and center on your next ambient or shoegaze record.

The second footswitch of the Electroman MKII retains our warp feature, which sends the repeats ramping up to self-oscillation for ambient textures and spatial soundscapes. But this time, you control the sensitivity with one of three settings on the warp toggle, from gentle nudging into infinity to instant freakouts.

Delay repeats are backed by an extremely musical modulation circuit, which has three selectable speed ranges and a generous flutter control, which increases the depth as you roll it up. This control turns the Electroman MKII into an instant tape echo simulator, where you can dial in just the right amount of digital wear and tear.

While the Electroman MKII is equipped with buffered bypass, the tails switch lets you decide whether or not the Electroman MKII chokes off the repeats when switched off, or leaves them trailing into your amp when bypassed. This feature lets you sculpt your sound just how you like, allowing for precision interplay with your other effects by affecting just one passage.

Level, repeat and time controls come standard, with the time control maxing out at 1 second of warm delay. The Electroman MKII's color knob will settle the debate between analog and digital snobs by shaving treble content from the repeats as the control is increased.

An extra jack on the left edge takes the Electroman MKII to the next level: The fx loop jack lets you connect a stereo Y-cable to as many auxiliary pedals as you like, with the looped effect applying itself to the repeats. Try an octave pedal for true space exploration, a ring modulator for a lo-fi delay and even a volume pedal for swells of repeats.

Tone is always the goal, so if you want an outstanding delay unit that hacks through the vines of tiered menus and other complicated fluff, let the Electroman MKII be your machete.

KNOBS:

Level: Changes the amount of wet signal from nothing at all to highly involved.

Repeat: At zero, you'll find the humblest of all delays: the slapback. At full-blast, the repeats will run away and overtake your signal.

Color: This control takes a little treble off the top as you turn it. Fully left is bare-naked digital, and turning it up increases the murk.

Flutter: Controls the modulation depth. Keeping this control at zero shuts the circuit off.

Time: Changes the delay time from a double tracking-esque 70 milliseconds to a full lengthy second.

TOGGLE SWITCHES:

Warp (toggle): Changes the intensity of the Warp footswitch across three modes, from subtle (center) assertive (left) to imminent lift-off (right).

Mode: Changes between standard delay (left) and a special second mode(right), which sends the repeats slamming into the second delay line at half time.

Speed: Offers three different speed settings of the modulation circuit - slow in the center position, fast when toggled right and medium in the left position. See also: flutter knob.

Tails: The Electroman MKII is buffered bypass, and this switch lets you decide how you want the repeats to behave with the pedal switched off: choked off when switched left, or trailing when switched right.

AUXILIARY

FX Loop Jack: This jack lets you attach a stereo Y-cable, allowing you to patch in any number of effects. These effects let you apply external effects only to the repeats, for endless amounts of fun. You can even run a full external pedalboard in this loop. We won't tell. In addition, the loop also doubles an an expression input to control the level knob.

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

Warp Footswitch: Engaged self-oscillation when and where you want it, and relents when you release it.

True Bypass/Trails Footswitch: Turns effect on and off.

POWER:

The Electroman II requires a center-negative 9VDC power adapter with at least 40mA of current (not included). Almost all power supplies meet this requirement, but check yours first.

DIMENSIONS

4.67" x 3.68" x 1.18" (119mm x
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MRP:$326.02 SAVE 21%
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FORTHCOMING
Solid Gold FX Beta MKII Bass Preamp & Overdrive Effects Pedal
Cat: 792797 Rel: 31 Dec 20
 
Preamp & bass overdrive effects pedal
Notes: With more and more bass players using pedals these days, its no surprise that four-stringers are looking to pedals to sweeten their tones. Sometimes, bassists must play direct, sometimes there are mix issues, and bass players are often required to keep their tone, and thus pedal selection, "tasteful" in the traditional sense. What if there was a pedal that answered all of these, and that it was dead simple to dial in right out of the box? There it is- the Beta MKII, you just might call it "the answer".

The Beta MKII is a beefed-up version of the original Beta circuit, giving you plenty of tube-like gain without the fizz or hassle. Two modes of operation dictate the amount of grime, tonal colorization, or both. These modes are Preamp and Overdrive.

The Beta MKII's Preamp side disengages the Gain control for a smooth, even-keeled preamp colorization. Both Tone and Volume controls are active in this position, for a subtle sweetening that you'll never turn offithink of those old Muscle Shoals tones or an Ampeg B15 Portaflex.

Flicking the switch to Overdrive mode reconnects the Gain control and gives you as much breakup as you could want, giving you harmonically-rich overdrive without being too aggressive or snappy. It sits just the way you want it to without overpowering anyone else. You'll be a better bandmate as a result.

Due to the expertly voiced EQ of the Beta MKII, you can warm up any lifeless rig, boring recording console or sterile mixer while still retaining dynamics and low-end. Perfection.

KNOBS:

Gain: Turn it up to give you a good amount of smooth, buttery gain that won't disrupt your low frequencies (hooray!)

Tone: Turn it left for a darker tone, turn it right for a brighter one.

Vol: Plenty of output to keep your amp nice and tight.

TOGGLE SWITCHES:

Mode: Two positions give you utmost flexibility. The left position gives you Preamp mode, which delivers a lighter, more tailored gain range that keeps you present. The right side is Overdrive mode that opens the Beta's full gain range up.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

True bypass footswitch: Turns the effect on and off.

POWER:

The Beta MKII requires a center-negative 9-18VDC power adapter with at least 6mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS:

4.39" x 2.34" x 1.06" (112 x 60 x 27mm)
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MRP:$184.97 SAVE 20%
coming soon $147.48
Solid Gold FX Oblivion Quad Flange Effects Pedal
Cat: 792824 Rel: 25 Nov 20
 
Flanger pedal
Notes: If you think you have Flangers all figured out and placed neatly in your little square genre-defined box, then get ready to have your world turned upside down by the OBLIVION QUAD FLANGER. An otherworldly vast sonic sea awaits you with this device, as every turn of a knob and flick of a switch unlocks mind-melting tones. From epically lush modulated movements to intense regenerating alien airwaves, lo-fi bit-crushed textural landscapes and much more, Oblivion is not here to capture a snapshot of the past, it's here to open portals to the future!

With the OBLIVION, you have the traditional Speed, Range and Regen controls, but where this pedal really shines is in the three distinct Flange modes available.

The OBLIVION has a Flanger and throw in Thru-Zero capabilities to pull you in and out of space. To push things a little bit further, the Bi-Flange mode was added - offsetting a pair of modulating delay lines for even more sweeping movement.

The quad-flange mode adds those four (yes, four!) independent delay lines for massive swooshing tsunamis of ominous textures.

To make things even more interesting, each of these three Flangers have their respective Degrade modes, introducing a lo-fi element unique to this pedal that grants you access to eyebrow raising textures, reminiscent of ring mods or robotic overtones.

Once all of that was accomplished, tons of flexibility was added for even more fine tuning. A Blend control helps to adjust your wet and dry mix for light and polite Chorus sounds or for a full-on swirling whirlpool of Flange. Expression and CV capabilities, with internal Dip Switches, add even more variation and control. Not to mention the multi-function foot switch capabilities for Tap Tempo, Speed Ramping and LFO Braking.

