Second hand. Mint condition. Inklusiv Tasche. Fender rolls out the American Special Telecaster Electric Guitar that delivers a healthy combination of modern and traditional tones at a price that won’t drain your wallet. But don’t let the stripped-down price fool you into thinking it’s a stripped-down guitar.
It starts with an alder body, offering strength in construction and clarity in tone. The unique pickups on the Fender American Special Telecaster provide distinguishing sonic characteristics. The Texas Special single-coil Tele neck pickup delivers a full and meaty tone, the Texas Special Tele bridge pickup delivers that familiar Tele bite with a touch of warmth, and the Greasebucket tone circuit rolls off the highs without adding bass.
The subtle 9-1/2″ radius maple neck, maple fingerboard, and jumbo frets make this Fender guitar very finger-friendly. Other features include an original-style Tele bridge with three brass saddles, an oversized ’70s-style decal, and black pickup covers, plastic parts, and dot position inlays.
The DigiTech SDRUM is the world’s first intelligent drum machine for guitarists and bassists. By simply scratching across your guitar strings, you teach the SDRUM a kick snare pattern that forms the foundation of the beat you want to hear. Based on this pattern, the SDRUM supplies a professional sounding drum beat with different embellishments and variations to perfectly complement your beat. Gone are the days of having your creative flow disrupted by searching through lists in a frustrating attempt to find the beat you want.
The SDRUM stores up to 36 different songs. Beats are played from a choice of 5 different kits covering a wide range of genres. The pedal also supports three different parts (e.g. verse/chorus/bridge) for each song that can be switched on the fly for enhancing live performances and exploring song ideas.
The American Vintage ’56 Stratocaster takes you straight back to mid-1956, when the model was still new and when what is quite possibly the most prized and popular neck ever affixed to the instrument first appeared-a thick one-piece maple neck with a soft „V“ shape, comfortably rounded edges and a then-new butterfly string tree on the headstock. Such meticulous authenticity even extends to the single-ply white pickguard with eight holes, lightweight alder body (ash on white blonde) with deep contours, and vintage-accurate pickups (alnico 3 pickups debuted in 1956), bridge saddles, tuner spacing and more.
The American Vintage series introduces an all-new lineup of original-era model year guitars that bring Fender history and heritage to authentic and exciting new life. With key features and pivotal design elements spanning the mid-1950s to the mid-1960s, new American Vintage series instruments delve deep into Fender’s roots-expertly preserving an innovative U.S. guitar-making legacy and vividly demonstrating like never before that Fender not only knows where it’s going, but also remembers where it came from. The American Vintage Series has long presented some of Fender’s best selling guitars (their early-’80s introduction, in fact, was one of the first signs that Fender was „back“ as the CBS era ended). Today, Fender has boldly cleared the slate to make way for a fresh American Vintage series with new features, new specs and the most meticulous level of vintage accuracy yet. Rather than just replacing the previous models with different ones, they’ve completely and comprehensively re-imagined the entire vintage-reissue concept-restoring original tooling dies, voicing new pickups, reformulating vintage colors and more-based on actual vintage guitars they tracked down to make sure they had it right. Fender did the work, and it shows, because there’s pure tonal magic in each new American Vintage instrument. Includes case. Body Body shape: Double cutaway Body type: Solid body Body material: Solid wood Top wood: Not applicable Body wood: Alder (ash on white blonde) Body finish: Gloss Lacquer Orientation: Right handed Neck Neck shape: V soft Neck wood: Maple Joint: Bolt-on Scale length: 25.5″ Truss rod: Standard Neck finish: Gloss Lacquer Fretboard Material: Maple Radius: 7.25″ Fret size: Vintage-style Number of frets: 21 Inlays: Dot Nut width: 1.65″ (42mm) Pickups Configuration: SSS Neck: American Vintage ’56 single-coil Middle: American Vintage ’56 single-coil Bridge: American Vintage ’56 single-coil Brand: Fender Active or passive: Passive Series or parallel: Series Piezo: No Active EQ: No Special electronics: None Controls Control layout: Volume 1, volume 2, master tone Pickup switch: 5-way Coil tap or split: No Kill switch: No Hardware Bridge type: Tremolo/Vibrato Bridge design: Vintage synchronized tremolo Tailpiece: Not applicable Tuning machines: Vintage-style Color: Chrome Other Number of strings: 6-string Special features: Pickups Case: Hardshell case Accessories: Strap, cable, cloth and owner’s manual Country of origin: United States
Boasting 24 stainless steel frets on an ebony fretboard and a pair of humbucking pickups, the Schecter C-7 Apocalypse solidbody electric guitar is ready to rock. A duo of Apocalypse humbuckers yield aggressive tone by the truckload with plenty of richness and harmonic content. A Push/Pull tone control provides access to sweet single-coil tones. And with a fast-playing neck, the ultra-solid tuning stability of the hardtail bridge, you’ve got a versatile metal machine in the Schecter C-7 Apocalypse.
Woods chosen for tone and stability Schecter specified a swamp ash body for this C-7 guitar for its inherent clear top end and big lows. Then they went with a multi-ply neck design that pairs maple and bubinga — both hard woods that offer a lot of sustain and attack — to keep the neck extremely stable under stressful environmental situations. The neck is then reinforced with Schecter’s carbon fiber rods, further ensuring you will get the same streamlined performance from this guitar night after night. Expect sonic intensity from the Apocalypse humbuckers in the C-7 Apocalypse. Alnico V magnets deliver a fast, aggressive sound with loads of richness. The alnicos are flanked by ceramic magnets for top-end presence and articulation. You’ll have an explosive tone with plenty of harmonic content, giving you extreme sound-shaping potential when you tweak the tone knobs on your amplifier and pedals.
Relive the glory days of primitive mono synths and nostalgic chiptune-y leads! The Bit Commander V2 pedal blends your guitar or bass signal with sub-octave rumble and octave-up shriek for some pronounced effects. Flip to your neck pickup to play single notes. Above the seventh fret, the Bit Commander V2 yields tight and predictable results. Below that, tracking gets a bit volatile, resulting in all kinds of glitching, stuttering fun.we’ve found this pedal pairs great with fuzz for splatty Jack White textures and deep, earth-moving bass. And the Bit Commander V2 pedal monophonic analog guitar synthesizer pedal features soft-touch relay-based switching for silent operation.
Blends your guitar or bass signal with sub-octave rumble and octave-up shriek Use your neck pickup for accurate tracking of single notes Yields tight and predictable tracking above the 7th fret Below the 7th fret yields glitching, stuttering effects Pairs great with fuzz for splatty textures and deep, earth-moving bass Soft-touch relay-based switching for silent operation
Use the MXR Ten Band EQ Pedal for precision control over your guitar or bass tone. Featuring 10 EQ sliders, with carefully selected frequencies and +/-12dB boost/cut range, you can optimize your sound in any room or recording session. Additional Volume and Gain sliders allow you to use the Ten Band EQ Pedal as an extremely tweakable boost pedal. Dual outputs allow you to feed two amplifiers at once. And 18-volt operation ensures you’ll have all the headroom you need, even if you’re running a chain of pedals into it. Built with rugged aluminum and featuring true bypass switching, the MXR Ten Band EQ Pedal is a fine addition to any pedalboard.
When you’re looking for a way to boost your tone, but want more flexibility than a traditional boost pedal allows, Sweetwater recommends checking out an EQ pedal like the MXR Ten Band EQ Pedal. With 12dB of cut/boost available on each slider, plus additional Volume and Gain sliders, you can boost just the frequencies you want or everything at once. Maybe you want a full-range tone as your base, but want to boost your mids for certain sections. With the MXR Ten Band EQ Pedal, you can shape your boost to fit into any mix. MXR Ten Band EQ Pedal Features: 10-band graphic EQ pedal for guitar and bass Each slider offers 12dB of cut/boost Volume and Gain sliders for boosting your tone, or compensating for frequencies you’ve cut Low-noise circuitry and true bypass switching Rugged aluminum housing, with bright LED indicators on the sliders Perfect for removing unwanted frequencies, fighting feedback, balancing your tone, and much more
Second hand. Very good condition. The Vox AC30C2X amp makes use of 3 x 12AX7 preamp tubes and 4 x EL84 tubes to deliver 30 watts of power. The AC30C2X tube amp uses 2 – 12″ Celestion Alnico Blues, and includes a switchable 8/16 ohm output jack for powering an external speaker cabinet when you need to speak with a little more authority; using this jack will mute the internal speakers. Additionally, a second extension speaker jack allows you to run an extra 16-ohm cabinet along with the internal speakers for a fuller sound.
An Evolution in Tone This Vox amp offers 2 channels: Normal and Top Boost. Each channel is equipped with its own Volume control, and the Top Boost channel offers highly interactive Treble and Bass tone controls. This powerful channel pairing provides an abundance of tone-crafting control, letting you dial in a classic sound that’s all your own. Both channels of the Vox Custom AC30C2X tube amp rely on the Tone Cut and Volume controls in the Master section. The Tone Cut control operates in the power stage rather than the preamp stage, allowing an additional degree of tone shaping. The Master Volume control works in conjunction with the individual volumes of each channel to create just the right degree of gain staging. By balancing the individual and Master volumes, the Vox Custom guitar amplifier can deliver everything from a clean Vox „chimey“ sound to a powerful overdriven tone. Sound in Motion You can sweeten the sound of your Custom amplifier using the Vox Classic Tremolo effect. Both the speed and the depth are adjustable, allowing you to generate just the sound you want. A warm Spring Reverb is also included on all Custom tube amp, adding spaciousness to the sound. The AC30C2X also includes an additional tone control in the Reverb section. All Custom Series amps can use the optional Vox footswitch, allowing you to turn the Reverb and Tremolo effects on and off as you continue to play. The AC30C2 provides an effects loop for incorporating your favorite effects into your sound. True „Bypass“ switching takes the entire effect loop out of the circuit. FEATURES Output Power: 30 watts RMS into 16 ohms Speaker: 2 x 12″ 8 ohm Celestion Alnico Blue Inputs: Normal input jack (high and low), Top Boost input jack (high and low), FX Return jack, Footswitch jack Outputs: External loudspeaker jack, Extension loudspeaker jack, FX SEND jack Optional VFS2A Footswitch sold separately SPECIFICATIONS Dimensions: 27.64″W x 10.43″D x 21.89″H Weight: 73.59 lb.
Second hand. Very good conditon. Included VC12 Footcontroller w/carrybag. Long known for excellence in amplifiers, Vox once again steps forward with their new ADT120VT. In creating the Valvetronix modeling amps, their goal was clear: design a versatile amp line that sounds and feels great. Marrying the tube technology that made Vox famous with breakthrough digital modeling technology from Korg results in a completely new kind of modeling amp – one that not only recreates the sound, but actually changes itself to model each and every power amp on its list. And what a list! Vox (naturally), Fender, Marshall, Boogie and more. Built-in pedal effects and digital ambient effects round out this killer amp.
Two 12″ speakers 32 programs Pedal effects include: Compressor Acoustic simulation VOX wah Auto-wah U-Vibe Octave divider Treble boost Tube overdrive Fat overdrive Fuzz Digital effects include: Modulation: Chorus Flanger Phaser Tremolo Rotary Delay Effects: Delay Tape echo Multi-head delay Reverb Effects: Spring Plate Room
Chase Bliss Audio have now tackled the prototypical modulation effect with the Gravitas Analog Tremolo. All the familiar Chase Bliss Audio control flair is here: ModuShape, 6 surface knobs, 3 parameter flip-switches, 1 preset flip-switch, 2 foot-switches, and 16(!) dip-switches mounted to the top side of the pedal. Before we delve into what all this does, it should be obvious that this pedal offers quite a bit more functionality than your old in-amp tremolo. To those of you suffering from knob-o-phobia, a plethora of classic and cutting edge tremolo sounds are available from the Gravitas even if you just stick to using a few of its surface controls. But more on all that in a moment. Here’s a full feature rundown before we dive into our Chase Bliss Audio Gravitas review to see if it’s the best analog tremolo pedal around.nventing analog chorus, vibrato, and phaser effects with the Warped Vinyl and Wombtone (and newly released Warped Vinyl MKII & Wombton
All-analog signal path. Ramp control knob can be set to control any of the 5 parameters (Volume, Tone, Rate, Depth, Sway) individually or simultaneously via dip switches on the back of the pedal. Controls the ramp time in which this takes place. Drive (Ramp) control knob controls the input gain of avery clean, beautiful, and transparent boost when no Ramp dip-switches are in use. Volume control knob sets the output level of the effect. This is a little different than the other Chase Bliss Audio pedal volume knobs. It should be pretty much dimed, with the level set with the Drive control. The main purpose of having this knob is so that you can set up a second tremolo (via Ramping), and then adjust the depth of it. Tone control knob is a wide ranging tone shaping tool. When set to noon, the pedal is transparent. Clockwise for a brighter sound and counterclockwise for a smoother, mellow, dark sound. This circuit is also the basis for the harmonic tremolo as that effect is achieved by modulating between high and low pass filters. Rate control knob controls the rate of the tremolo effect – can get super fast. Can be overridden by the tap tempo switch. 1 – 2 – 4 (3 – 6 – 8/S – B – H) toggle switch sets the tap division for tap tempo. A dip switch on the back accesses the “3 – 6 – 8” divisions. Another dip-switch allows this switch to select between Standard, Both, and Harmonic tremolo modes. ModuShape: Depth control knob sets the depth of the tremolo effect. Crank if for modulation going all the way to silence. Sway control knob sets the center point of the modulation. Set it counterclockwise to make the wave ramp up quickly and down gradually. Set it clockwise to make the wave ramp up gradually and down quickly. Set it at noon for a perfectly symmetrical wave. Left Wave Shape toggle switch sets the first half of the wave modulation. Left for sine, middle for triangle, right for square. Right Wave Shape toggle switch sets the second half of the wave modulation. Left for square, middle for triangle, right for sine. Bypass foot-switch activates or bypasses the effect via true relay bypass. Can by changed to a momentary bypass via a dip switch in the back of the pedal. Tap Tempo foot-switch sets the tap tempo and always honors the last two stomps. Preset toggle switch recalls presets. Middle position reflects current knob positions, right position recalls right preset, and left position recalls left preset. Exp/CV input jack allows expression pedal or CV control of parameters selected via dip switches on back of pedal. When no parameters are set to Ramp, it manually controls the Waveform. Tap/MIDI input jack can be used for tap input or output with a regular ¼” instrument cable. It may also be used to interface with the pedal via an Empress Effects Midibox. Powered by 9-volt battery or 9VDC power adapter. Can also be run at 18-volts for more headroom and output. Chase-Bliss-Audio-Gravitas-Review-Best-Analog-Tremolo-Pedal-03Dip Switches: Volume, Tone, Rate, Depth, and Sway dip switches on the left side simply turn that parameter on or off for ramping or expression pedal capability. Volume, Tone, Rate, Depth, and Sway dip switches on the right side control whether the parameters rise or fall in ramp mode. This also affects the direction of movement with an expression pedal. Bounce dip switch makes parameters go back and forth (i.e. modulate) or ramp and hold. Mode dip switch allows left flip-switch to select tap divisions or tremolo mode. MoToByp dip switch activates momentary bypass, activating pedal only when Bypass foot-switch is pressed in. Tap Control dip switch allows tap tempo to modulate Ramp rate (r) or tremolo Rate (p). Bounce needs to be on to modulate Ramp speed. Tap Division dip switch selects from “1, 2, 4” tap divisions (1) or “3, 6, 8” tap divisions (3). Sweep dip switch selects where Ramp sweeps. In “t” (top) the ramping (or expression control) will occur between the current Ramp knob position and the max position (fully clockwise). In “b” (bottom) the range is set between the current knob position and the minimum position (fully counterclockwise).
The Roland Rubix 22 is a 2-channel USB audio interface that’s perfect for mobile recording, even in less than ideal environments. Class-compliant USB and USB bus power make the Rubix 22 a perfect companion for your laptop or iPad, and it’s built tough enough that you can toss it in your bag and go. Two low-noise microphone preamplifiers benefit from extensively shielded construction, both of which ward off noise beautifully. There’s also a universal ground-lift switch that lets you kill 60Hz AC hum, plus MIDI I/O lets you connect keyboards and controllers. A copy of Ableton Live Lite DAW software (Mac/Windows) completes the package.