With top-mounted jacks and soft touch, relay True Bypass switching, this pedal truly has it all. So, what are you waiting for? Jump on into the sea of the OBLIVION, where growing layers of waves filled with the push and pull of the tide are waiting to wash over you.
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MRP:$326.02 SAVE 19%
 1 in stock $263.92
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quote 792824
Solid Gold FX Sasori Companion Fuzz Effects Pedal
Cat: 792826 Rel: 03 Nov 20
 
Fuzz pedal
Notes: Inspired by the cult classic Shin-Ei FY-2 Companion Fuzz, Solid Golid's Sasori (Japanese for scorpion) is a modern, improved take on the original with an equally rich, searing sound.

Supplier's Notes:
Shin-Ei's FY-2 Companion Fuzz was born in a time when the East and West shared a hunger for fuzz, and all the fuzz pedals were being made that are now considered modern classics. As for the Companion Fuzz, let's just say the original needed some work. Despite this, it still had its devotees- lots of them- just ask Wata of Boris. As a humble tribute, the Sasori is offered.

The Sasori - Japanese for scorpion - lives up to its name by delivering a punishing fuzz tone that checks all the boxes of a versatile fuzzbox, yet is still very much a Companion Fuzz at its core. The tremendous load of harmonics and bite that characterized the original still exist within the Sasori with none of the drawbacks.

Anyone who's played an original Companion Fuzz can tell you about them- the fuzz isn't louder than unity, even when all the way up, the Fuzz control is extremely subtle and the enclosure is just plain huge. Fear no more, Solid Gold have worked overtime and have crafted an antidote to these maladies.

Like any good fuzz, the Sasori excels at both chord and lead work, but with a venom-tipped buzzsaw-like edge that pierces through the densest layers of mix without sounding like an icepick. Looking for a harmonically rich, doomy fuzz that can sound like a synthy gated snarl on demand? Make way for the Sasori.

The volume drop of the original Companion Fuzz has been properly dealt with, and Solid Gold have included a tone control to change the character of the grind from dark and moody to brash and untamed. Like the original, the Fuzz control mixes between two different flavors for maximum versatility. This is one Companion Fuzz you'll want to keep close.

KNOBS:

Fuzz: The original Companion had this control wired as a mix, but Solid Gold have made sure it controls the actual fuzz amount, from barely there to tons of hair.

Tone: Unlike traditional tone knobs, this one controls the mids. It starts at scooped and delivers a punishing dose of midrange.

Vol: There's enough volume on tap to put the sting on your amp's front end.

AUXILIARY:

Input: Instrument or other pedal goes here.

Output: Amplifier or other pedal goes here.

True bypass footswitch: Turns the effect on and off.

POWER:

The Sasori requires a center-negative 9VDC power adapter with at least 5mA of current (not included). Almost all power supplies meet this requirement, but check yours beforehand.

DIMENSIONS:

4.39" x 2.34" x 1.06" (112 x 60 x 27mm)
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MRP:$192.95 SAVE 21%
 1 in stock $151.93
J Rockett Touch All In One Overdrive Effects Pedal
Cat: 783233 Rel: 30 Sep 20
 
Overdrive pedal
Notes: Experience touch sensitivity within this pedal that makes your playing come alive! Play soft to experience near clean chime and simply play harder to make it scream! The Touch Overdrive has enough shades of gain on tap to cover a huge range of styles and its size makes it perfect for any pedalboard.

Dimensions: Coming Soon

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

Analog - 12mA current draw

True Bypass Switching
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MRP:$158.35 SAVE 25%
 1 in stock $118.66
J Rockett Squeegee Low-Noise Analogue Compressor Effects Pedal
Cat: 783236 Rel: 30 Sep 20
 
Compressor pedal
Notes: We all know the classic tones of The Police or laying down those killer funk lines, tearing it upwith our double stops or plinking out innerchordal melodies right? Well, they all really need compression.

This is not one of those recreations of a complicated studio compressor where you have no clue what any of the controls do. This is a basic two know job that makes it easy for the user, just like what the classic guitar tones were made of. Unlike most compressors that squash your tone a little too much or have too much noise when kicked on our Squeegee provides toneful compression that is dead quiet and feels like real tubes working hard.

Dimensions: Coming Soon

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

Analog - 20mA current draw

True Bypass Switching
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MRP:$158.35 SAVE 27%
 1 in stock $115.33
J Rockett Steampunk Boost & Buffer Effects Pedal
Cat: 783238 Rel: 30 Sep 20
 
Boost/buffer pedal
Notes: This highly versatile yet simple pedal is a perfect 2 in 1 Buffer Booster. The buffer is perfect for fixing any impedance issues created from using long cables and big boards. The buffer will allow you to save your tone and regain any high end loss that may occur. The good news, it is fully selectable so if you don't want it there is an internal slide switch and an LED indicator to let you know of it is in or out of the circuit. It can also be used whether the boost is engaged or not.

The boost feature provides a clean 20+ Db push to your amps and effects. Whether you need your solo to have more umph, want to drive your amp that last little bit towards total crunch or push your other overdrives into high gain mode the Steampunk is your pedal. The side benefit to the steampunk is that it can take a pefectly clean tones and add a magical sustain and
clarity.this is no Rangemeaster by any stretch but rather a chime machine that keeps your EQ spectrum in tact!

Dimensions: Coming Soon

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

Analog-12mA current draw

True Bypass Switching
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MRP:$158.35 SAVE 32%
 1 in stock $108.13
J Rockett Immortal Echo Warm Echo With Tone Control Effects Pedal
Cat: 783232 Rel: 30 Sep 20
 
Echo pedal
Notes: The Immortal Blue Echo pedal was made with the intention of creating a vintage style echo with full controls, but in a housing for any board size! With an all analog dry signal and warm repeats the Immortal Echo has an addictive ethereal sound that makes the delayed notes musical. J Rockett surveyed many Nashville touring players about what added feature they would like to see and almost everyone said Tone Control.

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

Analog/Digital hybrid - 28mA current draw

True Bypass Switching
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quote 783232
J Rockett Animal 1968 Plexi Overdrive Effects Pedal
Cat: 783147 Rel: 30 Sep 20
 
Overdrive pedal
Notes: The ANIMAL OD is back by popular demand. The Animal is an accurate recreation of an overdriven 1968 "Plexi". The ANIMAL OD has the grunt and midrange bark of the old classic rock n roll amps but cleans up extremely well by backing off of your guitar's volume control. The controls are very simple and no matter where they are set they give you a great overdrive sound.

Dimensions: 4.75" x 3"

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

Analog - 10mA current draw

9 volt Battery

True Bypass Switching

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J Rockett IQ Compressor & 6 Band EQ Effects Pedal
Cat: 783227 Rel: 30 Sep 20
 
Compression/EQ pedal
Notes: Compressor with Pre Compression 6 Band Graphic EQ

The I.Q. Compressor is an EQ/Compressor with a pre-compression EQ. The EQ let's you choose which frequencies you want compressed harder based on their respective gain setting. Each frequency slider has 18db of gain or cut. The compressor has a volume and mix control. The volume adjusts the output level and the mix control blends the compressed and dry signal. (There will be a slight bump in volume as the mix control blends dry with wet). It can be adjusted with the volume control.

Band 1 - 100Hz
Band 2 - 200Hz
Band 3 - 400Hz
Band 4 - 800Hz
Band 5 - 1.5K
Band 6 - 3.2K

Volume - Controls Overall Output
Mix - Blends Compressed Signal with Dry Signal
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quote 783227
J Rockett Rockaway Archer Steve Stevens Overdrive & 6 Band EQ Effects Pedal
Cat: 783231 Rel: 30 Sep 20
 
Overdrive/6 band EQ pedal
Notes: The Rockaway Archer is an overdrive EQ all in one. The Rockaway Archer was developed for legendary guitarist Steve Stevens as an all in one solution to Steve's overdrive and EQ needs.