Roland Rubix 22 USB Audio Interface Features: Mobile-ready 2-channel USB recording interface that’s perfect for live and studio use Supports up to 24-bit/192kHz high-resolution audio 2 low-noise inputs accept mic-, line-, and instrument-level sources Shielded metal chassis and universal ground-lift switch help prevent noise Selectable monitoring configuration accommodates different setups MIDI I/O connects keyboards, control surfaces, and other MIDI-equipped gear Class-compliant USB supports Mac and Windows PCs as well as iOS devices Includes Ableton Live Lite DAW recording software (Mac/Windows)
Harmonize your licks and leads with the EarthQuaker Devices Pitch Bay polyphonic harmonizer and distortion generator pedal. This powerful 3-part harmonizer has one voice above the root and one voice below. You can adjust each voice in semitone increments out to an octave. And since each harmonizer and the root has its own volume control, you can blend them to create the perfect sound. The analog gain circuit is perfect for adding a subtle boost, a little grit, or heavy distortion to your harmonized sounds. Pitch Bay features an all-analog signal path with a digital pitch-shifting engine.
EarthQuaker Devices is a boutique pedal company based out of Akron, Ohio. They put all of their focus on building tools for musicians to find their own tone. Their designs range from enhanced classics to pedals that have never been seen or heard before. Company founder Jamie Stillman was working with rock band the Black Keys when he came upon a design that kick-started the company’s success. EarthQuaker Devices is committed to helping you find your tone with high-quality products at great prices. EarthQuaker Devices Pitch Bay Polyphonic Harmonizer and Distortion Generator Pedal Features at a Glance: 3-part polyphonic harmonizer with built-in distortion generator 2 adjustable pitch shifters, one up and one down, offer a wide range of sound Choose from 1 to 12 semitones for each pitch shifter Each harmony has its own level control to create the perfect blend Add a touch of dirt to heavy distortion with the Gain control All-analog signal path with digital pitch-shifting engine Soft-touch, true-bypass switch for silent switching Compact size is perfect for any pedalboard Requires 9-volt DC power supply (sold separately)
The AC30C2 is the most versatile AC30 in Vox history! Plug into this Custom Series guitar amp and you’ll hear what we mean. Based on the classic AC30 design, this exciting new AC30C2 offers two channels — normal and top boost. Claim your own classic sound using the top boost channel’s treble and bass controls while tweaking the tone cut and volume controls in the master section. When you balance the individual and master volumes, you can score everything from a classic, chimey Vox sound to an edgy, overdriven tone. And we haven’t even mentioned the AC30C2’s onboard reverb and tremolo yet.
What’s the magic behind the sound of the Vox AC30C2 combo amp? The tubes, of course! The AC30C2 offers up three of the popular 12AX7 preamp tubes and makes use of four EL84 tubes in the power section to make up its 30 watts. When you want to speak with more authority, just use the 8-/16-ohm output jack to play through an external speaker jack. Doing this will mute the built-in speakers. There’s even a second extension speaker jack, so you can run through a 16-ohm cabinet at the same time you use the internal speakers. And speaking of speakers, the AC30C2 features a duo of 12″ Celestion Creambacks for a warm, vintage rock sound you know and love. Vox AC30C2 30-watt, 2×12″ Combo Guitar Amplifier Features at a Glance: 30-watt, 2 x 12″ combo guitar amplifier with Limited Edition White Bronco cabinet 2 channels with independent volume controls — normal and top boost Reverb and tremolo effects onboard (controllable via optional footswitch)
Second Hand. Mint condition. Inklusiv Koffer. Imagine an alternate reality where the great American luthiers of the 1950′ work together under one roof, as a collective. That‘ the vision that inspires Dennis and his Alt de Facto boutique guitars. It‘ a world where aged nickel hardware, time-tested woods, a distressed lacquer finish and classic aesthetics are fused with modern features including a compound radius fingerboard, TonePros hardware, ToneStyler tone controls and custom wound Fralin pickups. The result? Proprietary distressed guitars with unsurpassed playability and tone.
Alternate reality realized “ and embraced by leading artists including Chris Carrabba, Popa Chubby, Jared Scharff, James Valentine and Pete Yorn. Dennis Fano is a member of the Premier Builders Guild, which makes it easier than ever before to experience boutique, masterbuilt guitars and amps. PBG is a dream team of boutique guitar and amp master builders, each with a unique point of view and brand. Built in the USA. FEATURES Late 50′ round back neck shape Maple neck wood Bolt-on neck Vintage amber tint neck finish Alder or swamp ash body/back wood Maple fingerboard Two-Tone headstock: body color/vintage amber tint Dot inlays Gotoh Kluson tuners Graphtech Tusq/man made ivory nut Custom Fralin P-90′ pickups VT 3-way electronics Schroeder wrapover bridge “ aged nickel bridge G&G custom hardshell case Get instant karma with a guitar that looks like it’s been around and sounds great. Order today. SPECIFICATIONS 10“16 compound radius 24.75 scale 1.687 nut 10 “ 46 strings
One of the only things better than an amp screaming with Supro tone is an amp like the Statesman that can scream with two classic Supro tones. You’ll love the versatility of this amp. The Red channel replicates the company’s Thunderbolt amplifier, while the Blue channel’s Supro Comet tone is by far nastier. But the Statesman’s flexibility doesn’t stop there! You’ll also have footswitchable control of your tube-driven spring reverb and effects loop. For such a pure-sounding amp, there’s a lot waiting under the hood of the Supro Statesman.
No amp in the current Supro lineup offers as many tonal and switching conveniences as the Statesman all-tube amp head, and it does this while maintaining the vintage character and crunch that these amps are so well known for. The tone of the amp has been carefully voiced to exude traditional Supro tone. But with two separate, footswitchable channels with varying gain characteristics, you’re able to dial up a variety of tones during the heat of your performance. Two classic-sounding channels Each channel on the Statesman recalls one of Supro’s most defining tones. The Red channel is taken from the company’s Thunderbolt tube amp. Its tone exhibits plenty of detailed headroom but can still get crunchy as your volume control inches upward. The Blue channel is right out of the Comet — one of the most popular amps at Sweetwater. This is a higher gain voice that reacts beautifully to your playing dynamics. And the Statesman can even run both channels together for a massive tone all its own. Versatile onboard effect options Supro took the Statesman 50-watt head a few steps further in the flexibility department by adding footswitchable reverb and an effects loop. The tube-driven spring reverb is especially powerful. Not only does it exude the watery spring tone in spades, but a 100% wet signal can be blended into the Red channel to taste. The effects loop is also tube driven and has some tricks up its sleeve. Its variable send and return levels let you dial in a perfect volume for your affected tone. And it can also be used as a footswitchable boost or for volume reduction. Supro Statesman 50-watt Amp Head Features: Dual-channel combo amp with powerful switching options Red channel is a higher-headroom preamp from the Thunderbolt combo Blue channel offers the crunchy rock tones from the Comet combo Tube-spring reverb is footswitchable 100% wet reverb signal can be blended to taste with the Red channel Footswitchable, tube-driven effects loop offers variable gai
New from Hotone comes the Xtomp. This pedal uses CDCM system technology to recreate the sound of a classic pedal. The CDCM allows for larger and more complex modeling algorithms, which equals more realistic and natural tone. There has never been anything like this in tone modeling before, it really is a step forward in pedal technology.
XTOMP uses an iOS or Android app to let you manage all your effects and transfer them to your stompbox via Bluetooth. A USB port allows for firmware updates and future XTOMP function upgrades. This means that when Hotone launch one of their planned monthly upgrades for the pedal it is incredibly easily to get up and running with some absolutely stellar effects.
Hotone partnered with world-class mobile music software giant EUMLab to develop this smart but simple user interface: all you have to do is go in, find the pedal model you want, and put it in the XTOMP with the touch of a button. Adjust the XTOMP knobs to your liking, and you’re ready to rock. XTOMP is able to simulate all kinds of iconic classic, vintage, and modern pedals. Its growing effects library of over 300 models lets you try out a huge selection of pedals without having to spend a small fortune or endlessly plug new pedals into your board. Users can update and even contribute to the library. This is your chance of getting your signature sound out there for others to appreciate. Ultrathin Design Hotone are becoming well known for small, tough pedals and this sleak, slimline box is incredibly well designed. Tough enough for heavy use the zinc alloy casing looks great and it’s well balanced so it stays in place on stage 6 Controls Not all pedals are created equal. While some have simple 1 or 2 knob control systems others aren’t as straight forward. To make sure you never lose any of the options of the original pedal you get 6 controls that light up to indicate which ones are usable with the current pedal. For some models, the lights indicate the status of a knob setting. For example, if the original equipment had a toggle switch, that function will transfer to the XTOMP and be controllable in knob form. You can set up a color code in the App to show, for example, Boost ON/OFF. Set a knob light to change from say red (OFF) to green (ON), as you turn it and adjust your settings. New Models Added Every Month Hotone HQ are adding new pedal models to the catalogue every month so that you will end up with a limitless supply of sounds in one pedal! If you’d like to view the new models via the Hotone Xtomp blog, click here. Specifications Controls: 6 knobs, 1 On/Off footswitch Audio Jacks: Left in (mono), Right in, Left out (mono), Right out Bypass Mode: Left channel – Relay True Bypass & Analog Buffer Bypass, Right channel – Analog Buffer Bypass Input Impedance: 1M ohms Output Impedance: 100 ohms Audio Frequency Response: 5Hz~21kHz S/N Ratio: 114dB Power Requirement: 9V DC center negative Current Consumption: Max.200mA Dimensions: 126mm(D) x 73mm(W) x 35mm(H) Weight: 472g
The M1 Active features built-in all class A electronics, so there’s no need for any external preamps and it’s compatible with any outboard equipment. The new volume control gives you fingertip access in any performing situation.
The M1 is a humbucking pickup with a twist. In a common stacked humbucker, the second, lower coil cancels hum, but doesn’t contribute anything positive to the sound. In fact, it can muddy the sound of the main coil. The M1 unlocks the second coil. This allows it to make a positive sonic contribution while maintaining the pure open sound of a single coil–but without the hum.
The hum-canceling coil is suspended under the main coil by a tuned support that allows it to move in 3 dimensions. The primary coil moves with the guitar top and creates a body signal in the suspended secondary coil. This brings the M1 to life, with string and body sound all in one. It’s like having a dual pickup system in your soundhole. And it’s all passive! The support is carefully tuned to control motion in all 3 dimensions. This allows you to selectively add the presence and realism from the body signal while suppressing runaway feedback. FEATURES Outstanding body sensitivity with great warmth and presence Class A electronics Long battery life Top-mounted volume control wheel Quiet, hum-free operation under the most challenging live conditions High feedback resistance Adjustable pole pieces with smooth threadless tops preserve fingerstylists‘ nails Built-in gold-plated 1/8″ jack makes moving or removing the pickup a snap
Great for podcasters, live streaming, DJs, and musicians on the road or in the studio, the PreSonus Studio 26 2×4 USB 2.0 bus-powered audio/MIDI interface can record up to 24-bit, 192 kHz audio. Equipped with PreSonus XMAX-L solid-state preamps and high-end converters, it delivers professional quality audio in a rugged, compact enclosure, allowing you to create your next hit in your studio or on the go. A complete, all-in-one recording solution, the Studio 26 comes with PreSonus’ award-winning Studio One® Artist DAW software for Mac® and Windows®.
Audiophile-grade digital converters, ultra-low-jitter clocking, and XMAX-L solid-state preamps add up to a superior recording and listening experience. The Studio 26 operates at up to 192 kHz for ultra-high-definition mixing and recording. High-quality converters on every input and output provide 115 dB of dynamic range to capture complex musical harmonics smoothly and naturally with no audible distortion. Perfect for guitarists, singer/songwriters, and podcasters The Studio 26 is a great choice for podcasters, singer/songwriters, or a couple of guitarists who want to collaborate or jam. Use it for recording sermons and teaching music, too! A Cue Mix A/B function lets you toggle between two mixes while monitoring through headphones—perfect for DJs and to listen in on a performer’s monitor mix. World-class recording software included Seamlessly integrated with the included PreSonus Studio One® Artist DAW, the Studio 26 interface works with virtually all Mac and Windows audio-recording software. Built by creative people for creative music production, Studio One is easy to learn and enables you to compose, record, and produce your masterpiece without getting distracted by the tools. Studio One also enjoys a robust online community of enthusiastic and helpful users you can turn to for advice. Need a new loop or sample for your latest production? Studio One lets you shop, audition, and purchase new content right from your production environment.
The flagship tube amplifier of the Supro line, the 1650RT Royal Reverb is a retro-modern update of the mid-’60s classic. Oozing with sonic flexibility and ample headroom, the 1650RT gives you enough stage volume to handle any gig. On top of that, independent treble and bass controls in its preamp give you phenomenal tonal versatility, while its 3-way switchable power scheme allows you to coax a myriad of textures and tones out of its remarkable 6L6-fueled power amp. Covered with Supro’s trademark blue rhino hide tolex and topped off with tube-driven tremolo and spring reverb, the 1650RT is primed to provide you with loads of vintage vibe and classic Supro tone!
3-way rectifier switch adds modern headroom and versatility Vibe up your tone with killer reverb and tremolo effects No off-the-shelf speakers for these vintage-style amps 3-way rectifier switch adds modern headroom and versatility The Supro 1650RT Royal Reverb’s tone is both awe-inspiring and extremely versatile, thanks to a 3-way rectifier switch that lets you choose between spongy tube character, fast silicone transistor transient response, and a range of headroom. With the 1650RT, you’re given the choice of a 35-watt (cathode-biased) or 45-watt (grid-biased) 5U4 tube rectifier mode, as well as a high power 60-watt (grid-biased) solid state rectifier setting. The result is a wonderful-sounding amp that will fit in perfectly at any gig. Vibe up your tone with killer reverb and tremolo effects It doesn’t get more old school than the awesome effects Supro loaded on the 1650RT Royal Reverb combo guitar amp. When it comes to ambience, the 6-spring reverb pan delivers the tube-driven atmosphere that really fills out your sound with classic depth and dimension. Immediately following the reverb tank, there’s a power tube tremolo circuit you can use to shake up your sound with an extra dose of warmth and wobble. At Sweetwater, we’ve played with countless vintage-style amps, and it just doesn’t get better than this. No off-the-shelf speakers for these vintage-style amps Stock speakers simply wouldn’t do for Supro amps such as the 2 x 10″ 1650RT Royal Reverb. That’s why Supro teamed up with America’s premier speaker manufacturer, Eminence, to develop a series of custom speakers that would bring the classic voice of these guitar amplifiers to life. These special Supro CR10 speakers start off with an edge-wound voice coil and a ceramic magnet, which push an extremely lightweight and stiff paper cone. The result is a distinctly Jensen-esque tone with superb volume and exceptionally tight low end. Supro 1650RT Royal Reverb Combo Guitar Amplifier Features: Supro’s new flagship guitar amp revives an original mid-’60s classic 6L6-fueled power amp section with 3 power modes offers a wide range of tone Long, 6-spring reverb pan with all-tube reverb provides classic ambience Tremolo circuit reacts differently to Class A and Class AB modes for added character Loaded with 2 x 10″ Supro CR10 speakers and independent bass and treble controls
Supro’s 1610 Comet all-tube electric guitar combo amplifier screams with vintage-voiced grit that will bring out the best in all your guitars. Its straightforward circuitry is aimed at players who want to crank the volume and receive thick, old-school amp distortion. You’ll also find tube-driven reverb and tremolo onboard. All this in a 14-watt, 10″ combo amp that is impressively convenient for gigging guitarists. And the 1610 Comet comes clothed in Supro’s retro 1959 Black Rhino Hide Tolex and gold faceplate.
Engineered for old-school grit Tube-driven reverb and tremolo Convenient and attractive design Engineered for old-school grit The voice of Supro’s 1610 Comet tube combo amp is decidedly retro and rocking. You easily attain thick sustaining tones by cranking up the volume control past noon. This non-master circuit allows you to play the amp as much as you play your guitar. Slam it hard for extra distortion. Back off your guitar’s volume for jangly cleans. And the onboard output switch will take the Comet down to six watts to nail those over-the-top tones at quieter volumes. You’ll be amazed at the size of your tone coming from such a compact combo. Tube-driven reverb and tremolo The sound of great tube-driven amplifier reverb and tremolo circuits helped define the vintage tones that many of us chase every day. The 1610 Comet is loaded with impressive takes on these timeless sounds. The reverb is excellent for adding a touch of ambience to your sound as well as dialing up springy surf-inspired washes. The 12AX7-based onboard tremolo boasts controls for speed and depth, allowing you to precisely perfect the amount of throb and pulse in your guitar’s voice. These effects have impressed every player at Sweetwater who has experienced them. Convenient and attractive design With as much attitude and sound as the Supro 1610 Comet all-tube electric guitar amplifier exudes, the fact that it does it in a very portable 10″ speaker design is that much more stunning. You’ll appreciate all the top-end clarity that makes Supros so popular, and the amount of low end put out by the amp’s custom 10″ speaker will have you putting away your larger guitar cabinets. Thanks to this construction, the 1610 Comet’s portability can be a gigging guitarist’s best friend. And it will do it while looking dashing in its Black Rhino Tolex and gold faceplate. Supro 1610 Comet Combo Guitar Amplifier Features: Compact all-tube guitar combo with a vintage flavor Non-master circuit delivers an old-school high-gain tone Tube-driven reverb and tremolo onboard 10″ speaker offers plenty of low end and top-end clarity Great looking 1959 Supro cosmetics Convenient dimensions are ideal for gigging guitarists Engineered to bring the best out of your guitars
Get iconic Top Boost tone in a compact, all-tube package with the Vox AC10C1 guitar amplifier combo. This all-tube 10-watt combo gives you classic Vox tone through a custom Celestion 10″ speaker. Volume and gain controls let you dial in everything from clean, chimey, classic Vox to serious overdrive — and everything in between. If you want a punchy and touch-responsive British tube combo, the Vox AC10C1 is it.
Finally, you can have the sought-after Vox Top Boost tone in an all-tube, affordable combination. The Vox AC10C1 gives you that legendary Top Boost tone in a perfect studio-sized package. This expressive amp lets you also dial in clean chime all the way to heavy crunch. And a simple 2-band EQ lets you sculpt your tone to perfection. Get the historic Vox tones you’ve been looking for with the Vox AC10C1. Tone, tone — and more tone Although the Vox AC10C1 sports only 10 watts, these are tube watts, and this thing gets louder than you would expect. With 10 watts to kick around, you also get copious tone mojo that you have to fight for in higher-wattage amps. Separate gain and volume controls let you dial in bright cleans to crunchy rhythms at levels that won’t get you evicted. For practice and small gigs, the Vox AC10C1 remains one of the most popular tube amps at Sweetwater. All-tube design Guitar players love tubes. A Vox wouldn’t be a Vox without glowing glass. Just like its big brothers, the Vox AC10C1 combo features two 12AX7 preamp tubes and two EL84 power tubes. This combination gives you the classic Vox Top Boost tones. Vox AC10C1 Tube Guitar Amp Combo Features: 10-watt, all-tube combo loaded with British tone Limited Edition White Bronco cabinet Single channel amp with classic Top Boost circuitry 12AX7 dual triode vacuum tubes in the preamp stage EL84 pentode tubes in the power stage 10″ Celestion VX10 custom speaker Highly interactive treble and bass tone controls Master volume control lets you create the perfect degree of gain staging Get clean, chimey Vox tone or powerful overdrive — and everything in between Custom Vox reverb goes from smooth and subtle to big and spacious
Looking for that elusive „tall font“ black Russian fuzz tone? Unless you can find a collector’s piece, the Way Huge Russian-Pickle Fuzz pedal is as good as it gets — possibly even better. Born out of Jeorge Tripps’s desire to create a Swollen Pickle model with the essential vibe of that ’90s Sovtek classic fuzz pedal production, the famous effects wizard ultimately tracked down the source of its smooth and creamy distortion to a long-discontinued BC183 silicon transistor. As it happens, Way Huge stockpiled NOS BC183s while they could, making it possible for the Russian-Pickle Fuzz to hit the market.
In most respects, the Russian-Pickle Fuzz is perfectly true to the original, or at least one from a batch of the best-sounding fuzz pedals to leave Russia in the ’90s. According to Sweetwater’s in-house guitar-tone gurus, the Russian-Pickle appears to have a bit more gain on tap, and the EQ is slightly more pronounced, but the vibe is 100% spot-on. It’s exactly the kind of pedal you want at your feet if you’re playing grunge or shoegaze rock, and if you’re part of a 2- or 3-piece garage band, there’s no question — just tie on your flannel and grab a Russian-Pickle. By the way, this thing also sounds monstrous on bass, so feel free to unleash your favorite 4-string on this fantastic fuzz. Way Huge Russian-Pickle Fuzz Pedal Features: A true-to-life re-creation of the famous ’90s-era „tall font“ black fuzz pedal Captures the fat, smooth, and wooly sound of the coveted Sovtek production Made with NOS of the same discontinued BC183 silicon transistor as the original Includes hints of the gain and EQ structure of the Swollen Pickle Ideal for grunge, garage, and shoegaze rock genres, as well as bass
The Xotic EP Booster pedal for electric guitar is based on the preamp stage of the classic EP-3 echo effects processor. Legendary guitarists used that preamp to craft their studio tones, including Jimmy Page, Eddie Van Halen, and Eric Johnson. The EP Booster pedal delivers up to 20dB of boost that will add an undeniably rich character to your guitar tone. Internal Dip switches allow you to fine-tune the boost frequencies and EQ settings. To hit your amp harder while also adding some character to your tone, Sweetwater can highly recommend the Xotic EP Booster pedal.
Xotic was born in a small garage in Southern California in 1996 and quickly became known for high-quality, boutique bass guitars and bass preamps. These days, they’ve expanded the pedal line, crafting stompboxes that are played by some of the finest guitarists in the business. Their acclaimed AC Booster, RC Booster, and BB Preamp pedals remain some of their most popular pedals. Xotic EP Booster Pedal Features at a Glance: Boost pedal based on the preamp stage of the classic EP-3 echo effects processor Up to 20dB of boost for adding volume or sending your amp into overdrive Internal Dip switches for adjusting boost frequencies and EQ True bypass switching removes the effect from your signal path when disengaged Powered via 9-volt battery or optional AC adapter (sold separately)
The Vexter Box of Rock is a silkscreened version of ZVex’s first distortion pedal, highly specialized to simulate the „everything on 10“ sound of a classic Marshall amplifier. Use your guitar’s volume control to adjust the amount of distortion you need, all the way down to very clean and clear with most drive settings. The silkscreened ZVex Box has one „Distortron Engine“ stomp switch”that’s no typo, but what Mr. Vex himself calls his distortion circuit. The Box of Rock also contains an extremely high-headroom, unity-to-50X gain booster with nominal input impedance and low hiss.
Drive, Tone, Volume, and Boost controls give you easy control over your distortion Silkscreened model allows for a few visual tweaks Gives you great classic amp tone through any sort of amplifier Powered by 9V battery or 9V adapter (adapter not included)
Second hand. Excellent condition. Inklusiv Koffer/case. Duesenberg set out to make a guitar with the input of it’s fans and guitar players looking for the best of the best. The result…. The Fullerton CC. Retaining the classic features that have made Deusenberg guitars so popular with all the best hardware and fittings available these guitars are truly magnificent.
This guitar has a semi-acoustic maple body with a spruce arched top, stable maple neck with rosewood fretboard, ingenious pickup design with Domino P90 and Grand Vintage humbuckers, and the Duesenberg Deluxe Tremola with superior handling. All together this gives you great tone, amazing sustain and a tremelo arm thats amazingly subtle and sensitive
This guitar gives you the unique combination of a Domino P90 for bright lead work and a vintage humbucker for deep rhythm sounds. Both pickups are great sounding, you get vintage tone in the bridge and a more modern tone form the neck P90. The tremolo arm is subtle, well positioned and feels great to play. All together this is a great sounding guitar Type: traditionally glued in Wood: 1-piece maple Width: 42,5 mm / 1.67″ (nut), 52 mm / 2.05″ (12th fret) Thickness: 21 mm / 0.8″ (1st fret), 24 mm / 0.95″ (12th fret) Shape: D Fingerboard: indian rosewood Radius: 30,5 mm / 12″ Inlays: pearloid dots Frets: 22 jumbo 2,8 x 1,0 mm Scale length: 650 mm / 25.6″ Trussrod: steel dual-action Headstock: matching body color Body Type: semi-acoustic with sustain block, bent sides, f-hole Top: laminated spruce Back, Sides: laminated spruce Size: 51,5 x 41 x 6,8 cm / 20.27″ x 16″ x 2.75″ Binding: cream Pickguard: black & gold Finish: PUR lacquer Hardware Tuners: Duesenberg Z-Tuners, „Art Diego“ buttons Bridge: Duesenberg steel saddle bridge Tremelo: Duesenberg Deluxe Tremola Strap pins: Kluson Multi-Lock Hardware color: nickel Strings: Duesenberg DSA10 (010-013-017-028-042-050) Electrics Pickup: Duesenberg Domino P-90 (neck) Duesenberg Grand Vintage Humbucker (Bridge) Wiring: 1 volume, 1 tone, 3-way pickup selector Accessories Case: case (included)
Death by Audio has been known to push the limits of gain and dirt, and now they’re doing it with delay. The original Echo Dream delay pushes the limits of the PT2399 chip into the red while adding a slew of bells and whistles, but the Micro Dream keeps the core intact and gives you the insane delay of the original in a tiny box.
Three controls govern Feedback, Delay Time and mix (labeled “Delay”). Of course, since this is a Death By Audio pedal, the controls range from pedestrian to full-on signal gnashing.
The chips inside the Micro Dream are rated to go to 600 milliseconds. The max delay time of the Micro Dream is one full second—pushing it this far introduces a leaned-out lo-fi delay tone that hisses, pops and falls apart. The Feedback control has an onboard trimmer that sets how quickly the Micro Dream springs into self-oscillation (come on, you knew it would). When combining this gnarly feedback section with the extended delay time, some very noisy and hairy DBA-style delay leaps out of the Micro Dream. It gets real in a hurry. Death by Audio Micro Dream Delay features: Extended delay time that pushes the chip into the red Huge feedback range with onboard acceleration trimpot Made in USA Standard 9v center-negative power operation (adapter not included)
The Organizer is a polyphonic organ emulator designed to mimic the organ tones of yesteryear crossed with the highly unique „Guitorgan“. The organizer has a warm and very analog feel with a hint of Leslie warble that is unlike other modern octave shifters. It tracks all over the neck on both guitar and bass and will transpose single notes as well as chords. The Organizer uses a mix of analog and DSP circuitry with true bypass switching and an all analog direct (dry) signal path.
The Controls Up: Level control for the octave up Down: Level control for the octave down Choir: This control takes a mix of the octave up and octave down setting and regenerates it. The end result is an additional 2 octaves up, 2 octaves down and direct signal with a slight delay that adds a „church organ“ like feel. This control only works if the octave up and octave down are in use Direct: Level control for the analog dry signal Tone: Low pass filter for the wet signal, counter clockwise rolls off the high end Lag: Delay control for the wet signal. Full counter-clockwise is minimal delay, delay time increases as it rotates clockwise Summon the tones of yesteryear. Order today. SPECIFICATIONS Power A standard 9-volt DC power supply with a negative center 2.1mm barrel, current draw is 70ma (sold separately). No battery option. Dimensions 4 5/8³ x 2 1/2³ x 2.25³ with knobs
Xotic’s Soul Driven overdrive pedal was originally developed with melodic guitar master Allen Hinds. Hinds is a big fan of tube amp overdrive and demands a pedal that will replicate the exact tone and response of a perfectly tuned amp. The Soul Driven delivers beautifully — offering powerful control over your mid frequencies, fattening up your tone, while simultaneously punching through the mix. And the tone control adds clarity without ever becoming harsh at higher settings. Grab the Soul Driven and get ready for inspirational, authentic tube tone.
Allen Hinds is a masterful guitarist whose playing has graced the stages and albums of artists such as Natalie Cole, Roberta Flack, Boney James, and many more. Known for his vocal and melodic approach to soloing, he has developed a guitar tone that faithfully translates those nuances to his audience. Hinds has been a long-time Xotic Effects user, and now with the release of the Soul Driven, he can add the design of a fantastic overdrive pedal to his list of distinguished accomplishments. Fat, amp-like overdrive Allen Hinds partnered with Xotic Effects to design the original, limited-edition Soul Driven overdrive pedal with one goal in mind — attain all the tone and feel of tubes in an easy-to-use stompbox. Together, they definitely achieved their goal. Onboard this production version of the pedal, you’ll find a standard set of Gain, Volume, and Tone controls. And the Mid Boost pushes your midrange in a way that thickens your tone, while never sounding notched or nasally. Sweetwater guitarists appreciate great tube tone, and the Soul Driven overdrive pedal never lets them down. Xotic Effects quality The Xotic Soul Driven overdrive pedal is crafted with the same top-shelf components and attention to detail that has placed Xotic pedals on thousands of pedalboards throughout the world. Internally you’ll find a clean circuit board that has been perfectly wired, and a true bypass circuit ensures your tone remains pristine while the pedal is disengaged. There is a limited supply of these great overdrives available, so make one yours today. Xotic Effects Soul Driven Overdrive Pedal Features: Developed with guitarist Allen Hinds Engineered to react like a driven tube amplifier Active Mid Boost control fattens your tone Tone control offers versatility while remaining thick sounding True bypass construction
The Rainbow Machine from EarthQuaker Devices empowers guitarists to defy convention and explore otherworldly sounds that are often very unguitar-like. This polyphonic pitch-shifting modulator pedal creates soundscapes that wash your sound in harmonic movement. And the selectable Magic control takes the pitch-shifting effects into totally new sonic territory. By EarthQuaker Devices‘ own admission, the Rainbow Machine is for „experimenters, adventurists, and noisemakers.“
The Rainbow Machine polyphonic modulator pedal offers pitch shifting up to a 3rd up and a 4th down. This can be controlled by the onboard pitch knob or an expression pedal. Its 6-knob layout allows for deep control of modulation effects going from mind altering to more standard guitar tones like slapback delay, chorus, and reverb. But when the knobs start creeping up, so does the fun. Undefined percussive bursts, chimy high-frequency artifacts, and stepped pitch bends are all available in the Rainbow Machine. Turn on the Magic The footswitchable Magic feature on the Rainbow Machine is at its core a regeneration device. It creates aliasing between the primary and secondary controls for sounds that get way out there. Because of how it works, it’s highly interactive with the other knobs on the pedal. Tiny changes in them will bring out whole new worlds of modulated, pitch-bending exploration. And if you want a sound that’s easier to fit into a full-band context, just kick off the Magic. From the pedal gurus at EarthQuaker Devices Akron, Ohio’s EarthQuaker Devices is a boutique pedal company that puts all of their focus on building tools for musicians to find their own tone. Their designs range from enhanced classics to pedals that have never been seen or heard before. Company founder Jamie Stillman was working with rock band the Black Keys when he came upon a design for the pedal that kick-started the company’s success. Ever since then EarthQuaker Devices has been committed to helping you find your tone with high-quality products at great prices. EarthQuaker Devices Rainbow Machine Polyphonic Pitch-shifting Modulator Effects Pedal Features: Polyphonic pitch-shifting modulator pedal Magic control adds more harmonic movement 100% analog dry signal path True bypass Expression pedal for control of the pitch
A value-priced version of the world-famous Fender Jazz Bass.
This super-affordable Squier Affinity Series J Bass will astound you with the fabulous feel and tone of the original. Genuine rosewood fretboard, maple neck, sculpted alder body, 2 vintage-style single-coil J Bass pickups, and a top-loaded bridge are all the essentials you need to get it right.
Alder body Maple neck Rosewood fretboard Medium-jumbo frets 2 vintage-style single-coil Jazz Bass pickups Top-loaded bridge
The Hotone Thunder Bass draws inspiration from the Ampeg SVT and offers players a high quality sound that is flexible and stable. The Thunder Bass features a full 3 band EQ to give you control over the shape of the tone as well as volume and gain controls.
The Nano Thunder Bass features Auxillary in jack and Headphone out jack providing you with the ability to practice and record comfortably and also to play along with an external source. The speaker output automatically matches different cabinet impedances from 4 – 16 Ohms.
Sound inspired by the Legendary Ampeg SVT Extremely compact configuration for portability High quality tone with Volume and Gain controls 3 Band EQ controls for shaping your tone Speaker out can automatically fit cabinets of different impedances (4-16?) FX LOOP for using external effects Headphone output jack is very convenient for practicing and recording Aux In jack can let you play with an external music player 18V DC power supply (Adapter included) Power Output: 5 Watts Dimensions: 128mm (W) x 75mm (D) x 59.5mm (H) Weight: 440 g
Add a wealth of classic and modern compressors to your pedalboard, with the TC Electronic HyperGravity Mini Compressor pedal. The HyperGravity Mini uses a highly advanced multiband dynamics algorithm from TC Electronic’s System 6000, which has been the preferred dynamics tool for top producers for over 10 years. Dial in just the right amount of compression and sustain with the Attack, Sustain, and Level controls, or tap into customized TonePrint settings created by top artists. Guitarists are sure you’ll be able to achieve practically any compressed guitar tone you want with TC Electronic’s HyperGravity Mini Compressor pedal.