The settings include Up to 18dB of cut or boost at 6 different frequencies. Each frequency is increased by pushing its corresponding slider up on the pedal or decreased by pushing them down. This also adds or decreases volume. It is a great way to hit the front end of an amp harder than a stock Archer. The Rockaway Archer has an incredible variety of sounds due to the multitude of ways the EQ section can be used!

Dimensions: 4.00" x 2.50"

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

True Bypass

30mA Current Draw

18dB of cut and boost per frequency

6 Band Graphic EQ

Band 1 - 100 Hz Far Left
Band 2 - 200 Hz
Band 3 - 400 Hz
Band 4 - 800 Hz
Band 5 - 1.6K
Band 6 - 3.2K Far Right

Internal 18v Charge Pump (DO NOT USE 18v POWER SUPPLY, ONLY USE NEGATIVE TIP 9v AS LABELED ON THE FACE OF THE PEDAL)
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quote 783231
J Rockett Archer Boost & Overdrive Effects Pedal
Cat: 783165 Rel: 30 Sep 20
 
Overdrive/boost pedal
Notes: The Archer is sort of a 2 in one pedal. It can be used as just a clean boost by turning the gain all the way down. As you introduce gain it will attenuate the clean signal but there is a magical blend in between that you will find. Please experiment!

Dimensions: 4.00" x 2.30"

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

9 volt Battery

Buffered Switching
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quote 783165
J Rockett The Dude V2 Dumble Overdrive Special Sound Effects Pedal
Cat: 783208 Rel: 02 Oct 20
 
Overdrive pedal
Notes: The DUDE is designed to achieve the classic D style ODS sounds and feel. From Robben Ford to Larry Carlton to scorching gain, it is all there. The Dude v2 has a less aggressive volume control, new knobs that are easier to read and a noiseless foot switching system.

Dimensions: 4.00" x 2.30"

9 volt Negative tip adapter and a 5.5mm x 2.1mm jack.

Analog 18mA Current Draw

True Bypass Switching
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J Rockett Blue Note Tour Series Overdrive Effects Pedal (silver)
Cat: 783205 Rel: 30 Sep 20
 
Overdrive pedal
Notes: The Blue Note Tour Series is exactly what you think a small, compact version of the current production Blue Note. The Blue Note Tour Series is identical in sound to the original Blue Note, but does not offer the Hot Switch option.

The Blue Note Tour Series is designed for the touring musician with a rugged, steel enclosure and the new Speed Switch system. You can live in the jazz/blues world all day long with the Blue Note Tour Series always engaged.

The Blue Note gives you a very woodsy blues overdrive feel and can achieve more gain than a typical tube screamer (no this isn't another TS clone just using this as a reference). With the newly added Hot switch the pedal is capable of multiple tones. The Hot switch adds more gain, more volume and gooses the low mids for a thick juicy feel. The Blue note can be set to run flat in its EQ section or select the Hot position for more prominent mids. Since the Blue note can be run in either position it makes it suitable for many applications. This pedal is all about feel and really works well with any guitar/amp combination.

Dimensions: 4.00" x 2.30"

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

9 volt Battery

True Bypass
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J Rockett Hot Rubber Monkey Classic Dumble Overdrive Effects Pedal
Cat: 783213 Rel: 05 Oct 20
 
overdrive pedal
Notes: The Hot Rubber Monkey is a re-creation of the overdriven sounds of the legendary D style ODS amp but with the HRM EQ mod.

Dimensions: 4.00" x 2.30"

9 volt Negative tip adapter and a 5.5mm x 2.1mm jack.

Analog 18mA Current Draw

True Bypass Switching
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quote 783213
J Rockett Lenny Dumble Steel String Singer Boost & Tone Effects Pedal
Notes: Lenny was a happy accident. J Rockett inteded to design a recreation of the legendary Dumble Steel String Singer but thought...who needs a loud, clean amp sound in a pedal? The guy that made the Steel String Singer come alive was none other than SRV. With that said, Lenny was born! J Rockett have created a Steel String Singer being pushed to create color, texture and feel versus just loud and clean. Simply put, this is a very musical boost that colors your tone considerably, in an inspiring way...kind of like a Neve console. There is a definite mid character, but boy does it cut through a mix!

Boost - Tons of push, which creates an inter-play with the front end of any amp

Tone - Dials in your highs, simply put

The two controls are interactive and really need each other when slamming an amp. Lenny also takes advantage of the new "Speed Switch" system

Dimensions: 4.00" x 2.30"

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

9 volt Battery

True Bypass
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J Rockett 45 Caliber 1962 JTM 45 Overdrive Effects Pedal
Cat: 783138 Rel: 30 Sep 20
 
Overdrive pedal
Notes: Based on the tone of the first ever Marshall amp, the legendary JTM45. Classic creamy leads and crunchy overdriven rhythm tones. Simple control with gain, bass and treble control.

Supplier's Notes:
The new .45 Caliber is a pedal that J Rockett asked to create for some time now. It is a recreation of the original 1962 JTM 45 sound, overdriven. The sonic influence came directly from the old Malcolm Young, brilliantly crunchy rhythm tones and the old Pete Townsend Live at Leeds, face-melting goodness! To achieve that sound seems like an easy task but this design proved to be quite a challenge. After a year or so, it's been nailed both in sound and feel.

The .45 Caliber also takes advantage of the new Speed Switch system.

Dimensions: 4.00" x 2.30"

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

9 volt Battery

True Bypass
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J Rockett Archer Ikon Boost & Overdrive Effects Pedal (gold)
Cat: 783204 Rel: 30 Sep 20
 
Boost pedal
Notes: The Archer Ikon is sort of a 2 in one guitar pedal. It can be used as just a clean boost by turning the gain all the way down. As you introduce gain it will attenuate the clean signal but there is a magical blend in between that you will find. Please experiment!!

Dimensions: 4.00" x 2.30"

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

9 volt Battery

Buffered Switching
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J Rockett APE Classic Tape Echo Preamp & Boost Effects Pedal
Cat: 783154 Rel: 30 Sep 20
 
Preamp experiment pedal
Notes: The APE is a unique design and an accurate re-creation of a famous vintage tape delay's analogue section. This is not just a preamp but rather the entire analogue circuit from input to output including the sonic influence of the tape heads. It runs at 22.5v just like the original. For convenience it uses a DC to DC converter allowing you to power it with a simple standard 2.1/5.5mm 9v power supply just like most of the pedals on the market.
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J Rockett GTO Guthrie Trapp Signature Overdrive Effects Pedal
Cat: 783210 Rel: 30 Sep 20
 
Overdrive pedal
Notes: The new GTO is the latest design coop with Guthrie Trapp. The original was sort of the Nashville favorite, recreating the old Nobels ODR-1. A great sound in itself but Guthrie wanted more.

The new GTO has a much tighter bottom, less gain and more cut in the mix. It can go from super mild to a really nice, dynamic OD feel. This pedal has compression but in a great way. You can use it as a clean boost and EQ or you can bring in the dirt.