Second Hand. Excellent condition. The Markbass Standard 104HR is an exceptional, professional bass speaker cabinet that performs well in any club, big or small. The Standard 104HR cab puts out impressive power of 800W and weighs only 56 pounds. Working bassists will love the 104HR speaker cabinet for its power, high-quality sound and portability. Perfectly capable in a standalone situation, this bass speaker cab is even more ear-catching when combined with a Markbass Standard 151HR or 102HF.
Ultra-light neodymium B&C speakers 1″ compression driver with custom horn Great power-to-weight ratio Made of high-grade, multi-ply poplar Glued, screwed, and sealed internally with special compounds for maximum sound quality Protected corners Grill for protecting speakers Lightweight SPECIFICATIONS Impedance: 8 or 4 ohms Speaker size: 4 x 10″ Bass Port: Rear Tweeter: 1″ compression driver with custom horn Power Handling: 800W RMS (AES Standard) Crossover Frequency: 3.5kHz Frequency Response: 35Hz to 20kHz Sensitivity: 103 dB SPL Weight: 56 lbs. Dimensions: 23.4″W x 23.8″H x 18.9″D
Imagine all the awesome, saturated, tube distortion of your favourite big tube amp, but at levels that you can play without angering your neighbors. The Palmer PDI-06 soaks up some of the power of your tube amp, but only after it has been through the entire amp circuit. Sitting between amp and speaker, this attenuator takes down the volume of an amplifier without removing the power tube distortion that many guitarists crave.
The PDI06 is a power attenuator for live applications. The device is connected between the amplifier output and the speaker cabinet. It makes it possible to use the popular power stage distortion of tube amplifiers while reducing the associated high volume level. This permits practical volume reduction in six increments from 100% to 18% for stage and practice room situations. An additional level makes the speaker completely mute; the PDI06 then functions as a LOAD BOX and absorbs the entire output power of the amplifier. This mode of operation is useful, for example, when connecting an amplifier equipped with a speaker cabinet emulation directly to the mixing desk using an existing line-out and loud volume levels in the recording booth are undesirable. The unit has an input for the speaker signal from the amplifier and two outputs for connecting speaker cabinets. Specifications Maximum input power: 120 watts 6-position switch, 5 increments (3 dB each) for volume reduction, equivalent to attenuation of the input power to 70%, 50%, 35%, 25%, 18%. The LOAD BOX position mutes the connected speaker cabinet. The BYPASS/ATTENUATOR switch lets the user toggle quickly between full and reduced output.
Like its full-sized predecessor, the TC Electronic Mimiq Mini Doubler effects pedal puts the stacked sound of your multi-tracked guitar lines onto your pedalboard. With a tap of your toe, the Mimiq Mini Doubler instantly simulates all the intricacies and imperfections that create the massive tones of double-tracked guitars. Controls for Tightness, Dry, and Effect dial the sound in for a tighter sound with more impact, or a bit looser for a more organic feel. Ask any guitarist, the TC Electronic Mimiq Mini Doubler pedal is a great way to achieve a larger-than-life guitar sound.
Studio-quality doubler effects pedal Tightness control simulates the feel of 2 separate takes Perfect for creating huge stacked tones for live performance Works equally well with clean and distorted tones True bypass switching
The Voodoo Lab Pedal Power 2 Plus is a universal power supply for all battery-operated guitar pedal effects. New features include two outputs that will power Line 6 modeling pedals and two outputs that can have a variable voltage sag to emulate dying carbon batteries. Like the original Pedal Power, each of its eight outputs are completely isolated, short-circuit protected, regulated, and highly filtered. The Pedal Power 2 Plus comes complete with cables and a detachable AC power cord; it is handmade in the US and carries a 5-year warranty.
Isolated outputs Short-circuit protection Toroidal transformer Isolated outputs Each output is completely isolated, so you won’t have any ground loops or interaction between pedals that can cause hum and noise. Unlike other common ground power supplies, you can run effects that have both negative and positive grounds without difficulty. Short-circuit protection The Pedal Power 2 Plus’s outputs are individually short-circuit protected. If you have a short in a power cable, or one of your pedals malfunctions, the Pedal Power 2 Plus will temporarily turn off the power to that pedal. All other outputs will continue to function normally, and the Pedal Power 2 Plus will not be damaged. Toroidal transformer Power transformers create an electric field that can cause hum and noise in your effects. Some effects, such as wahs, are particularly susceptible to this. A toroidal transformer has a specially designed core that greatly reduces this electric field. The Pedal Power 2 Plus uses this type of power transformer so that your pedalboard is quiet. Voodoo Lab Pedal Power 2 Plus Universal 8-output Power Supply Features: Powers up to 8 pedals Isolated outputs Short-circuit protection Toroidal transformer Included Cables: 5.5 x 2.1mm right-angle barrel connectors (6) 5.5 x 2.1mm straight barrel connectors (2) 5.5 x 2.5mm red barrel for L6 (1) 3.5mm mini plug for vintage MXR or Electro-Harmonix (1) 9-volt battery snap for pedals without a power jack (1)
The power and versatility of BOSS’s 500 series digital effects pedals come to reverb in the RV-500 multi-effects pedal. Loaded to the brim with gorgeous-sounding reverb effects, the 12 onboard reverb types mean tonal adventurers will never run out of inspiration. And editing these sounds can be a straightforward affair or take tone tweakers down a deep well of options and sonic perfection. BOSS has a long legacy of lauded reverb effects, such as their RV-5’s legendary Modulate mode and their COSM modeling of famed Fender spring reverb tones. The RV-500 is like your own personal library of all of these sounds in a single stompbox.
12 inspiring reverb effects Reverb is an absolute necessity on most electric guitar players‘ pedalboards these days. From covering ambient passages to the drippy tones only achieved through a spring-like setting, you’re guaranteed to be called upon to wrangle these sounds. This makes the RV-500 an ideal partner for stage, studio, and home use. You’ll find everything from warm-sounding room reverbs for a bit of extra ambience to highly effected SFX and shimmer sounds, all being processed through the pedal’s astounding 32-bit/96kHz. Even with a world of tonal shaping onboard, the BOSS RV-500 reverb pedal is equally suited for control freaks and the plug-and-play types of the world. The pedal’s intuitive layout of top-mounted controls allows you to fine-tune your sound’s tone, level, pre-delay, and more. You’re even able to save your custom presets with a few pushes of a button. But when it’s time to go deeper, you’ll find the bright display and vast menus urge you to conjure every tone you can dream up. Once they got it in their hands, Sweetwater musicians — even keys, synth, and bass players since it works equally well on them all — were thrilled to see a versatile set of inputs and outputs. True stereo performance will split your tones to two separate amplifiers, creating a sonic space that simply has to be experienced to be believed. With its ability to be switched from true-bypass to buffered operation, there isn’t anywhere in your signal chain that the RV-500 can’t handle. And you have up to 297 preset locations for all your sonic creations.
The original Death By Audio Harmonic Transformer was a burly monstrous fuzz, hell-bent on destruction of your signal and amp. Unfortunately, it was also hell-bent on wiping out all the space on your pedalboard. It was huge. The Micro Harmonic Transformer takes care of all that. Welcome back.
The Harmonic Transformer contains only one volume knob and two toggle switches. However, your guitar’s volume and tone controls help aid the madness, and as such, there’s a great deal of variance to be found.
The first toggle, Intensity, increases the gain content. The sine wave side is a smoother (but make no mistake, still gnarly) fuzz, while the square wave side yields soul-reaving, mountain pushing fuzz tones that ensure you’ll be heard. Death by Audio Micro Harmonic Transformer Fuzz features: The second toggle, Harmonic Shape, engages a complex filter that changes the harmonic content of the signal. Your choices are a rich full-spectrum fuzz sound and a clangy, mid-scooped tonal ruckus. Built the same as the original, just much smaller Two toggle switches deliver lots of versatility Built in USA Standard 9v center-negative power operation (adapter not included):
The EarthQuaker Devices Space Spiral is an analog-voiced digital delay pedal with a ton of tone-shaping potential that will appeal to the most sonically adventurous. The Space Spiral utilizes a digital engine to deliver up to 600ms of oil-can-style analog-voiced repeats. The onboard variable waveshape LFO enables you to craft the character of the repeats from a „soothing triangle shape“ to a „choppy square shape.“ And all the Space Spiral’s aural power comes to you from the forward-thinking circuit tweakers at EarthQuaker Devices.
The Space Spiral utilizes the power of a digital delay engine to get the most from its dark and ethereal repeats. And unlike many analog delay pedals, the Space Spiral is able to deliver anything from 30 to 600ms of delay time. And while a digital soul lies within the Space Spiral, the pedal boasts a 100% analog dry signal path. This, combined with the pedal’s true bypass switching, ensures your instrument’s tone stays pristine whether the pedal is engaged or not. The power of the EarthQuaker Devices Space Spiral modulated delay effects pedal goes far beyond its warm and ambient core tone. The Space Spiral boasts a variable waveshape LFO that can drastically change the style and character of the pedal’s repeats. The Depth and Shape controls interact with delay controls to go from a familiar-sounding effect to a hard-edged repeat that can provide a great rhythmic effect. There are a lot of sounds onboard the Space Spiral, and Sweewater is excited to hear the creations you come up with.
Get real deal echo with the Fulltone Custom Shop Solid State Tape Echo. Real tape, real circuits, no modeling. Choose between a vintage-voiced EP-3 preamp for old-school tones or a full-range preamp that keeps your rig’s tone intact. The Solid State Tape Echo uses an efficient, quiet, and compact DC motor to run its Fulltone ETC-1 tape cartridge for rich, shimmering tape echo. If you’re ready to add real tape echo to your setup, the you need the Fulltone Custom Shop Solid State Tape Echo.
Dual preamp modes for big sound The unmistakable tone of tape Tweakable delay times and tape speeds Dual preamp modes for big sound The folks at the Fulltone Custom Shop loaded the Solid State Tape Echo with two preamps to give you a wide range of sounds. The EP-3 mode is identical to the original Echoplex EP-3 unit down to the TIS58 JFET circuit. This is the preamp that was favored by Jimmy Page, Brian May, Tommy Bolin, and others for its slight bass cut and treble boost. If you want classic tone, then the EP-3 mode is for you. The Solid State Tape Echo’s Full mode preamp delivers a full-range rich sound, just like your bypassed tone. Take it from the Sweetwater crew – whether you choose your rig’s pure tone or a vintage-voiced tone, the Fulltone Custom Shop Solid State Tape Echo has the cool echo sound you want! The unmistakable tone of tape If you’ve ever played through a „healthy“ Echoplex tape echo unit, you know that no delay (rackmount or pedal, analog or digital) can replicate its natural, warm, and shimmery tones. The downside? They could be noisy and unreliable. But now the folks at Fulltone come to the rescue with the Solid State Echo! It’s dead-quiet, and they’ve completely re-vamped the electronics, the tape transport path, and even the tape cartridge itself! Now you can hit the stage or make tracks with authentic tape echo without fear! Tweakable delay times and tape speeds The Solid State Echo provides effects ranging from a quick plate reverb-like emulation to full 1 second delays. It includes a top panel-mounted dual speed toggle switch to choose between Hi-Speed and Lo-Speed operation. Hi-Speed gets you lots of highs, less bass, and a True Repeat without the pitch variation of the old Echoplex. Lo-Speed is warm, with lots of bass, less highs, and a slight „warble“ that imparts a natural chorus effect made popular by artists such as Eric Johnson. Fulltone Custom Shop Solid State Tape Echo Guitar Effect Features: Solid state tape echo just like the original ’70s EP-3 tape delay Real 1/4″ tape gives you fat sounding delay Preamp switch lets you choose between classic EP-3 or Full Range preamps Nickel-plated steel with all stainless-steel hardware, every bolt and spacer Proprietary erase, record, and playback heads designed for long life All handwired point-to-point audio pathway All handmade in the U.S. 2-speed operation (with trimmer adjustment) for a choice between hi-fi or warm vintage sounds Tone control affecting the repeats only 1/4″ jack for „Echo Cancel“ allowing you to keep the TTE’s tube preamp in the signal path
The Fulltone Custom Shop WahFull pedal is a fixed-wah effect with a special heritage. It started when guitar virtuoso Robin Trower contacted Fulltone to create a fixed-wah effect so he could get singing midrange sustain and feedback in the style of Michael Schenker and Jimi Page, and the WahFull was the result. Choose from three wah flavors (Wacked, Jimi, and Shaft), dial in the center frequency by hand or by shoe, and you’re ready to rock. Add an expression pedal for traditional wah use. With buffered inputs and outputs, and „no pop“ switching, We highly recommend the Fulltone Custom Shop WahFull for that parked-wah guitar tone.
Fixed-wah pedal for electric guitar Three flavors of wah to suit your style Large Frequency knob is easy to adjust with your shoe without bending down Fine-tune the tone of the effect with the Pickup Compensator knob Add an expression pedal (not included) for traditional wah effects
The Mojo Diamond from Hotone is one of those products you have to hear to believe. Supporting the old cliché that good things come in small packages this head is a staggering size. At just 12.8cm, yes centimeters, wide and 6 cm tall it takes up less space than most guitar pedals. This little 5W Class AB guitar amplifier head packs some serious sound. It works great for rehearsing at home and can be attached to a cab for recording purposes. The Nano Legacy range has 5 different heads and at this price you can easily carry a selection of them to anywhere you need to play. Imagine being able to choose from all those sounds in your studio, taking up less space than a single regular size head.
Just like the original tweed amps the Mojo has a full, sweet sound to it. Just tweak the 3-band EQ, Volume and Gain knobs to recreate some authentic vintage tone in your living room. Specifications Speaker out can automatically fit cabinets of different impedances (4-16) FX LOOP for using external effects Headphone output jack is very convenient for practicing and recording Aux In jack can let you play with an external music player 18V DC power supply (Adapter included) Power Output: 5 Watts Dimensions: 128mm (W) x 75mm (D) x 59.5mm (H) Weight: 440 g
In April of 1943, Albert Hoffman took an unprecendented trip. He discovered the first ever synthesized LSD, dosed himself with it, and with that, rode his bicycle home in what was surely the most memorable work commute of all time. It was henceforth known as „Bicycle Day.“
Now, Catalinbread has distilled this trip into its Bicycle Delay. Through its unique Mood control, the Bicycle Delay ranges from high-school notebook paper squares to full-on Hoffman-esque downhill racing.
Lucidity, Expanse and Reflect make up standard delay controls of mix, delay time (though this one is wired in reverse) and feedback/repeats. However, using these controls in conjunction with the Mood and Radiance knobs really gets the trip going.
At its core, the Bicycle Delay adds a musically tuned ring modulated sound to the repeats, and the Mood knob dials in the amount of octave imparted to the ring mod and repeats. Yes, octave. Twisting the Mood knob changes the octave dispertion from down to up and in any manner of intervals. After setting the Mood, the Radiance knob acts as a filter, a powerful tone control that illuminates the setting you’ve created. As one might imagine, these five controls in conjunction are capable of a great number of psychedelic delay tones. Try setting the Lucidity low and leaving it on for an entire song for an ethereal backdrop, or set the Mood low for a traditional delay with nontraditional overtones. Take the trip. Catalinbread Bicycle Delay Features: Mood knob sets the octave amount Delay trails contain a ringmod flavor Hand-made in Portland, OR Standard 9v center-negative power operation (adapter not included)
The all-analog EarthQuaker Devices Erupter could be the ultimate classic fuzz. Yet surprising enough, this pedal is no clone. It’s the result of more than two years of tone chasing. This pedal succeeds in bringing iconic, classic fuzz tone to today’s instruments — single coils to humbuckers — and to any position on a pedalboard. The Erupter’s low end is defined, its top end is smooth, and its output is just right for sending an overdriven tube amp over the edge. A feature we particularly like is the EarthQuaker Erupter’s foot-friendly single knob, which controls bias, fuzz, and harmonic character all at once to prevent settings overload from getting in the way of your music.