Level: Interactively controls the overall output. The more gain, the louder it will become so you have to use the two in conjunction

Gain: Controls the gain level but also creates compression and feel. It blends with the clean signal so you can really find interesting sounds

Accent: Controls the cut through the mix, the top end and the bite

Warmth : Controls the bottom end but is also very interactive with the Accent control. You can really fatten up the mids but use the accent to keep it from getting woofy.


Dimensions: 4.00" x 2.30"

9 volt Negative tip adaptor and a 5.5mm x 2.1mm jack.

9 volt Battery

True Bypass
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J Rockett Mr Moto Tremolo & Spring Sound Effects Pedal
Cat: 783224 Rel: 02 Oct 20
 
Tremolo & reverb pedal
Notes: A very musical Tremolo with a super lush spring reverb as well. Both can be run independently or together.

The Tremolo can go from a very subtle throb to a choppy rhythmic pulse.

Features the J Rockett Speedswitch system

The Mr. Moto is everything you wish your amp had built in. The Mr. Moto is a very musical Tremolo with a super lush spring reverb as well. Both can be run independently or together.

The Tremolo can go from a very subtle throb to a choppy rhythmic pulse.

Mr. Moto is great for very lush, beautiful tones all the way to full on surf rock.

The options are many but no matter where you set it the effect can completely change your tone, feel and the way you approach music altogether.

Dimensions: 4.00" x 2.30"

9 volt Negative tip adapter and a 5.5mm x 2.1mm jack.

Analog/Digital hybrid 76mA current draw

True Bypass Switching
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quote 783224
J Rockett Broverdrive Smooth Overdrive Effects Pedal
Cat: 791425 Rel: 05 Oct 20
 
Overdrive pedal
Notes: Smooth and 'chewy' overdrive, designed as an antidote to the hundreds of Tube Screamer soundalikes on the market. Mellow and classy distortion that pairs nicely with most amps.

Supplier's Notes:
You are probably reading this expecting a sonic description or a comparison to whatever classic amp it is supposed to be. Is it another Tube Screamer derivative? It could be a little of all of those but it isn't and there's have no clue how to describe it other than it is freakin killer. It sounds great through every amp it was through and it sounds great with all styles of pickups and guitars. But, we know everybody needs that reference so the best we can do is tell you it is very smooth, chewy and cuts through a mix. You can play country, rock, jazz or blues and it maintains an amazing feel.

Dimensions: 4.00" x 2.30"

9 volt Negative tip adapter and a 5.5mm x 2.1mm jack.

Analog - 18mA Current Draw

True Bypass Switching
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J Rockett Archer Clean Boost Effects Pedal (white)
Cat: 783174 Rel: 30 Sep 20
 
Boost pedal
Notes: An exact recreation of the clean boost side of a Klon. Add the sought after Klon midrange to your tonal range!

The Archer Clean is based on the famous Klon circuit minimally using the iconic diodes giving it almost no gain, but an exact recreation of the clean boost side with the ability to add the sought after Klon midrange.

Dimensions: 4.00" x 2.30 x 1.25"

9 volt Negative tip adapter and a 5.5mm x 2.1mm jack.

Current Draw: 28mV

True Bypass Switching
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Maxon GE-601 Graphic Equalizer Reissue Series Pedal
Cat: 783410 Rel: 25 Sep 20
 
EQ pedal
Notes: EQ's may not be as sexy as overdrives, but when used properly they can add a wide variety of useful new colors to your existing guitar rig.

The GE601 Graphic Equalizer covers six carefully selected frequency bands over a five octave range with 12 dB of Boost/Cut per band (100, 200, 400 & 800 Hz, 1.6 & 3.2 KHz respectively). There's also a Master Level control with 12 dB of overall Boost/Cut.

Adjusting these controls, the GE601 can be used to fine tune your sound in an infinite variety of ways, a few of which are detailed below:

Pickup Simulator (Humbucker to single coil) - To turn a Humbucker into a Single Coil, cut 200, 400, & 800 Hz and Boost 100 Hz & 1.6 KHz.

Pickup Simulator (passive Bass to active Bass) - Cut 200 Hz and Boost 100 Hz & 1.6 KHz to give a passive Bass the clarity and punch of an active instrument.

Pickup Simulator (single coil to piezo)- Cut 200, 400, & 800 Hz and Boost 100 Hz, 1.6 & 3.2 KHz to make a single coil electric simulate the bright, chiming sound of an acoustic guitar with piezo pickup.

Half-cocked Wah - Boost at 800 Hz to emulate the tone of a wah pedal with the treadle set half-way forward. This setting is also ideal for solo boosts (Adjust Level control to taste).

Clean Booster - Leave all frequency bands flat and boost the Level control to use as a clean booster for solos or to overdrive an amplifier's input. For more output, set all frequency bands to maximum boost.

TECH TALK:
After a low-impedance input buffer, the GE601 splits its signal into 6 parallel EQ bands each powered by its own Op Amp (JRC4558). Through the sweep of the slider you can cut or boost the selected frequency.

Boost is created by feeding the effected signal back into the Op Amp, creating an effect of exponential multiplication of that frequency - the higher the slider, the more of the effected signal is fed back through the EQ Op Amp chain.

The GE601 features buffered, JFET bypass switching with a low impedance output, allowing it to drive long cable lengths or other effect units without loss of signal.

Input Impedance: 500K Ohms

Input Jack: 1/4 inch standard phone jack

Output Impedance: 10K Ohms

Output Jack: 1/4 inch standard phone jack

Output: 1

Controls: Cut/Boost (6), Level (1)

Switch: Normal/Effect

Max Input: 4 dBu

Noise (IHF-A): -110 dBu

Max Amplitude: 12 dB

Frequency Range: 100 Hz 3.2 KHz

Power Supply: 9V Manganese dry cell battery (S-006P) or special AC adaptor

Power Voltage: DC9 V (Battery) / DC10 V (AC-adaptor)

Current Consumption: 11 mA (9V) / 12 mA (10 V)

AC Adaptor: AC210N (option) Input: AC120V Output: DC9V/200 mA Center - / Sleeve +)

Dimensions (main body): 61 mm (W) x 112 mm (D) x 35 mm (H)

Dimensions (whole): 70 mm (W) x 112 mm (D) x 55 mm (H)

Weight: 240 g

Accessories: 9V Manganese dry cell battery (S-006P) x 1

Non-skid pad: x 1

Warranty Card: x 1

User's Manual: x 1
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quote 783410
Maxon BD-10 Hybrid Bass Driver Ten Series Pedal
Cat: 783267 Rel: 21 Sep 20
 
Overdrive pedal
Notes: The BD10 Hybrid Bass Driver brings Maxon's 40+ years of experience in Overdrive design to the world of the Bass Guitar. But guitarists, don't despair; the BD10 works equally well with six strings as it does with four!

The BD10 was designed in cooperation with Masaki - a prominent Japanese Bassist who has played with world-class musicians such as Carmine Appice, Gus G, and John Petrucci, and is also a founding member of the Japanese heavy metal band Animetal.

Masaki's aggressive approach to the Bass includes fluid soloing, manic slapping & popping, energetic fills, and crashing chords for punctuation. He required an overdrive that could keep up with this energetic playing style while still retaining low-end punch and authority.

The BD10's symmetrical clipping path provides sustained, harmonically-rich saturation that retains note clarity and expressiveness even at maximum settings. Aggressive yet dynamic, the BD10 can articulate fast playing techniques such as the multi-finger picking and two-handed tapping that Masaki is famous for.

The BD10 can cover a wide variety of distorted tones, from semi-dirty boosts to punchy, tube-like grind all the way to super-saturated shred. Distorted sounds can then be blended with Dry signal using the independent Clean and Drive Level controls.

Fine tuning the balance between Clean and Distorted signals, the user can obtain the ideal mix for their particular playing style and equipment. Use a pick? Turn up the Drive for chunky chugs. Play with your fingers? Boost the Clean for more clarity and articulation of your notes.

Clean signal can be boosted up to +6 dB above unity gain, allowing the DB10 to be used as a clean or semi-clean booster or as a linedriver for your signal chain.

Since the BD10's circuit is based on Maxon's legendary 808 design, it can also be used with Guitar. The dual tone controls allow the user to dial in the lows that are typically lost with 808-style pedals, while the ability to blend clean and dirty signals can simulate the sound of a dual-amp rig as well as pedals like the Klon Centaur and Voodoo Labs Sparkle Drive.

Compact, versatile, and musically expressive, the BD10 Hybrid Bass Driver is a worthy and welcome addition to the Maxon family of world-class Overdrives.

TECH TALK:
The BD10 features a low-impedance buffered bypass, allowing it to drive long cable lengths or other effect units without loss of signal.
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Maxon DB-10  Dual Booster Ten Series Pedal
Cat: 783269 Rel: 21 Sep 20
 
Booster pedal
Notes: A unique concept in booster design, the DB10 features two completely independent boost circuits in a single compact housing.

The Clean (Left) channel offers up to +20 dB of clean boost with a completely flat frequency response.

The Vintage (Right) channel is Maxon's take on the classic Treble Booster circuit. It offers up to +20 dB of boost, but with a subtle high-frequency roll-off that increases as the Level is turned towards maximum.

Each circuit has its own input and output jacks, allowing them to be cascaded into one another in any order. Place an overdrive or distortion in-between the channels for additional tonal options - super-saturated overdrive that can then be level-boosted for solos, etc.

One of the many great features of the DB10 is the proximity of the bypass switches to one another, allowing the user to hit both switches simultaneously.

Independent status LED's indicate which channel is engaged and both channels feature True Bypass Switching using a 3PDT switch. Battery or DC (9-18 V) power options.

Compare to "booster" pedals out there such as Suhr Koko Boost, Exotic Rc Booster, Ac Booster, Ep Booster, Pigtronics Class A boost, Fulltone Fat Boost, Tc Boost etc...

TECH TALK:
The DB10 features mechanical true bypass switching on both channels via two x Fujisoku 3PDT switches.

Input Impedance: 500K Ohms

Output Impedance: 10K Ohms

Controls: Vintage LEVEL, Clean LEVEL

Switch:
Vintage Bypass/Effect (3PDT True Bypass)
Clean Bypass/Effect (3PDT True Bypass)

Indicator: Vintage Bypass/Effect LED, Clean Bypass/Effect LED

Gain:
Vintage 6 to 19dB at 400Hz
Clean 0 to 21dB at 400Hz

Equivalent Input Noise:
Vintage -95dBu or less (Input shorted, IHF-A weighted)
Clean -105dBu or less (Input shorted, IHF-A weighted)

Power Supply: 6F22/6LF22 9V battery x 1 or Maxon AC adaptor

Power Voltage: DC9 V (Battery) / DC10 V (AC-adaptor)

Power Consumption: 11mA / 9VDC

Battery Life:
9VDC manganese battery 41 hours 25 deg C (FUJITSU 6F22)
9VDC alkaline battery 67 hours 25 deg C (TOSHIBA 6LF22)

Dimensions (whole): 70(W) x 113(D) x 54(H)mm (with protrusion)

Weight: Approx. 290g (incl. battery)

Accessory: 6F22 9V battery x 1, operating manual* 0dB = 0.775Vrms
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quote 783269
Maxon FEA-10 Fuzz Elements Earth Ten Series Fuzz Pedal
Cat: 783281 Rel: 21 Sep 20
 
Fuzz pedal
Notes: David Gilmour's go-to dirt box, the EH Ram's Head Big Muff helped to define classic rock guitar tone in the 1970's.

The FEA10 Fuzz Elements Earth captures all the grit, grind & girth of that fuzzy fiend in a pedalboard-friendly format that's a fraction of the cost of an original Ram's Head.

Aptly named, Earth is simply massive sounding, with a fat, tight bottom; harmonically rich yet warm top-end; and the subtle yet sublime "sag" that allows notes to smoothly blossom into rapturous, singing sustain.

Like an original Ram's Head, there's simply not a bad sound to be found in this pedal at any control setting - there are merely variations of awesome.

The FEA10's tone was "modeled" on a handful of the best-sounding Ram's Heads from a variety of studios & vintage guitar shops around Tokyo. It could take you years and cost you thousands to seek out vintage units with this level of sound quality and consistency.

Maxon has done the leg work, now all you need to do is plug into Earth and rock!

TECH TALK:
The FEA10 features mechanical true bypass switching, Effect LED Indicator, and 9-Volt DC Battery or external adaptor operation.
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quote 783281
Maxon Compact Series AD-10 Analogue Delay Ten Series Pedal
Cat: 783247 Rel: 21 Sep 20
 
Analogue delay pedal
Notes: The AD10 takes Maxon's 30+ years of experience in analog delay design and offers it up in one compact, WYSIWYG pedal.

The AD10 delivers up to 600 milliseconds of gorgeous, organic delay that doesn't get in the way of your original guitar tone. Delay repeats are tuned to perfection with a subtle yet distinct distortion and none of the high-frequency whistle associated with over-clocking of the delay circuit.

The AD10's minimalist control interface makes it incredibly easy to dial in a variety of usable delay effects including double-tracking, faux reverb, tight rhythm slapbacks, and longer delays for solos.

The AD10 retains its distinctive sound even when stacked with overdrives and distortions. It works equally well in the front end or the FX loop of an amp and excels at the runaway feedback self-oscillation that everyone now expects from an analog delay.

TECH TALK:
The AD10 features a low-impedance buffered bypass, allowing it to drive long cable lengths or other effect units without loss of signal.

Input Impedance: 500K Ohms

Output Impedance: 10K Ohms

Controls: DELAY, REPEAT, BLEND

Switch: Bypass/Effect

Indicator: Bypass/Effect LED

Equivalent Input Noise: -95dBu or less (Input shorted, IHF-A weighted)

Delay Time: 35mSec to 600mSec

Power Supply: 6F22/6LF22 9V battery x 1 or Maxon AC adaptor

Power Consumption: 30mA max. / 9VDC

Battery Life:
9VDC manganese battery 16.5 hours 25 deg C (FUJITSU 6F22)
9VDC alkaline battery 33.5 hours 25 deg C (TOSHIBA 6LF22)

Dimensions (whole): 70(W) x 113(D) x 56(H)mm (with protrusion)

Weight: Approx. 330g (incl. battery)

Accessory: 6F22 9V battery x 1, operating manual* 0dB = 0.775Vrms* Be sure battery is firmly connected to battery snap with the correct polarities.
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Maxon OOD-9 Organic Overdrive Nine Series Pedal
Cat: 783327 Rel: 21 Sep 20
 
Oerdrive pedal
Notes: Offering the same warm, open-sounding overdrive as the OSD-9 but with a more pronounced high-frequency response, the OOD-9 is perfect for "livening up" a dark-sounding guitar or amp.