With quality parts like new-production 5% ½-watt carbon composition resistors, metallized polyester film caps, Sprague and BC electrolytic capacitors, and low-gain, hand-matched NOS silicon transistors, the Erupter delivers a “well-rounded and defined fuzz tone with just enough pummeling intensity,“ says EQD pedal wizard and president Jamie Stillman. And thanks to its transformer-based pickup simulation, the Erupter responds well to any type of guitar you own — lipstick pickups, soapbars, and even high-gain humbuckers. EarthQuaker redesigned a number of circuit boards to make way for its relay-based soft touch switching, and the benefits are many. For starters, since there’s no hard click when you engage the pedal, the Erupter fuzz is more comfortable to play without shoes, and its switch is built to last a lifetime. And since there’s no audible „pop“, switching is completely discreet. Could be the ultimate classic fuzz Custom all-analog design Big bass, smooth top, and just the right amount of gain to push an overdriven tube amp Responds nicely to single-coils and humbuckers Interacts with volume and tone controls Works in any position on a pedalboard Large single knob controls bias, fuzz, and harmonics at the same time True bypass, silent relay-based switching Lifetime manufacturer guarantee
With Temple’s Quick Release Pedal Mounting System™ you can change out your pedals on the fly. No more messy Velcro®, zip ties, or drilling holes to keep your pedals in one spot. Small, Medium and Large Pedal plates are based on the optimum size for the majority of pedals worldwide. Simply adhere the plate to the back of your pedal and position the pedal anywhere on the board, screw to fasten from the back.
Introducing the all NEW Temple Modular End Panel System™. By creating a modular rack style interface, all your connectivity is now fully interchangeable. Decide Now or Decide Later. All Mini and Micro modules are fully interchangeable with one another and can be installed in either side of your board and the best part is, you do not have to be a professional to install it. Available on all SOLO, DUO, & TRIO Pedalboards.
Temple Pedal Board Pricing starts at CHF 89!!!!!
SOLO 18: 8.5in x 18.0in – Pedalboard Only CHF 89.00 Side Panel: One (1) Micro Module slot, One (1) Mini Module slot per side. Available in: Temple Red, Vintage White, Gunmetal. Pedal Plates, Modules, and Cases are NOT included. For custom colors and lengths, contact our custom shop. DUO 17: 12.5in x 17.0in – Pedalboard Only CHF 89.00 DUO 24: 12.5in x 24.5in – Pedalboard Only CHF 109.00 DUO 34: 12.5in x 34.0in – Pedalboard Only CHF 139.00 Side Panel: One (1) Micro Module slot, Two (2) Mini Module slots per side. Available in: Temple Red, Vintage White, Gunmetal. Pedal Plates, Modules, and Cases are NOT included. For custom colors and lengths, contact our custom shop. TRIO 21: 16.5in x 21.0in – Pedalboard Only CHF 119 TRIO 28: 16.5in x 28.2in – Pedalboard Only CHF 139 TRIO 43: 16.5in x 43.2in – Pedalboard Only CHF 179 Side Panel: One (1) Micro Module slot, Three (3) Mini Module slots per side. Available in: Temple Red, Vintage White, Gunmetal. Pedal Plates, Modules, and Cases are NOT included. For custom colors and lengths, contact our custom shop. Duo 17 Gig Bag…. CHF 59.00 Duo 17 Flight Case….. CHF 239.00 Duo 24 Gig Bag…. CHF 79.00 Duo 24 Flight Case…. CHF 349.00 Duo 34 Gig Bag…. CHF 89.00 Duo 34 Flightcase…. CHF 349.00 Trio 21 Flight Case…. CHF 295.00 Trio 28 Gig Bag…. CHF 89.00 Trio 28 Flight Case …. CHF 399.00 Trio 43 Gig Bag…. CHF 109.00 Pedal Plates All Sizes…. CHF 6.00 Micro Modules, Mini Modules, LED Lighting, AEC Mains Power and all accessories available. Please contact for pricing!
The D’Addario Chromatic Pedal Tuner features a sleek, reduce-sized, and lightweight design to preserve valuable space on a player’s pedal board and a vertical-sweeping LED pitch display for a clearer, more intuitive read. Its 32-bit chip has 4x the processing power of a standard headstock tuner for a fast and accurate readout, and it makes the display visually smoother for precise tuning. Additionally, the chromatic pedal tuner features true bypass, so when the pedal tuner is activated, it automatically cuts its output signal to eliminate noise during tuning and instrument changes.
Here’s a smart way to manage your guitar and pedal rig — the BOSS MS-3 Multi Effects Switcher. At its core, it’s a powerful multi-effects unit with 112 built-in effects plus a tuner, noise suppressor, and global EQ. Add in three switchable loops for your other effects pedals, and the ability to switch between your custom patches on the fly, and you’ll be able to use your existing effects pedals in new creative ways. You can even use the MS-3 to change amp channels and interface with MIDI gear. If you’re searching for a better way to manage your effects pedals and guitar rig, you definitely need to check out the BOSS MS-3 Multi Effects Switch
In 2008, Dunlop brought on Jeorge Tripps and the Way Huge line. Tripps and engineer Bob Cedro’s first MXR product was the Carbon Copy. Since 2008, the Carbon Copy acted as a continuation of the original revered Analog Delay from 1979, and guitarists everywhere shared its reverence. But as playing evolved, so did the players. And these players soon demanded a change. The darkness inherent in the Carbon Copy circuit soon led players to ask for the same fantastic tone, but different. Your pleas have not fallen upon deaf ears, and we are excited to share the Carbon Copy Bright, available exclusively through Pro Guitar Shop.
. Selecting the exact changes to the Carbon Copy circuit took over four years, and involved many revisions and a great deal of trial and error. Eventually, many prototypes were produced, and one was closest to perfect. After one last tweak, the final prototype received a unanimous thumbs up from everyone at Pro Guitar Shop. It was in this moment that the Carbon Copy Bright was truly realized. The chipset of the Carbon Copy Bright remains unchanged—warm, bucket brigade analog goodness is still the name of the game. Tone seekers will be thrilled with the changes to the circuit, as the repeats are more “vocal-like” than the original. The Carbon Copy Bright certainly blurs the lines between vintage analog BBD chips and brighter vintage tape delays such as the Echoplex. A wonderful byproduct of a brighter delay is the perception of extended repeats further than the original before feeding back. The Carbon Copy Bright’s defined repeats are a great companion to the original’s darker wash, and we made them play nicely together. The modulation section of the Carbon Copy Bright has also seen a favorable boost in character. Because the delay line is brighter, notes are much better articulated and so is the accompanying modulation. Chords strummed through a modulated Carbon Copy Bright are a thing of beauty, and hang around longer before disintegrating into the ether. When removing the back plate, two controls await: Width and Depth. These controls are accentuated by the brightness even more, especially at more generous settings. The range of both knobs is enhanced by the tonal adjustments, as the nuances of the ebb and flow now leap out, and the most extreme settings of each are no longer buried in the mix. With 600 milliseconds of delay time, an enhanced frequency range, vibrant delay path and true bypass switching, the Carbon Copy Bright appeals to those searching for an all-analog delay with a full-bodied present tonal palette. The future is bright. MXR Carbon Copy Bright Features: Brighter delay circuit with more vocal-like repeats and note articulation Interacts extremely well with original Carbon Copy Modulation has a more dramatic effect Hand-made in the USA
Use the EBow Plus rather than your pick, and create awesome synth effects. A small electrical charge sets up an energy field, vibrating the string giving you limitless sustain until you pull it away. The tiny, 9V-battery-powered Ebow Plus replaces your pick, letting you mimic strings and synths and create outlandish sounds beyond any instrument.
The EBow Plus lets you play as fast as your left hand can scurry through a lick. Fade a string in from a motionless state for a reverse-tape effect. Run the EBow across the strings for gorgeous arpeggios. Add distortion for a screaming guitar sound. Playing the EBow Plus directly over the pickup will increase your volume and give you the crisp sound of super hot pickups. Moving away from the pickup gives you the mellow sound of a hollowbody electric. The sounds you discover by experimenting with the EBow will amaze you. And like the best tools of the trade, the EBow will sound different for each musician.
The MXR Sub Machine Fuzz is a mean little box that combines the shaggy vintage tones of the La Machine Fuzz with a growling sub octave circuit, giving you a one way ticket to the sonic frontiers of heavy.
The Sub Machine Fuzz features the La Machine Fuzz’s circuitry and all of its functions, from its Volume, Tone, and Fuzz controls to its electrifying octave up mode. The MXR Custom Shop team upped the ante by adding an old school sub octave circuit with its own level control, so you can dial in just the right mix of fuzz and sub octave signals.
Second Hand. Mint Condition. The EBS Standley Clarke Signature Wah/Tone Filter is much more than a standard Wah pedal. In fact, the main idea behind it was to simply use it as a tone filter to be able to re-create the sound of Stanley Clarke with a standard passive bass. Oh, and it can be used as a volume pedal, too.Stanley Clarke’s signature tone can be achieved with this signature pedal and a passive standard bass for a lot less than it would cost to purchase an active-electronics high-end boutique instrument. Rise to the levels and spectrum of tone that until now was solely instilled in those high-end bass guitars. The pedal pad is a releaseable secure mechanism that can be adjusted to maintain its position once you to find a desired tone within the pedals frequency sweep. It is also utilized with upright basses not limited to electric basses!The Stanley Clarke Signature Wah is highly flexible as a wah-wah pedal. It does not affect the entire frequency range, like many other wah pedals do, which helps preserve the bottom of your sound while using the effect.
The pedal feature four different preshape pass modes, Low-pass, High-pass, Band-pass and Boosted Band-pass. In addition, it offers controls to adjust the Range and Width of the effect span.As a volume pedal. The pedal has a switch on the side that decides what happens when you switch off the wah effect. One setting simply bypasses the effect, but the other turns the Wah pedal into a Volume pedal when the wah effect is switched off. There’s also an Active/Passive switch on the side, in case you use the pedal with an instrument with active electronics.The EBS Stanley Clarke Signature Wah evolved through collaborative effort with Thomas Lieber of the Spellbinder Corp. USA and Stanley Clarke.
The latest pedal from Empress is called the Nebulus which is a Chorus, Vibrato and Flanger pedal in one, but that’s not all, it has 3 submodes per effect and the Vibrato effect has a Vibe and Rotary submode so much more than just the kind of wobbly pitch Vibrato effect you might be thinking of.
The layout is pretty simple, the Mix control allows you to blend the clean signal with the affected signal and then the rate, depth and output controls are pretty self explanatory. Above these controls you have a set of mini toggle switches, the first is the mode selector (Chorus, Vibrato or Flanger), the second is a Submode control (a,b or c), a tone control (Clean, Bright or Warm) and a Special control (none, little or lots) and this control affects different parameters depending on the submode. The way to find out what each submode is and what the special control does is to view what I call the Effect matrix on the bottom of the pedal, Empress users will already be very familiar with this feature as it is used on all multi-function pedals:
Old school, Vintage, Sought after tone… Hey, the old circuits were great fun. But it’s time to move on. We need more from our gear now more than ever. Chicago Iron is proud to offer the new Octavian PLUS™ octave pedal. You get four great sounds in one pedal and two foot switches to use either effect on the fly. Imagine crankin‘ a solo in an awesome vintage fuzz and kicking in the Tycobrahe™ octave without the hassle of unity gain between the two devices.
At Chicago Iron we take pride in our sound. What we have done to bring back a great vintage pedal with the Chicago Iron Tycobrahe Octavia and Octavian, has been enhanced and updated. We added a switch to allow the pedal to be used as a fuzz as well as a standard Tycobrahe™ Octavia octave pedal. We decided to use a dual mode LED, red for fuzz and green for octave. We added the 60’s 70’s phase drive switch that provides the two most famous octave sounds from both the 60’s and 70’s. Same great tone and touch sensitivity as all of our famous Tycobrahe™ style hand matched hand made octave circuits. Just enhanced. includes redwood box The Chicago Iron Octavian PLUS. The same great circuit as the others with the 4 most popular player requested features. First, a foot switchable octave. We added an additional foot switch to allow the pedal to be switched from fuzz to octave on the fly. Second, we added a dual color indicator LED that shows red for fuzz and green for octave. Third, we added giant size knobs that are easily adjusted with the foot. Fourth and last we added the 60’s 70’s switch that allows you to switch between the two most famous octave sound eras. The pedal is true bypass and has 9v DC jack.
Mike Portnoy’s signature snare drums feature a unique three-way snare strainer that offers additional sounds without the hassle of switching snare drums. This steel shell snare drum provides an open, powerful sound and a wide tuning range. 1mm Hammered Steel Flat Black Shell, Die-Cast Hoops, 8 Lug Configuration, Three-Way Strainer, Snappy Snares.
Mint condtion, second hand. Serial number 202. Boutique reissue from the original Vox company, JMI. Amazing lush sound, with beautiful tolex finish. Hand wired with a Celestion Greenback 10in speaker. Must be heard. Great practice amp for players needing lush tone in even the smallest settings and places.
While the quality of tape delay emulators has come a long way, nothing beats the sound of a genuine magnetic tape delay. The REPLICATOR is a pure analog tape delay, handmade in Denmark. It features two playback heads (one tap-tempo controllable, one independently bypassable), and uses a durable C30 1/8″ chrome tape cassette for a long life and very easy replacement.
Controls: Delay level: Adjusts the level of the two playback heads Feedback: Adjusts the amount of feedback on both delays, reaching self-oscillation Delay Time: Adjusts the delay time from 8 ms to 3 seconda; tempo can be tapped (does not apply to Head 2) Master Boost: Go from unity gain to +20dB boost for overall volume boosts Chorus: Built-in tape modulation; varies the tape speed in very small amounts, resulting in pitch modulation of the delays Saturation: Drives the Record head into saturation (led peak indication) On/Off switches for: Tap, Chorus, Heads & Master On/Off (true hardwire bypass) Kill Dry switch (for parallel loop) Input/Output jacks Two Expression Pedal inputs Includes 24V DC external power supply
The Way Huge Supa-Puss Analog Delay was designed by delay master Jeorge Tripps for exploring the farthest reaches of true analog delay potential, featuring an eternity of delay time and fine control over numerous parameters of your delay signal.
Tripps equipped the Supa-Puss with a total of six bucket-brigade chips, delivering up to 900 milliseconds of delay time. With the Tap Tempo switch, you can program in real time up to three full seconds of delay time for ethereal ambience. The Subdivision control allows you to set how your repeats are subdivided, and by switching to the unique Chase mode, you can set your repeats to cycle through each of the Subdivision values in different ways for maximum freak-out effects.
In addition to standard Delay and Feedback controls, Tripps included several controls for fine-tuning the sound of your repeats: Tone for shaping color, Gain for adding grit, and Speed and Depth controls for adding shimmering, liquid textures with the Supa-Puss‘ LFO modulation circuit. For even further tweakability, Tripps added a true Mix control so you can set your desired blend of wet and dry signals. Finally, the Supa-Puss has an expression pedal jack so you hook up an expression pedal for continuous, real-time control over the Supa-Puss‘ delay time.
Legendary stereo tone and modern innovation for one killer combo amp
The JC-40 Jazz Chorus delivers Roland‘ renowned „JC clean“ tone and signature stereo chorus effect in a compact combo amp with evolved features for the modern guitarist. Like the flagship JC-120 amp that it’s based on, the JC-40 offers a classic stereo clean sound that‘ a perfect palette for tone shaping with stompbox effects. Now, there’s also a true stereo input for enhanced performance with stereo effects pedals, guitar synths, amp modeling gear, and multi-effects. In addition, the JC-40’s onboard effects include newly added features and updated sounds to support the needs of today‘ players.
JC Clean: The Benchmark in Clean Guitar Tone For 40 years, players around the world have revered the iconic clean voice and huge stereo sound of the JC-120 Jazz Chorus amplifier. With the JC-40, you can now enjoy the genuine industry-standard tone in a scaled-down amp with innovative modern refinements. Two independent power amps and custom-designed 10″ speakers deliver punchy stereo sound that won’t get buried in the band, while durable, road-tough construction ensures years of reliable operation on stage and in the studio. Famous Stereo Chorus and Other Effects Beyond its stellar clean tone, the JC-40 includes onboard effects, all newly refreshed for enhanced performance. The trademark Dimensional Space Chorus stereo effect fills the stage with immersive 3D sound, and now offers selectable fixed or manual modes for increased tonal range. Renewed vibrato and reverb effects are on hand, and both operate in stereo for rich, deep performance. There’s built-in distortion as well, updated with a smooth, satisfying tone that‘ great for all types of music. Stereo Input for Multi-Effects, Modelers, and Synths With its front-panel stereo input, the JC-40 allows players who use stereo effects devices to achieve wide, inspiring sound without having to carry around two separate amps. The amp‘ rich clean tone lets you get the most out of external stereo pedals like delays, reverbs, and various modulation effects. It‘ also perfectly suited for advanced gear that employs amp modeling, multi-effects, and/or synth capabilities, such as the GT-100, GP-10, and ME-80 from BOSS and GR-55 guitar synth from Roland. Ideal for Pedal-Based Players If you create your sound with stompbox pedals, there‘ no better platform than the classic JC clean amp. The rich, neutral sound won™t color your basic guitar tone, perfect for hearing exactly what your pedals put out. Get Connected The JC-40′ rear panel is filled with connectivity options. There’s an effects loop for patching in mono or stereo effects, and you even have your choice of serial or parallel operation. Line Out jacks give you a convenient mono or stereo feed to a mixing board or recorder, while the headphones jack is great for quiet practicing with your setup late at night or on the road. There’s also support for optional footswitches, allowing you to easily turn the JC-40’s chorus/vibrato, reverb, and distortion effects on/off while performing. FEATURES Power: 40W (solid state) Speakers: 2×10 in. (stereo) Controls: 3-band EQ, reverb, speed, depth, bright, volume, vib/chorus, FX loop switch Stereo input enables players to get true stereo sound with modelers and stereo effects pedals Built-in vibrato, distortion, and reverb effects Footswitch jacks for turning onboard effects on/off while performing Stereo effects loop for connecting external effects Dimensions: 23.4 in. x 17.3 in. x 9.9 in. Weight: 34.8 lb.
Guitarists and keyboardists know that nothing beats a Leslie rotary speaker for smooth, swirling stereo chorus. The Electro-Harmonix Lester-G pedal re-creates the classic Leslie sound in pedal form with two adjustable speeds controlled by a footswitch to move between fast and slow textures without tying up your hands. The Lester-G’s drive control adds B-3 guts and grit to your sound, while a balance control, which simulates the balance between a Leslie’s horn and bass speaker, helps smooth out your tone. Dynamic players will appreciate the Lester-G’s onboard compressor, which helps to smooth out rhythms and leads. True stereo ins/outs and a stage-ready metal chassis make the Lester-G a great option for keyboardists and guitarists wanting to add stereo textures to live work and ear-to-ear effects to recordings.
Lush, stereo rotary speaker emulation for guitarists and keyboardists From classic rock organ tones to dramatic guitar textures, the Electro-Harmonix Lester-G delivers in spades. EHX’s faithful homage to the Leslie sound adds an instantly recognizable vibe to chords and leads, while its variable speeds, drive circuit, onboard compressor, and balance control offer new tonal options for any style of music. Sweetwater guitarists appreciate the Lester-G’s stageworthy build, which features a metal chassis for durability underfoot and a buffered bypass for long cable runs. Vary speeds via footswitch to keep things interesting Variable speed is part of what separates the EHX Lester-G from other rotary speaker emulators. Players can set slow and fast speeds and toggle between them with a single footswitch for the dramatic, roaming textures Leslies are known for. An acceleration control lets you adjust the ramp-up/ramp-down time between speeds for seamless transitions. Momentarily pause speaker effects without changing tones The Lester-G has a traditional bypass switch for when you want to kill it completely. It also features a brake switch for when you want to keep your drive and tone settings without the speaker effects – great for guitar solos and subtle keyboard pads. This is just another way the Lester-G lets you add real humanized movement to your tone to keep your audience interested. Electro-Harmonix Lester-G Rotary Speaker Pedal Features: The Leslie speaker sound in pedal form A rock ’n‘ roll staple Adds smooth, swirling chorus to chords and leads 2 speeds with fine adjustment and acceleration control Vary speeds and pause speaker effects via footswitch Drive control adds grit to organ and guitar tones Onboard compressor with squash boost evens out dynamics Balance (tone) knob delivers cutting rhythms to smooth leads Stereo inputs and outputs for ear-to-ear effects Great for the stage and studio Buffered bypass prevents signal loss through long cable runs Includes power supply
The Electro-Harmonix 720 Stereo Looper pedal is a great addition to your pedalboard when you need a feature-rich looper in a convenient, compact package. You’ll enjoy 10 independent loops with up to 12 minutes of high-quality performance and unlimited overdubbing. Two footswitches, with an output jack for adding an optional 3-button controller, deliver hands-free operation. And 1/2 speed and reverse features encourage further sonic experimentation. The Electro-Harmonix 720 Stereo Looper pedal puts much of the power of their larger loopers into a compact and pedalboard-friendly design.
Plenty of looping potential Powerful onboard features Great access to complete control Plenty of looping potential At its core, the Electro-Harmonix 720 pedal is a powerful tool for looping performance. You’ll have access to 12 minutes of uncompressed audio at 24-bit conversion and at a 44.1kHz Sample Rate. The loops are split up into 10 individual loops that can be accessed via the Loop knob or an additional 3-button footswitch. And with unlimited overdubbing, there is no end to how much you can experiment and create with the 720 Stereo Looper. Powerful onboard features The 720 Stereo Looper pedal offers as many options as possible for achieving new sounds and inspirations, such as stereo in and outputs for getting a wide sonic spectrum. The stereo inputs also work flawlessly for looping with two instruments simultaneously. Footswitchable undo and redo functions ensure your audience hears only the performance you want them to. And reverse and 1/2 time buttons take your music in new and unexpected directions. Great access to complete control The Electro-Harmonix 720 Stereo Looper took into consideration your need for easy control of all of its powerful features. Two footswitches on the face control the current loop for recording, overdubbing, undoing, and redoing a performance. The Loop knob/button accesses the pedal’s three modes and cycles through the 10 loop locations. And a side jack allows you to add an additional 3-button footswitch for even more hands-free control. Electro-Harmonix 720 Stereo Looper Pedal Features: Compact and powerful looping pedal 12 minutes of high-quality looping Unlimited overdubbing Stereo operation Loop 2 instruments at once Footswitchable undo and redo Reverse and 1/2 time available Dual footswitches for hands-free operation Foot control out for adding additional switching
Our Starplayer Special was first prototyped in 1992 and voted “Guitar of the Year” in UK in 2003. Our maple neck and rosewood fingerboard delivers a distinctive attack and clarity not usually associated with this body type.
The DSP with its Alder body comes with a 12mm/ 0.47” Canadian Maple top. These combinations present an exceptional sound and clarity that brings sweet thick tones and long sustain. A choice of opaque or sparkle colors impart a rich visual identity.
NECK Type: Bolt-on Wood: 2-piece maple Width: 42,5 mm / 1.67″ (nut), 52 mm / 2.05″ (12th fret) Thickness: 21 mm / 0.8″ (1st fret), 24 mm / 0.95″ (12th fret) Shape: D Shape Fingerboard: Indian Rosewood Radius: 30,5 mm / 12″ Inlays: Pearloid Dots Frets: 22 jumbo 2,8 x 1,0 mm Scale Length: 650 mm / 25.6″ Trussrod: Steel dual-action Headstock: Black BODY Top: Solid Alder Size: 44 x 32,5 x 5,3 cm – 17.32″ x 12.6″ x 2.1″ Binding: Cream Pickguard: Cream Finish: PUR lacquer HARDWARE Tuners: Duesenberg Z-Tuners, tulip buttons Bridge: Duesenberg steel saddle bridge Tailpiece: Aluminum stop tailpiece Strap Pins: Duesenberg standard Hardware Color: Nickel Strings: Duesenberg DSA10 (010-013-017-028-042-050) ELECTRICS Pickup (neck): Duesenberg Grand Vintage Humbucker Pickup (bridge): Duesenberg Crunchbucker Wiring: 1 volume, 1 multi-tone, 3-way pickup selector
The Halo Chorus is a combination delay/pitch modulation/phase modulation chorus design with autoconfigurable I/O for mono, mono in/stereo out, and stereo in/stereo out operation.The combination of pitch and phase modulation can be used together or individually for traditional chorus sounds or unique, spatial tones.
In addition to the top mounted controls there are two user adjustable internal controls (delay time and LFO wave shape) that allow for fine tuning of the chorus from deep and syrupy to light and airy and all points in between.
The stereo ins and outs with independent pitch and phase modulation signal paths allow for a wide variety of parallel and serial configuration options.
parallel combination of delay / pitch modulation and phase modulation gives versatile control over modulation effects from light chorusing to deep ‰Û÷vibey‰۪ swirl stereo operation gives wide stereo image spread while preserving the original guitar tone NOS MN3007 analog bucket brigade chip running at 15V rails for extended headroom dual opto ‰Û÷vibe‰۪ phase modulation path also running at 15V rails all analog circuitry autoconfigures for mono, mono in / stereo out, and stereo in / stereo out operation pure sinusoidal LFO using a dedicated function generator IC for smooth modulation with variable ‰Û÷SPEED‰۪ and chorus pitch modulation depth ‰Û÷CH DEPTH‰۪ ‰Û÷CH MIX‰۪ and ‰Û÷PM MIX‰۪ controls allows independent control of chorus and phase modulation mix levels in both mono and stereo configurations kill-dry switch for parallel FX loop operation or use of chorus path for pure vibrato mono input signal passed through to both outputs on bypass phase switch to invert phase of right channel output relative to left LED indication of LFO speed expression pedal control of LFO speed same Vishay JFET / audiophile BurrBrown opamp signal path as in Memory Lane delay
Second Hand. Excellent condition. A few paint scratch marks on the corners, but otherwise sounds incredible, with a great build quality.
The Carl Martin DC Drive pedal has a few tricks up its sleeve. Besides the typical Level, Tone, and Drive knobs that control the signal volume, the tone, and the amount of overdrive, Carl has smartly added a clean boost after the drive section, and a Regular/Fat switch. In Regular mode, the drive is crisp and clear, suitable for anything that calls for old-school drive—switch over to Fat and the drive gets thicker with a lot more gain, bringing out a more modern sound. The result is a multi-use guitar pedal that allows you to have a variety of rhythm and solo volumes at your feet.
The Bypass footswitch engages or bypasses the DC Drive pedal—turning it on or off. The red LED lights when the pedal is engaged. When the red LED is on, the Drive knob regulates the amount of gain (overdrive) you want to use—from almost clean turned full left, to high gain turned full right. The Tone knob sets the voicing or color of the overdrive, from dark at full left turn to crystal bright at full right turn. The Level knob simply sets the overall level or volume of the effect. When the red LED is on, choose the amount of Drive you prefer, color it with the Tone knob and then set the Level knob to equal your clean volume, or set the Level slightly higher than your clean signal. Check your settings by turning the pedal on and off with the Bypass switch to compare and fine tune. The Martin DC Drive also offers 2 pre-set voicings, which selectable via the toggle switch located between the Tone and Level knobs. The Regular (REG) setting is more neutral and flat, creating more of a generic overdrive. The Fat (FAT) setting is as it suggests—fatter and beefier, giving your overdrive a shot of steroids. Both of these voicings share the Drive, Tone and Level controls. The Carl Martin DC Drive is also a 2-in-1 pedal. Along with the Drive settings, there is another switch and knob on the left side of this pedal that will add another dimension to your sound. When you step on the Boost switch, the green LED will light, and you will be able to add from 0 to 15dB of crystal clear volume to your signal using the Boost knob. The Boost switch operates independently from the Drive section, so you can boost your clean signal or you can boost the Drive signal without coloring the sound. With the DC Drive you have 4 sounds available to you—your clean signal from the amp, the clean signal with the Boost, the Drive or overdriven signal, and finally the overdriven signal with the Boost. Like the rest of the Carl Martin Vintage effects pedal line, the DC drive comes in that cool retro die-cast housing with the equally cool chicken-head knobs and CM graphics. The pedal can be powered by 9v battery or regulated power supply (not included).
Pedal geeks rejoice for today is a grand day for us all! Yes the time has come for us to cease our obsessive web trawling, seeking ‚the one‘ pedal that just won’t pop up on internet auction sites.. EVER!!
Boss have released the ‚Waza Craft‘ Series of pedals, giving you boutique brilliance with all the modern perks of guitar effects! If you’re been searching long and hard, far and wide for the original DM-2W Delay you’ll be all too familiar with how frustrating it can sometimes be to locate one, especially in a state which you can actually use it. Well you’re tiresome search has come to an end, finally!
Even the fussiest, most die-hard old-skool fans can be happy with this one, as the circuitry used is all-analogue and therefore brings you gloriously rich, vintage sound and feel, warming your soul and the hearts of all those who hear you play. Simply switch between both options to achieve your desired tone, whether that’s warm, authentic analogue vibes, or super-crisp, responsive, modern attack, the DM-2W Delay delivers every time! What Boss say about the DM-2W Delay Pedal: Ever since being discontinued way back in 1984, the BOSS DM-2 Delay pedal has remained highly sought after by players everywhere for its warm, “bucket brigade” analogue delay tone. Now, the DM is back! With the Waza Craft DM-2W, the coveted stomp has been reborn with switchable sound modes and greater versatility for today’s music styles. Using 100-percent analogue circuitry, the DM-2W’s Standard mode nails the lush sound and 20-300 ms delay range of the original DM-2. Flipping into Custom mode instantly changes the sound character to a cleaner analogue tone with over twice the available delay time. Key Features: Special edition Waza Craft pedal delivers the ultimate BOSS tone experience True reproduction of the vintage DM-2 Delay sound Premium all-analogue circuit with BBD (bucket brigade) delay line Standard mode for authentic DM-2 tone with 20-300 ms delay time Custom mode provides warm-yet-clear delay sound and over twice the delay time Expression pedal input for foot control of delay time Two output jacks allow separate output of delay and direct sounds BOSS five-year warranty
The Backstar Tone:Link Bluetooth receiver plugs into any line-in and turns your amplifier, mixing console, car radio, and more into a powerful wireless audio system. This device can connect two separate Bluetooth devices to a transmitter at the same time, and the on-board Li-battery offers eight hours of music playback at up to 65′ away. And all of the accessories and charging cabling are included. The Blackstar Tone:Link Bluetooth receiver lets you wirelessly access your music anywhere. All of us at Sweetwater agree, the Tone:Link is a powerful wireless solution in a tiny package.
Bluetooth wireless receiver great for audio Can link 2 devices simultaneously Built-in Li-battery is good for 8 hours of use Connects to stereo inputs Works up to 65′ away
Supro’s 1695T Black Magick electric guitar combo amplifier is engineered to replicate the highly customized Supro that Jimmy Page used to record much of the early Zeppelin guitar tracks. The Black Magick is the highest-gain amp in Supro’s line, which makes it fantastic for attaining huge rock sounds. And the two channels can be run independently or in parallel for even more crunch and tone-shaping options. The Supro 1695T Black Magick combo amplifier will instantly take you back to the tones of „Good Times Bad Times“ and „Communication Breakdown.“
The Jimmy Page legacy For rock fans, the guitar tones on Led Zeppelin 1 are some of the most revered in history. While they sound like a huge stack of screaming amps, in reality, much of those tones were conjured from Jimmy’s highly customized 1 x 12″ Supro combo. The Black Magick is a re-creation of that amp, down to the replaced speaker baffle from when Page converted the amp from a 2 x 10″ design. Crank this amp up and bask in those iconic sounds while you enjoy touch-sensitive levels of grit. Two powerful channels Like the original, the Black Magick boasts two separate channels with their own inputs. On this new model, however, the channels can easily be run separately or in parallel. The parallel option cascades the channels together for increased gain, tone shaping, and sensitivity. You can also use an additional A/B pedal to switch between the two channels for different tones. And it’s also possible to run two separate instruments through the Black Magick simultaneously. Even more tonal options The Black Magick sounds so good that just cranking it up and digging in is well worth the price of admission. But the 1695T also boasts a stellar tube-driven tremolo. The trem’s depth and dimension can be switched via footswitch (not included). An uncommon pair of 6973 power tubes is what delivers the immediately recognizable midrange of the amplifier. And the 1695T is covered in black rhino Tolex that makes it visually stand out from most other tube combo amps on the market today. Needless to say, guitarists at Sweetwater are stoked for this amp! Supro 1695T Black Magick Electric Guitar Combo Amplifier Features: Combo amp that replicates Jimmy Page’s famous Supro 25 watts into a custom 12″ speaker 2 channels can be run parallel, individually, or with 2 instruments simultaneously Tube tremolo controlled by footswitch (not included) 2 x 6973 power tubes The Supro 1695T Black Magick gives you the grind all rock fans have come to love. Tech Specs Type Tube Number of Channels 2 Total Power 25W Speaker Size 1 x 12″ Custom voiced Supro BD12 Effects Tube driven tremolo EQ Channel sharing tone control Preamp Tubes 4 x 12AX7EH Power Tubes 2 x 6973 Inputs 2 x 1/4″ Footswitch I/O 1 x 1/4″ (tremolo) Manufacturer Part Number 1695T-U
The new AC-Comp features a three-way switch for dialing in compression, a deeper amount of low end thump on tap if needed, plus two internal switches for additional fine tuning. The normal setting on the top mounted three-way switch gives you classic AC Booster style overdrive. The middle setting has very little compression, giving you tight aggressive punch with a bit more grit on the top end. Great for fast, articulate rhythm playing! This position cleans up extremely well with your guitar’s volume too. The final setting, simply titled „comp“ gives you a great, smooth compressed overdrive. Similar to the stock AC Booster, but with more gain and saturation. Dig in for those swampy Billy Gibbons harmonics!