The OOD-9 reacts smoothly to input level changes, offering a highly interactive response to player dynamics. Perfect as a stand-alone dirt box or for pushing an amp, the OOD-9 can also be stacked with other OD's to add clarity and character to their tone.

The OOD-9 offers up all these classic sounds in Maxon's indestructible, industry standard 9-Series chassis. Modern-day utility features such as mechanical true bypass switching and a voltage regulator have also been added to provide smooth, consistent performance.

Providing mild, transparent overdrive that doesn't step all over your original tone, the OOD-9 Organic Overdrive truly lives up to its name.

The OOD-9 takes Maxon's resurrected OSD-9 circuit and replaces the NOS 741 Op Amps with current-production NJM (JRC) 4558's.

TECH TALK:
The OOD-9 signal path starts with a 2SK246 jFET buffer which provides a high input impedance and low output impedance into the 1st Op Amp - a NJM (JRC) 4558. This 1st Op Amp is set up to provide a 20 to 120x gain in signal.

After the 1st Op Amp we have a pair of diodes to ground, just like classic boxes such as the MXR Distortion+, Pro Co Rat and Boss DS-1. From here it's into another NJM4558 with an amplification factor of 10 to boost the signal back to a high enough level to drive the input of an amplifier if necessary - a feature that the Dist+ and DS-1 do not offer.

From here the signal is routed to a 4558 Op Amp unity gain amplifier, a volume control voltage divider, and then another unity gain 4558 to provide a low impedance output.

The OOD-9 uses a NJM2374A Voltage converter to stabilize the operating voltage at 9 VDC regardless of the voltage level coming off the battery, providing a smoother, more consistent operation and tonality.

The OOD-9 features Mechanical True Bypass switching via a Fujisoku 4PDT switch - the input of circuit is switched to ground when bypassed.

NOTE ON POWERING THE OOD-9 - this pedal's voltage regulator IC requires a high inrush current of approximately 2000 mA upon startup. When using with a Power Brick such as the Voodoo Labs Pedal Power 2+, this pedal should be connected to a high current power jack when possible.

If it is not possible to connect to a high current jack, you can power the OOD-9 by leaving a battery in the pedal. Upon initial start-up, unplug the external DC power input cable, engage the pedal, and then plug the DC power input cable back in - the pedal will now power up normally off the external power supply until you power down your pedalboard.

Input Impedance: 500K Ohms

Output Impedance: 10K Ohms or less

Maximum Gain: 41.5dB (700Hz)

Equivalent Input Noise: -107dB or less (IHF-A)

Control: DRIVE, LEVEL

Operating Voltage: 9V

Power Consumption: 18mA/DC 9V, 18mA/DC 10V

Dimensions: 74 (W) x 124 (D) x 54 (H) mm

Weight: 580g (including battery)

Battery: 9V battery (6LR61 or 6F22) x 1 or Maxon AC adaptor

Battery life: Manganese dry battery 10.5 hours 25deg C / 77deg F (Panasonic 6F22NB)
Alkaline dry battery 23 hours 25deg C / 77deg F (Panasonic 6LR61G)

Option: Maxon AC adaptor (Maxon AC210N for North America)
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Maxon ASC-10  Ambient Stereo Chorus Ten Series Pedal
Cat: 783260 Rel: 21 Sep 20
 
Ambient stereo chorus pedal
Notes: The ASC10's chorusing effect is set especially wide in the stereo spectrum, offering a lush tonality that actually sounds like two guitars playing at once.

The extended operation range of the Rate and Depth controls conjure up everything from gorgeous 12-string simulations to punch-drunk rotary speaker spins.

Stunning on clean sounds and aggressive on distorted tones, the ASC10 is equally at home in the front-end or the FX loop of an amp.

Dual, phase-inverted outputs allow for panning of the ASC10's effect between two amps or tracks, or run mono from output B for a more dramatic chorus effect.

TECH TALK:
The ASC10 features a low-impedance buffered bypass, allowing it to drive long cable lengths or other effect units without loss of signal.

Input Impedance: 500K Ohms

Output Impedance: 10K Ohms

Controls: RATE, DEPTH

Switch: Bypass/Effect

Indicator: Bypass/Effect LED, RATE LED

Maximum Input Level: 4dB (400Hz)

Equivalent Input Noise: -100dBu or less (Input shorted, IHF-A weighted)

Delay Time: 4.6mSec to 7.6mSec

Rate Frequency: 0.33Hz to 8Hz

Power Supply: 6F22/6LF22 9V battery x 1 or Maxon AC adaptor

Power Consumption: 20mA max. / 9VDC

Battery Life:
9VDC manganese battery 15 hours 25 deg C (FUJITSU 6F22)
9VDC alkaline battery 30 hours 25 deg C (TOSHIBA 6LF22)

Dimensions (whole): 70(W) x 113(D) x 56(H)mm (with protrusion)

Weight: Approx. 290g (incl. battery)

Accessory: 6F22 9V battery x 1, operating manual* 0dB = 0.775Vrms
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Maxon FW-10 Fuzz Elements Wind Ten Series Fuzz Pedal
Cat: 783306 Rel: 21 Sep 20
 
Fuzz pedal
Notes: Manufactured under a myriad of brands, this circuit can be found in the Vox Tonebender Professional MKII, Marshall Supa Fuzz, RotoSound Fuzz Box and the rare Rangemaster Fuzzbug. Yet whatever the name, everyone can agree on one thing - this was the guitar sound of early classic rock.

Perfect for replicating the timeless tones of Beck, Page, & Clapton, the FW10 Fuzz Elements Wind captures all the magic of the original Mk II Tonebender and adds a little modern mojo of its own.

Wind offers an edgy, aggressive tone with plenty of midrange sizzle, yet it cleans up beautifully with your volume knob and offers excellent note definition even with complex chords.

Maxon also added two tweaks to this classic circuit to make it more versatile. First; a Vintage/Hot switch that selects between the Gain level of the original and a higher Gain setting. Vintage serves up 100% Tonebender, while Hot offers more sustain for solos or to drive you amp over the edge.

Wind also features a selectable input buffer that works to provide a more accurate, uncolored recreation of the guitar input signal. In short: It's your sound, just dirtier.

The original Sola Sound Tonebender was used by some the greatest guitar players of the 60s and 70s.

If you're looking to worship at the altar of rock's holy trinity, Fuzz Elements Wind will be your guide.

TECH TALK:
The FW10 features mechanical true bypass switching, Effect LED Indicator, and 9-Volt DC Battery or external adaptor operation.

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Maxon FF-10 Fuzz Elements Fire Ten Series Fuzz Pedal
Cat: 783302 Rel: 21 Sep 20
 
Fuzz pedal
Notes: The AF100 Bee Baa was Roland's answer to the gnarly, nasty guitar boxes coming out of the USA & the UK in the late 60's and early 70's.

A combination of transistor Fuzz, Octavia, and Treble Booster, the Bee Baa's massive metal housing & triple stomp switches provided ample evidence that this pedal was not to be trifled with.

Even Maxon was hard-pressed to reproduce the AF100's might in their compact chassis format. Opting to stick with the Fuzz aspects of the Bee Baa, they decided to leave out the Treble Boost section of the circuit when developing this next Fuzz Elements model.

The FF10 Fire produces two distinctly different yet equally aggressive fuzz tones based on the AF100's signature sounds.

In normal mode, the FF10's three controls can dial in thick & muscular transistor tones akin to a great-sounding Big Muff, but with improved midrange response and superior note clarity & clean-up.