True Bypass 3 Compression Settings Internal Dip Switches Pre-Eq Treble Presence -9vdc or Battery Operation
The GTO began its life as a recreation of a Nashville staple: the Nobels ODR-1. Anyone who’s played one of those knows how awesome it is. And if you like that pedal, you’ll love the GTO. Guthrie Trapp designed the GTO with Rockett, and he wanted more than a clone of an ODR-1. Rockett heeded the call.
Instead of having a Spectrum control, the GTO has two highly-interactive controls: Accent and Warmth. Warmth adds low-end back into the signal, but the Accent control brings the tone out of the mix. When using these two knobs together, players can wield powerful results, more so than a standard one-knob tone control, and more than most dual-banders as well.
The Gain knob has a much wider range than its predecessor, as minimal gain on an ODR still delivers a fair load of crunch. The GTO’s Gain control delivers the utmost in versatility, with clean boost tones available all the way through boot-stompin’ crunchiness. J. Rockett Audio Designs GTO Overdrive Features: Guthrie Trapp signature model pedal Based on a Nobels ODR-1 with many improvements Made in USA Standard 9v center-negative power operation (adapter not included)
When most people think of a searing JTM tone, there’s a lot that comes up. The Who. AC/DC. You know, legendary bands with legendary tones. Then why, may we ask, are there no pedals that approximate such a sound? As it turns out, it’s hard. Just ask the folks at Rockett.
The .45 Caliber took over a year to fine-tune and develop. Inspired by those incredible JTM tones, the R&D of the .45 Caliber was a painstaking process, and didn’t leave the workbench until it sounded just like a JTM on the verge of destruction. And if you’ve ever played a Rockett drive pedal before, you know they deliver.
A simple no-frills interface awaits .45 Caliber players. Four knobs: Volume (Loud), Gain, Bass and Treble are what you get. Who needs anything more on a Marshall-style pedal? This simple interface is a testament to just how well the .45 Caliber nails the JTM; the adjustments are only superficial ones, helping players use the .45 Caliber as an always-on facemelter. J. Rockett Audio Designs .45 Caliber Features: Authentic-sounding JTM45 tone Two-band EQ Hand-made in USA Standard 9v center-negative power operation (adapter not included)
Fans of the EHX Soul Food overdrive and Nano POG octave generator will love the 2-in-1 Electro-Harmonix Soul POG guitar pedal. This box marries the two effects together to save space on your board and unlock new tonal combinations. Combine effects for 12-string psychedelic tones, sputtery octave fuzz, or chiptune square wave synthesis, or use them alone in any configuration for the classic drive and octave sounds you love. Dual LEDs let you know at a glance which effects are engaged. The Soul POG’s dry output also lets you send clean and wet signals to different sources – cool for guitar players and keyboardists who want to send a pseudo-bass signal to a bass amp without affecting their tone.
2-in-1 pedal with switchable chain order and FX Loop EXH Soul Food for transparent, organic overdrive EHX Nano POG for tri-octave leads and chords 2-in-1 pedal with switchable chain order and FX Loop Sweetwater knows live guitarists will appreciate the Soul POG’s simple and powerful routing options. Pedals can be used in either order – the Soul Food before the POG, or the POG before the Soul Food – for new tonal combinations at the flip of a switch. An onboard FX loop even lets you insert other pedals between the POG and Soul Food for a multi-effects box that’s truly as versatile as having two discrete pedals. EXH Soul Food for transparent, organic drive tone The Soul Food is a natural-sounding, uncompressed overdrive with expressive touch dynamics and a wide gain range. Opening up the gain takes the Soul Food from clean boost to rock ’n‘ roll overdrive to alt rock distortion. Simple volume, tone (Treble), and drive controls make this pedal quick to dial in for any instrument. EHX Nano POG for tri-octave leads and chords The POG is a fast-tracking octave generator with separate low and high octave controls for bone-crushing bass and a singing high end. You can blend in your dry signal with the octaves for organ-like chord extensions and synthy leads. The POG’s mode switch lets you cycle between tracking models for either signal-note leads or polyphonic chording. Electro-Harmonix Soul POG Guitar Pedal Features: Combines the Soul Food and Nano POG in one pedal Pedals can be used separately or in series Powerful routing – re-order pedals or insert other FX between them EHX Soul Food delivers expressive, organic overdrive and distortion EXH Nano POG adds high and low octaves for synthy leads and subharmonic bass Buffered bypasses help fight signal loss through long cable runs Dry output sends a separate signal that’s identical to the input – great for driving clean/wet amps Includes 9V power supply
We were hammered with requests for a bass version of the
Fly Rig 5 since the day it was introduced. How could we not answer the call? We went a little crazy and stuffed everything
we could into the Bass Fly Rig, except the kitchen sink,
Rhode Island and a submarine.
sansamp octafilter compressor SansAmp, of course, as its center point, with our unique Character control that sweeps through the most storied vintage and modern tones. Three-band active EQ provides professional grade tweakability for any situation. For dirt and grind, Drive adds gain and overdrive. You can also add distortion by engaging the Pre-Boost. And then there’s Fuzz in the OCTAFILTER section. Each method achieves a different variety of tonal madness. You can even use all three at the same time, but be sure to hold onto your shorts. OCTAFILTER brings an entire re-invented pallette of expression with a crazy amount of possibilities, from Minimoog®-style synth to funky town. The controls interact so that you can get dynamically-filtered clean, fuzz, and octave, as well as octave and fuzz together. When Q is at minimum, Range becomes a high-cut tone filter for different versions of clean, fuzz, octave, and octave and fuzz together. You can then blend any of these combinations with your direct signal via the Mix control. But wait, there’s more. By bringing in some COMP, you can get infinite sustain like a keyboard bass. Whew. COMP, for compression, utilizes old school, all-analog, FET-based technology, which is inherently warmer, more transparent and musical. boost Switchable Pre/Post Boost. Pre-Boost mode interacts with the SansAmp section to beef up drive and distortion. Post-Boost mode increases the overall volume to punch up fills and solos. chorus tuner CHR, derived from our Bass Boost Chorus pedal, adds choral voicings of two instruments. With a slight delay between, it adds thickness and space. Chromatic Tuner is within the CHR section. You simply hold down the CHR footswitch to engage the Tuner, which simultaneously mutes the signal path. • Headphone button switches the 1/4” output into headphone mode • 1/4-inch 4.7megOhm input to deliver the full sound of piezos • Input Pad for active basses • XLR output with ground connect • 1/4-inch low impedance output • Rugged, all-metal housing • Metal footswitches and jacks • Silent-switching, custom footswitch actuators • Utilizes included 9V, 200mA DC power supply.
Keeley engineered the Monterey multi-effects pedal to give you the essential tools needed to achieve the legendary tones of Jimi Hendrix. The modulation section of the pedal contains a rotary speaker sound, a vibe, and an autowah. And the fuzz circuit is appropriately warm and full sounding, while being very touch sensitive. In the Monterey, you’ll also find a variable octave up and down that you can run in conjunction with any of the pedal’s tones. The Monterey multi-effects revives one of the most important and influential moments in electric guitar.
Multiple modulation effects Vintage-sounding fuzz And so much more Multiple modulation effects From Jimi’s use of a vibe on „Machine Gun“ to the tone-defining wah work on „Voodoo Child,“ modulation was always a big part of his tonal palette. The Monterey packs all of those sounds into this one pedal, and it does so with quality and detail in mind. The rotary speaker sound uses cabinet simulation for a life-like feel, and the vibe effect is as deep and lush as you could ever want. Or utilize the Monterey’s autowah tones for an open and detailed filter that takes you back to the electric guitar’s golden years. Vintage-sounding fuzz The fuzz circuit onboard the Monterey Rotary Fuzz Vibe multi-effects pedal is based on the two-transistor fuzz sound that Jimi used to great effect on songs like „Foxey Lady“ and „Star Spangled Banner.“ The fuzz’s tone is warm and round but with enough top end to stay clear and punchy in a mix. Sweetwater players enjoy this kind of fuzz for how well it cleans up when you play lighter or roll the volume knob back on your guitar. This circuit nails that feature giving you any shade of gain you desire whether using single-coils or humbuckers. And so much more Keeley crammed even more features into the Monterey in addition to all of the gain and modulation options it already has. A variable octave knob blends in either an octave up or an octave down as you turn the control. This is wonderful for paring with the fuzz for an octavia-type of tone. The Monterey also works well as a speaker cabinet simulator if you turn on the rotary effect but stop the rate of rotation. And as if that weren’t enough, an Expression pedal input offers you real-time control over modulation rate and the wah tones. Keeley Monterey Rotary Fuzz Vibe Multi-effects Pedal Features: Multi-effects pedal based around Jimi’s legendary tones Rotary speaker, vibe, and autowah modulation onboard The fuzz circuit is full sounding and touch sensitive Variable octave up and down Expression pedal input can control mod speed or manual wah Rotary cabinet simulation can be used with the rate turned off
The sun has risen on Keeley Electronics with the advent of its Memphis Sun, a lo-fi delay, reverb and double tracking pedal. Like its name implies, the Memphis Sun can help lay the foundation for your own Cash or Elvis-reminiscent rig.
Three modes adorn the Memphis Sun: Slapback 600, Sun Mode and Room, each mode is so distinct that each mode may as well be its own pedal. That said, the knobs perform different functions depending on which mode is selected.
Slapback 600: Each echo is filtered at 1kHz, and second- and third-order harmonics are added. The Time knob stretches out just a hair past 600 milliseconds, Regen adds up to three repeats and Reverb adds a subtle room reverb to the delayed signal.
Sun Mode: This mode is an ADT (automatic double tracker) even though ADT was not available in the Sun heyday. This mode asks „what if?“ Set from the minimum to a hair higher delivers 30ms of delay for an excellent lo-fi double tracker. Each knob marker denotes the addition of 30 more milliseconds. Anything between 20 and 180ms works well as a slapback. The Regen knob functions as a modulation knob for the ADT voice. This simulates a tape machine. Reverb adds in a warm room reverb, much like a good recording space. Room: This centers on the fantastic room reverb sound of the Memphis Sun. Time controls between 0 and 150ms of pre-delay for a slapback reverb sound. Regen acts as a filter to degrade the reverb tone, and the Reverb knob acts as a depth control. Keeley Electronics Memphis Sun Lo-Fi Reverb Features: Three distinct modes with different controls for each Seeks to approximate recording booths of the ’50s True bypass Hand made in USA Standard 9v center-negative power operation
The Archer is a versatile overdrive/boost with amazing headroom that is designed to help you cut through the mix. The Archer is sort of a two-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. Experiment with the settings and be careful with the output¦.this dude is loud!
Output: The volume control is very powerful and drives fairly hard relatively early. This allows you to hit the front end of an amp or pedal to get very aggressive or crystal clear. Treble: The Treble control is a very effective EQ that goes from dark to a very „chimey“, bright tone. It’s great to create that midrange clarity. Gain: The gain also acts as a mixer control between the clean boost and the gain. Turn the gain all the way down and your output becomes the volume for all clean boost. Start blending in the gain control and it will simultaneously reduce clean volume and introduce gain…somewhere in the middle is the sweet spot or mix of the two. Power Supply All J. Rockett Audio Designs pedals operate off of the standard BOSS type 9 volt adapter or a single 9-volt battery. The power input is a 5.5 mm x 2.1 mm jack with the positive voltage on the outer sleeve. Using an external power supply will automatically disconnect the battery. Disconnect the input jack to preserve battery life when not in use or when not used with an appropriate, external power supply.
After a long and painful research, we are proud to finally come out with what we believe is a true, vocal and vintage-sounding wah pedal !
The best wah-pot in the market!
- RED Fasel inductor for pure vintage sound
- internal trimmer for adjusting the input gain
- Carbon Comp resistors
- mini LED
- Allen set screw in the front of the pedal, which allows you to adjust, to your individual taste, how tight or loose the feel of the pedal sweep is
- 6-position rotary switch for 6 different frequency sweep ranges (Wahcko+ version)
- optional seagull effect ! (You engage the effect with the optional toggle switch)
This Gibson Custom Shop CS-356 Electric Guitar has an elegant and comfortable scaled-down ES double cutaway body with a carved top made of maple and a tonally carved mahogany back, centerblock, and sides. The one-piece mahogany neck has a 1960s SlimTaper profile that is ultra-fast and fully accessible. The guitar’s 22-fret Richlite fretboard is bound and adorned with mother-of-pearl block inlays. The Gibson CS-356 is loaded with Classic ’57 humbucker pickups with Alnico II magnets, giving you the sound that defined the music of the late-’50s. All the hardware on this beauty is brilliant gold, including the vintage Kluson tulip style tuners, the ABR-1 bridge and stopbar tailpiece. Comes with a hardshell guitar case.
Key features Rare 5A quilted maple top Mother of pearl inlays Corian nut over Richlite fingerboard Bound Tortiose pickguard Gibson 57 Classic pickups Gibson hardshell case and a Gibson Limited Lifetime Warranty FEATURES Body Body shape: Double cutaway Body type: Semi-hollow or chambered body Body material: Solid wood Top wood: Maple Quilted Body wood: Mahogany Body finish: Gloss Nitrocellulose Orientation: Right handed Neck Neck shape: SlimTaper Neck wood: Mahogany Joint: Set-in Scale length: 24.75″ Truss rod: Standard Neck finish: Gloss Nitrocellulose Fretboard Material: Richlite Radius: 12″ Fret size: Reissue Number of frets: 22 Inlays: Pearl block Nut width: 1.687″ (42.8mm) Pickups Configuration: HH Neck: ™57 Classic Middle: Not applicable Bridge: ™57 Classic Brand: Gibson Active or passive: Passive Series or parallel: Series Piezo: No Active EQ: No Special electronics: None Controls Control layout: Volume 1, volume 2, tone 1, tone 2 Pickup switch: 3-way Coil tap or split: No Kill switch: No Hardware Bridge type: Fixed Bridge design: ABR Tailpiece: Stopbar Tuning machines: Kluson deluxe Color: Gold Other Number of strings: 6-string Special features: Pickups Case: Hardshell case Accessories: None Country of origin: United States
Style #204 „Steel“
Tricone resonating, slatted sound hole
Materials: Steel Finish: Antique Steel Cover plate: Tricone standard
- Maple saddle W/Feather-lite/Durafoam Case
- included Schatten TC Passive Pickup
12 frets to the body 1 7/8″ bone nut 25 1/2″ scale 20″ body length 10 1/4″ upper bout 14 1/4″ lower bout 3″ body depth Round mahogany neck Rosewood fret board 3 x 6″ (2 on bass side; 1 on treble side) Hand spun aluminum „Continental“ cones Antique style geared tuners Dot position markers Adjustable trussrod Metal T-bridge
The American Standard Stratocaster solidbody electric guitar is the latest evolution of an American classic, priming it for the 21st century. The ash body with a maple neck and fingerboard stays true to the original recipe for classic tone. But this American Standard Strat packs a very different trio of pickups – Custom Shop Fat 50s single-coils, previously only reserved for Fender’s top-line Custom Shop guitars! These premium pickups pack all the bark and bite that made the Strat sound famous. You’ll also love the classic Fender touches and fan-favorites like hand-rolled fingerboard edges, staggered tuning machines, and aged knobs and pickups covers on the Fender American Standard Stratocaster solidbody electric guitar.
Deep, articulate tone and classic semi-hollowbody style are the hallmarks of the Epiphone Jack Casady Signature Bass. The maple body, mahogany center block, set maple neck, and rosewood fretboard conspire to create a sweet-playing bass you won’t want to put down. Has a single low-impedance JCB-1 humbucker with VariTone control, as well as traditional volume and tone knobs. Pearloid trapezoid fingerboard inlays, body binding, and Jack’s signature across the headstock set it apart.