Activating the Notch switch scoops mids & accentuates the upper octave harmonics dramatically, creating sizzling, searing sustained tones that are perfect for lead work.

As on the original AF100, Maxon kept the Notch setting foot switchable, allowing the user to toggle between these two titanic tones in mid-song.

Smaller & less expensive, but just as effective as the original it was inspired by: Fuzz Elements Fire brings the heat.

TECH TALK:
The FF10 features mechanical true bypass switching, Effect LED Indicator, and 9-Volt DC Battery or external adaptor operation.
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Maxon SM-9 PRO+	Super Metal Distortion Nine Series Pedal
Cat: 783351 Rel: 21 Sep 20
 
Distortion pedal
Notes: Over the past 10 years Maxon effects have become key ingredients in the guitar rigs of countless metal bands. Notable artists such as Killswitch Engage, Arch Enemy, Shadows Fall and All That Remains have come to rely on Maxon overdrives for their brutal guitar tones on stage and in the studio.

The irony here (pun intended) is that Maxon has never offered a pedal tailored to the needs of the metal guitarist - until now.

Introducing the Maxon SM-9 Pro+ Super Metal - specifically designed for high-gain distortion tones, the SM-9's flexible saturation circuit can churn out everything from classic NWOBHM crunch through to the throaty chunk of today's drop-tuned metal extremes.

Developing such a pedal was no easy task, and the Pro+ was on the drawing board for years before Maxon felt it was ready for release. Several unique "tricks" were incorporated into its design to create a pedal that is as versatile as it is merciless.

Forgoing the use of conventional tone controls, the SM-9 instead features Scoop and Edge knobs to dial in the riffage.

The Scoop control is a mid-band elimination filter with a range from 200 Hz - 2 KHz. This control adjusts the frequency range where the pedal's midrange cut is centered.

Once the amount of mid scoop is determined, any high-end loss can be dialed back in using the Edge control - a Hi-cut shelving filter continuously variable between 2-15 kHz.

These two controls are highly interactive and work much like a parametric equalizer - Adjusting both knobs simultaneously allows the user to find the perfect mix of brutality and clarity.

The SM-9's Gain control adjusts the degree of saturation the pedal provides. This control is actually a dual-ganged pot that increases the amount of distortion while simultaneously boosting the upper midrange band up to 20 dB at 1 kHz.

By boosting and cutting specific frequency bands in relation to Gain, the SM-9's controls allow the user to sculpt brutal, beefy guitar tones that retain note clarity and definition.

The Pro+ also offers switchable 9- or 18-volt operation. In Classic mode, the SM-9 runs at the incoming 9 volts DC, greatly extending battery life. Switching to stabilized 18-volt operation increases headroom, frequency range, and dynamic response of the pedal.

Using the SM-9's controls and voltage options, an almost unlimited variety of monstrous high-gain tones can be dialed in. Whether you're a full-time metal maniac or just need the occasional "nuclear blast" without the bulk or volume of a full stack, the Maxon SM-9 Pro + Super Metal will deliver the goods.

The SM-9 Pro+ offers all the might and majesty of a high-gain amp stack at a fraction of the size and cost.

TECH TALK:
The SM-9 Pro+ features Mechanical True Bypass switching via a Fujisoku 4PDT switch.

NOTE ON POWERING THE SM-9 Pro+ - this pedal's voltage regulator IC requires a high inrush current of approximately 2000 mA upon startup. When using with a Power Brick such as the Voodoo Labs Pedal Power 2+, this pedal should be connected to a high current power jack when possible.

If it is not possible to connect to a high current jack, you can power the SM-9 by leaving a battery in the pedal. Upon initial start-up, unplug the external DC power input cable, engage the pedal, and then plug the DC power input cable back in - the pedal will now power up normally off the external power supply until you power down your pedalboard.

Input Impedance: 500K Ohms

Output Impedance: 10K Ohms or less

Maximum Gain: 52.5dB (4 kHz)

Equivalent Input Noise: -60dB or less (IHF-A)

Control: GAIN, SCOOP, LEVEL, EDGE

Switch: Bypass/Effect, Voltage Switch (9V/18V)

Indicator: Bypass/Effect LED, 9V LED, 18V LED

Internal Circuit Voltage: 9VDC / 18VDC (DC / DC Converter)

Power Consumption: 12mA/9VDC, 42mA/18VDC

Dimensions: 74 (W) x 124 (D) x 54 (H) mm

Weight: 600g (including battery, excluding AC adaptor

Power Supply: 6F22 / 6LR6 9V battery x 1 or Maxon AC adaptor

Standard Accessory: AC adaptor AC2009,user's guide

Battery life:
9VDC manganese battery 27 hours @ 25 degrees C (Panasonic 6F22NB)
9VDC alkaline battery 50 hours @ 25 degrees C (Panasonic 6LR61G)
18VDC manganese battery 1.3 hours @ 25 degrees C (Panasonic 6F22NB)
18VDC alkaline battery 6 hours @ 25 degress C (Panasonic 6LR61G)Option: AC adaptor (Maxon AC210N)* OdB = 0.775Vrms
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Maxon AF-9 Auto Filter Nine Series FX Pedal
Cat: 783308 Rel: 25 Sep 20
 
Filter pedal
Notes: You may have noticed that the Maxon AF-9 Auto Filter has undergone a facelift.

Specifically, the Sensitivity & Peak faders have been replaced by rotary pots and the slider switches are now toggles.

This change was made out of necessity due to the discontinuation of the fader pots that had been used on this model for nearly 40 years (original release date was 1981).

While these changes may have been necessary, Maxon saw no reason to update the AF-9's classic, watery, 3-dimensional filtering that so many players have to come to count on over the years. So, you can expect the latest version of this classic quacker to stand up to the original.

While change may be inevitable, if it ain't broke, then don't fix it.

The Maxon AF9 Auto Filter takes the most desirable auto-wah and swept filter effects and offers them up in a compact, user-friendly package. Opto-coupler circuitry produces the shimmering, watery filtering of legendary vintage units. Threshold and Peak sliders control the degree of effect; while Range and Drive switches determine range and direction of the filter sweep. Three selectable filter types (Low Pass, Band Pass, and Hi Pass) and a frequency range of 100 Hz - 4 kHz allow the AF9 to function with virtually any instrument or input signal.

"The Maxon Auto Filter is one of my favorite "go-to" pedals. This really helps you give your playing a human voice without sounding like you just stepped on an effects pedal. It is really special and you can hear it on tons of my recordings." - Marty Friedman (Solo Artist, ex-Megadeth, Cacophany)

TECH TALK:
The AF-9 is Maxon's version of the venerable Mu-Tron III envelope filter circuit (original version, not HAZ reissue). The biggest difference between the two circuits is that the AF-9 runs on a single 9V supply while the Mu-Tron ran at 18V.

In addition, the III had a Gain pot which controlled the output level of the pedal as well as the Threshold of the Filter - this was an awkward design, as it prevented increasing the filter sensitivity without raising the output volume of the pedal.

These items aside, the basic structures of the two circuits are very similar. The AF9 starts with a unity gain buffer Op Amp and then splits the signal into control and effected circuits. The control circuit is shaped by the Sensitivity pot and amplified by an Op Amp. This control signal then travels to a series of two photocouplers.

The effected portion of the circuit split goes into a three Op Amp filter network that is almost identical to the Mu-Tron's, right down to the Low Pass, Band Pass, and High Pass switch that selects which portion of the filter network is used. These filters are triggered by the CdS cell side of the previously mentioned photocouplers.

The AF-9's Range is selected by changing the gain structure of the filters. After the filter network the signal is run through a unity gain buffer to provide a low impedance output.

The AF-9 features Mechanical True Bypass switching via a Fujisoku 4PDT switch.

Input Impedance: 500K Ohms

Input Jack: 1/4 inch standard phone jack

Output Impedance: 10K Ohms

Output Jack: 1/4 inch standard phone jack

Output: 1

Residual Noise: -95 dB or less (input shorted IHF-A weighted)

Filter Frequency: 100 Hz 2 KHz (Low) / 200 Hz 4 KHz (High)

Controls: Sensitivity, Peak

Switch: Normal/Effect (true bypass configuration), Filter LP/BP/HP, Drive Up/Down, Range High/Low

Power Supply: 9V Manganese dry cell battery (6F22) or special AC adaptor

Power Voltage: DC9 V (Battery) / DC10 V (AC-adaptor)

Current Consumption: 17 mA (9 V) / 19 mA (10 V)

AC Adaptor: AC210N (option) Input: AC120V Output: DC9V/200 mA Center - / Sleeve +)

Dimensions (whole): 74 mm (W) x 124 mm (D) x 54 mm (H)

Weight: 580 g

Accessories: 9V Manganese dry cell battery (S-006P) x 1

Warranty Card: x 1

User's Manual: x 1
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quote 783308
Maxon FA-10 Fuzz Elements Air Ten Series Fuzz Pedal
Cat: 783271 Rel: 15 Oct 20
 
Fuzz pedal
Notes: The FA10 Fuzz Elements Air accurately recreates the distinctive square wave clipping and octave harmonics of one of history's most desirable dirt boxes, the Super Fuzz.

The original Super Fuzz was created by Shin-Ei, but saw later incarnations under brands such as Apollo, Shaftesbury, JAX, Tiesco, Memphis, and most famously, Univox.

It was used on countless recordings in the late 60's & 70's, most notably the Who classic Live at Leeds. Long out of production, the Super Fuzz saw resurgence in the 90's during the Grunge & Alternative Rock era, appearing on the Beastie Boys' Gratitude, Mudhoney's Big Muff Super Fuzz album and Monster Magnet's stoner-rock classic, Superjudge.

The Super Fuzz used dual germanium diodes and a unique full-wave rectification circuit to produce sizzling upper octave harmonics as well as subtle lower harmonics that filled out the guitar sound.

The FA10's analog circuitry nails the Super Fuzz's crushing, compressed tone with surgical precision, and includes the two position Tone switch to toggle between flat and scooped EQ curves. These settings produce wildly different sounds, offering stark contrast to one another and effectively making the FA10 two pedals in one.

A unique aspect of the FA10 is its ability to reproduce rhythm or lead lines with equal clarity, yet without changing settings on the pedal.

Featuring authentic Vintage tones and modern features, the Fuzz Elements Air is the perfect vehicle to make your playing soar.

TECH TALK:
The FA10 features mechanical true bypass switching, Effect LED Indicator, and 9-Volt DC Battery or external adaptor operation.
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Maxon OSD-9 OD Soft Distortion Nine Series Pedal
Cat: 783330 Rel: 15 Oct 20
 
Distortion pedal
Notes: In 1977 Maxon released their first effect pedal - the OD880 Overdrive/Soft Distortion - and the world would never be the same.

Employing a passive distortion circuit based around the 741 Op Amp (also used in the popular DOD 250), the OD880 was coveted for its warm and natural overdrive tone. The 880 was perfect for use as a transparent booster to take a tube-amp over the edge, offering singing blues tones unrivaled by other boxes.

Japanese guitar legend Char made the OD880 famous as his booster-of-choice, causing original versions to skyrocket into the $600 range on the vintage market.

In the early 90's Maxon reissued a limited edition run of the OD880. Yet with no distribution outside of Japan, this model went largely unnoticed by the rest of the world, leaving its amazing tone a secret to all save the discerning collector.

Now Maxon has once again resurrected the OD880 in the form of the OSD-9 Overdrive/Soft Distortion.

The OSD-9 offers a warm, open-sounding overdrive with a mild high-end roll off. It reacts smoothly to input level changes, offering a highly interactive response to player dynamics. Perfect as a stand-alone dirt box or for pushing an amp, the OSD-9 can also be stacked with other OD's to add clarity and character to their tone.

The OSD offers up all these classic sounds in Maxon's indestructible, industry standard 9-Series chassis. Modern-day utility features such as mechanical true bypass switching and a voltage regulator have also been added to provide smooth, consistent performance.

Over 30 years after the original OD880 was released, the OSD-9 promises to bestow the legendary tones of its predecessor upon a new generation of discerning players - are you ready?

TECH TALK:
The OSD-9 signal path starts with a 2SK246 jFET buffer which provides high input impedance and low output impedance into the 1st Op Amp - a UA741CP. The UA741CP is a vintage style 741 single Op Amp with superior resistance to latching up (distorting in a non-musical way) - it is not as "precise" as modern IC's, giving it a more vintage, warmer, "analog-ish" response.

This 1st Op Amp is set up to provide a 20 to 120x gain in signal.

After the 1st Op Amp we have a pair of diodes to ground, just like classic boxes such as the MXR Distortion+, Pro Co Rat and Boss DS-1. From here it's into another UA741CP with an amplification factor of 10 to boost the signal back to a high enough level to drive the input of an amplifier if necessary - a feature that the Distortion+ and DS-1 do not offer.

From here the signal is routed to a 4558 Op Amp unity gain amplifier, a volume control voltage divider, and then another unity gain 4558 to provide a low impedance output.

The OSD-9 uses a NJM2374A Voltage converter to stabilize the operating voltage at 9 VDC regardless of the voltage level coming off the battery, providing a smoother, more consistent operation and tonality.

The OSD-9 features Mechanical True Bypass switching via a Fujisoku 4PDT switch - the input of circuit is switched to ground when bypassed.

NOTE ON POWERING THE OSD-9 - this pedal's voltage regulator IC requires a high inrush current of approximately 2000 mA upon startup. When using with a Power Brick such as the Voodoo Labs Pedal Power 2+, this pedal should be connected to a high current power jack when possible.

If it is not possible to connect to a high current jack, you can power the OSD-9 by leaving a battery in the pedal. Upon initial start-up, unplug the external DC power input cable, engage the pedal, and then plug the DC power input cable back in - the pedal will now power up normally off the external power supply until you power down your pedalboard.

Input Impedance: 500K Ohms

Output Impedance: 10K Ohms or less

Maximum Gain: 41.5dB (700Hz)

Equivalent Input Noise: -107dB or less (IHF-A)

Control: DRIVE, LEVEL

Operating Voltage: 9V

Power Consumption: 14mA/DC 9V, 14mA/DC 10V

Dimensions: 74 (W) x 124 (D) x 54 (H) mm

Weight: 580g (including battery)

Battery: 9V battery (6LR61 or 6F22) x 1 or Maxon AC adaptor

Battery life: Manganese dry battery 17 hours 25deg C / 77deg F (Panasonic 6F22NB)
Alkaline dry battery 34 hours 25deg C / 77deg F (Panasonic 6LR61G)

Option: Maxon AC adaptor (Maxon AC210N for North America)* All specifications are subject to change for improvement without notice or obligation.
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