Jack Casady, electric rock bass player extraordinaire, worked closely with Gibson and Epiphone to create this tasty signature model. It’s a long-scale, hollowbody electric bass constructed loosely around his vintage 1972 Gibson Les Paul Signature bass, discovered in a New York instrument shop in the mid ’80s. Starting from there, Jack spent a lot of energy working with a pickup designer from Epiphone putting together a new humbucker to reside in his signature model. Together they nailed down a passive pickup and control section that delivered tone so pure and natural it’ll give you goose bumps. The pickup is a special low-impedance model (the JCB-1), which produces a bass sound high impedance pickups and active electronics can’t match. The controls — a volume, tone, and versatile VariTone knob — produce enough variation for any situation. The bass has a unique and high-quality transformer with a 3-way impedance selector which eliminates the need for active circuitry while giving the low-impedance signal from the pickup a boost. The pickup impedance selector (VariTone) allows for sounds from clear and clean with acoustic vibe to deep, round, and growling rock authority. The body construction is unique, too. It’s not a true semi-hollow or hollow body, but a hybrid that combines the best from both designs. Under the bridge is a mahogany center block that adds sustain and helps to fight feedback. This construction allows the top to vibrate freely, giving the bass guitar a more natural, woody tone. The Epiphone Jack Casady Signature Bass is as unique as Jack, with a vibe, tone, and innovative features all its own. FEATURES Maple body Mahogany block under bridge Set maple neck Rosewood fretboard Low-impedance JCB-1 humbucker VariTone control Volume and tone knobs Pearloid trapezoid inlays Body binding
The Ditto X4 builds on everything that made the original Ditto great by expanding to two footswitchable loop tracks for greater phrasal diversity, sync and serial loop modes with adjustable decay, and 7 onboard loop effects to keep the creative juices flowing onstage and in the studio. MIDI sync lets you start/stop recording and switch loops in perfect time with a backing track or tempo map for seamless transitions. Stereo I/O gives you lots of setup flexibility. Store, play back, and manipulate five minutes of 24-bit audio with the TC Electronic Ditto X4.
The Mooer Echolizer is a wonderfully compact vintage style delay. It offers awesome tape delay effects and has simple controls that allow you to find the sound you want quickly and easily. Its full metal casing makes it durable and road ready, and like most great effects pedals it has true bypass.
Very similar to analog delay Warm, vintage delay sound Full metal shell Pedalboard friendly True bypass Delay Time: 25ms600ms Input: 1/4″ monaural jack (impedance: 1M Ohms) Output: 1/4″ monaural jack (impedance: 470 Ohms) Power Requirements: AC adapter 9V DC (center minus plug) Current Draw: 40 mA Dimensions: 1.6535″ (W) x 2.0472″ (H) x 3.6811″ (D) Weight: 0.36lb
The Lovepedal Eternity can be 3 pedals in one—Overdrive, Treble Booster and Clean booster—depending on where you set the dials. You can also blend these 3 factors. It has a socketed IC so you can swap out different ICs (extra ICs are not included). It’s a treble boost instead of a normal tone control. The Lovepedal Eternity Fuse Overdrive pedal provides darker tones, brighter tones with an unorthodox control.
It is a very smooth type of overdrive as well. The Eternity Fuse pedal can go from nothing at all to very warm-sounding vintage overdriven tube sound, a clean flat booster or a treble booster, or even a tweed amp.
Turn the toggle switch to the right for a strat-sounding wail. The toggle set at the middle gives a clean boost, with a warm, classic tube-driven vibe. Turn it to the left for screaming classic overdrive, ideal for blues, rock, or a multitude of other music styles. And with the treble boost all the way off, the overdrive pedal gives you warmer tone than most tube amps. The Lovepedal Eternity overdrive pedal always stays true to what’s coming out of your guitar no matter how hard you drive it, so you never turn into the pedal. It also breaks up the harder you dig into the strings, which sounds killer. FEATURES Glass control Level control Drive control Toggle switch LED Footswitch
The Lovepedal Eternity E6 is a must have drive pedal for those that want to take their clean valve amp into smooth overdriven heaven. If you have heard any of the previous Eternity drive pedals you know that it sounded great for low to medium gain tones but didn’t quite have enough range for some players. Well thanks to a suggestion from the creator of Mr Black pedals the latest edition of the Eternity E6 is packed with a touch more gain to make it even more versatile.
If you are a fan of blues and classic rock tones this pedal will not disappoint. Just dial in the level to match your amp and the gain to suit and you are away rocking the stage. The tone knob is a little bit different than on most pedals and instead of working as a single knob EQ that controls multiple frequencies it instead focusses on the glassy high midrange of something like a classic ‚F‘ style amplifier.
The Warwick RockBass Corvette Basic Bass Guitar is beautifully made and delivers plenty of that characteristic low growl for which Warwick basses are famous. As with all Warwick basses, the RockBass Corvette is crafted from premium tonewoods throughout: an alder body and a maple neck with ekanga veneer and a rosewood fingerboard.
Passive MEC JJ pickups and 4 control knobs provide great tone and flexible control in the studio and on stage. The highly sensitive dynamic response of the Warwick RockBass Corvette Basic lets you articulate the most gentle of nuances or slap the bass for crisp, fat basslines.
Bolt-on neck Alder body Maple neck with Ekanga veneers Rosewood fingerboard Scale length: 34″ (long scale) 24 frets Fingerboard radius: 16″ Passive MEC J/J pickups Passive electronics 1 x Volume control, 1 x Balance control, 2 x Tone control (neck & bridge) Patented Easy Access electronics compartment Warwick machine heads Warwick 2-piece bridge Warwick security locks Chrome hardware
The SolidGoldFX Formula 69 is a modern recreation of the classic late 60’s, early 70’s Fuzz Face circuit with a few tweaks and modifications to improve tone and versatility. Germanium fuzz faces are very temperamental as they react differently depending on the ambient temperature, guitar, amp, other effects in the chain, and of course, bias setting. Silicon Fuzz Faces are more reliable and consistent however they have a reputation of being harsh and too „high gain“.
In order to address these issues, the first change was to fit the circuit with lower gain silicon transistors. With these hand selected transistors, there are no significant issues with temperature changes, oscillation, or radio interference. Furthermore, the tone switch completely alters the pedal’s voicing as it allows the user to select a full and thick fuzz or to reduce the bottom end, resulting in a less woofy yet rich tone that cuts through the mix with ease! The external Bias control drastically changes the effect’s midrange content and response. The pedal is highly responsive and cleans up extremely well as the guitar’s volume is rolled back. The Formula 69 offers the best of both worlds… warm, soulful tone with loads of fuzz, in a modern, compact, consistent, and reliable package. Features: – Hand selected, gain matched Si transistors – External bias adjustment allowing for a vast range of tonal textures – Extremely responsive to pick attack and guitar volume – 2-way tone switch: classic thick fuzz or a bass reduction to help cut through the mi
Twisted, textured high-gain fuzz.
The Agent 13 is the Swiss Army Knife of fuzz! Soulful and subtle, or seriously twisted and textured, the Agent 13 does it all! Equipped with a select set of hand tuned silicon transistors, a 3-way tone toggle, and a wicked, wide-range bias knob, finding your personal sound is just a few twists away. Whether you are chasing a distinctly vintage flavor of fuzz or a monstrously modern wall of sound, the Agent 13 has you covered. It can even self-oscillate at maximum fuzz settings turning the Agent 13 into an instrument in and of itself. If versatility and unique character is what you’re after, then look no further.
The NS Micro offers improved accuracy, faster response, expanded calibration range, visual metronome mode and an improved ratchet design. A highly sensitive piezo transducer and easy-to-read multi-color backlit display allow smooth and highly accurate tuning in noisy, dim or well-lit environments while the micro design and reversible screen allow the tuner to hide effortlessly behind or mount on the front side of the headstock allowing the tuner to remain clamped to the instrument inside most cases when stored. A 360-degree swivel mechanism and adjustable padded clamp offer optimal viewing angles and maximum positioning flexibility. As a result, the NS Micro is equally at home on left- and right-handed instruments as well as on small and large headstocks, making it an ideal choice for the widest variety of players and instruments. The NS Micro is powered by a readily available CR2032 battery (included) and provides maximum battery life utilizing an auto-off function, shutting the tuner off automatically after several minutes from power up.
Built-in piezo transducer picks up instrument’s vibration rather than sound Improved software for faster response and improved accuracy Tri-color reversible backlit LCD screen makes it easy to tune in dark environments while allowing mounting in front or behind headstock Wide calibration range (410Hz to 480Hz) and visual metronome Compact design blends into the aesthetics of instrument while adding considerably less weight than other headstock tuners
Second hand. Mint condition. The Peavey 6505 120W Guitar Amp Head serves up 120W of pile-driving power for muscular crunch and soaring sustain. Equipped with 5 – 12AX7s in the preamp and 4 – 6L6s in the power amp. Includes footswitchable lead/rhythm channel select, effects loop, 3-band EQ, plus resonance and presence controls on each channel. Rhythm channel includes pre/post gain controls and bright/crunch switches. Lead channel includes pre/post gain controls only. Preamp output. Footswitch included. 4, 8, or 16 ohms.
The 6505 Series guitar amplifiers are named in celebration of Peavey’s first 40 years, (1965-2005.) While known as the 5150 Series, these amps became the undisputed go-to guitar amps for scores of rock, hardcore, and metal bands because of their raw tone, relentless power, and road-proven reliability. FEATURES 120W Preamp: 5 – 12AX7s Power amp: 4 – 6L6s Footswitchable lead/rhythm channels Effects loop 3-band EQ Resonance and presence controls 4, 8, or 16 ohms
The Echoplex Preamp is one of those pedals you don’t know you need until you hear your guitar playing through it. It’s a multi-function pedal specializing in boosting your signal while adding a little bit of tape echo effect as well as warm overdrive when you crank it up. It’s based on the EP-3 which made its way onto the records of players including Jimmy Page, Eddie Van Halen and Eric Johnson (enough said). Back then everyone wanted the tone conditioning ability as much as the tape echo effect. Now, you can spice up your sound with the EP-3’s right on your pedalboard.
Dunlop’s EP101 Echoplex Preamp features a Field-effect Transistor (FET) just like the original and follows the exact same signal path. Boost your signal up to +11dB with the Gain control giving you nice organic grit the higher you go. The Echoplex Preamp runs on standard 9-volt power and contains power management circuitry to guarantee constant headroom performance throughout the normal life of a 9-volt battery. With a heavy-duty Phase 90-sized housing, a replica EP-3 knob, true bypass switching and a status LED, the Echoplex Preamp is built to take a beating on the road so you can leave your fragile vintage piece at home. FEATURES Faithful reproduction of the legendary Echoplex EP-3 front end Gain boost up to +11dB True-Bypass Field-effect Transistor (FET)
J Rockett have grown a reputation of making the impossible. For years people said the Gold Klon Centaur was impossible to clone but they did it with the Archer Ikon. Now they are back with their eyes set on a legendary amplifier. The Dude looks to replicate the sound of a classic ‚Dumble ODS‘ style circuit but in a compact pedal format.
While the original ODS style amplifier sounds incredible for nearly any kind of clean or crunch tone it is the overdrive it is loved for. The tone from this amplifier is so crisp and clear even when cranked and layered with plenty of gain making it perfect for a wide range of styles. Its overdrive sound is not something that you will hear in hard rock or metal styles. But for blues rock artists like John Mayer, Larry Carlton and Joe Bonamassa it became a must have amplifier. With its crispy and not overly saturated tone it has a very natural sound with a moldable midrange. This pedal captures not only the same overdrive tone but the response of the amplifier as well. So the same luxurious overdrive found on so many records can be yours all without having to shell out thousands of pounds on a new amp. Simple to Use Using just four knobs you can take control of the overdrive channel of this classic amp styles pedal. Your independent level and ratio (gain) controls mean real amp response while the Treble and Deep controls are more sympathetic of each other for amp like control. You can set this pedal up like any other overdrive. Set the volume to taste and then dial in the right tasty tone that fits your guitar and amplifier. Works With Everything Previous efforts to make a ‚Dumble in a box‘ style pedal have all had issues. The biggest issues we have seen is the way they respond to single coil pickups and the sweep of the controls. J. Rockett have gone to the ends of the earth to make sure that this is not the case with The Dude. You can use this amplifier with any gear without having to worry about the response.
J Rockett make some absolutely incredible effects and one of their latest creations is no different. This is the Boing spring reverb pedal that can transform any amplifier in to a classic tone machine. Spring Reverb is an essential tool for any guitarist that wants to create silky smooth clean tones or add a bit of classic verb to their drive tones.
Stunning Detail While some reverbs will say they are based on the spring sound they quite often miss a lot of the more subtle details. Things like the spring like early reflections are often missed but the team at J Rockett have picked it up and this pedal delivers an extremely accurate experience. If you have ever wanted a spring reverb you can take everywhere you need this pedal. Here’s what J Rockett say about the Boing Reverb When we developed the BOING reverb we had the live club in mind. The BOING is part of our new Tour Series line of pedals which are created around simplicity in design and ease of use. We wanted to recreate a reverb of the past which was specifically designed to cut through the mix and give your tone some atmosphere. The BOING is a simple, one knob recreation of the classic Deluxe Reverb and, like many of the classic amps, it is just a single knob for either more or less reverb. We made the knob extra large so it can be easily manipulated by one’s foot. There is a ton of headroom and the reverb can be made to be extremely subtle for use in front of overdriven amps without getting nasty. When coupled with a delay, like our Alien Echo, you can achieve some pretty spectacular, spacey, beautiful sounds.
Jet Stream Blue. One of a number of ways Fender keeps the format fresh is with special and limited-edition runs, and the latest one has just arrived in the shape of a series of Mexican Strats in special-colour finishes. The twist with this latest special edition is that all the guitars are finished in vintage car colours that weren’t originally used by Fender. We’re taking a look at two here: a ’50s-style Strat finished in Apple Green and a ’60s version in Canary Diamond Yellow. And if they don’t float your boat, the ’50s is also available in Jetstream Blue and Rangoon Red; the ’60s in Lilac and Cerulean Blue.
use, both the ’50s and ’60s guitars have all the sounds you expect to get from a Strat – we particularly liked the neck and position 2 (bridge and middle) settings with a little top rolled off. The bridge pickup is good, but a little too raspy; it’s very difficult to get a perfect balance of body combined with the aggressive top that a great Strat bridge pickup needs, while retaining subtlety and sustain when played clean. For us, the bridge pickups on these guitars are a decent seven out of 10: great for overdriven blues or rock, less so for country, slide and roots stuff. Use a decent compressor and a touch of reverb, though, and you can pick like Knopfler, or play over the end of the neck while holding the vibrato arm for a passable Marvin sound. While the ’60s neck looks the part with its dark rosewood ‚board, we actually found the lacquered maple ’50s Strat nicer to play – it was easier to bend notes and doublestops and just felt a little friendlier, with a touch more sustain.
Guitar virtuoso John Petrucci and Dream Theater engineer Richard Chycki worked with the Cry Baby design team to create the Dunlop JP95 John Petrucci Signature Cry Baby Wah. John himself says it „sounds huge and badass like an angry, screaming monster with the ultimate expressive range – it’s perfect for shaping single notes or manipulating growling, heavy chords.“ Guitarists appreciate the 6-band EQ for fine-tuning the wah tone. If you dig John Petrucci’s guitar tone, you definitely need to check out the Dunlop JP95 John Petrucci Signature Cry Baby Wah
Wah pedal for electric guitar designed for John Petrucci (Dream Theater) Controls for Volume, Q, and 6-band EQ Based on John Petrucci’s Cry Baby Rack Wah settings
Following the success of their Cry Baby Mini Wah is Dunlop’s DVP4 Volume (X) Mini Pedal. It’s an ultra-compact volume pedal with an aux output that can be used for a tuner or for expression pedal control over effects. When using the Volume (X) Mini as an expression pedal, you can set the minimum control value with an internal pot – very cool. Guitarists can recommend this to any player that needs volume and expression control in a minimum of space. The Dunlop DVP4 Volume (X) Mini Pedal essentially gives you all of the functionality of Dunlop’s DVP3 pedal at half the size.
Ultra-compact volume and expression pedal for electric guitar Aux output combines tuner and expression connectivity Internal pot allows you to set a minimum parameter value for expression pedal
The HT-5R takes the tone and features of the HT-5C and adds the same stereo reverb as used in the acclaimed HT Venue Series. The HT-5R guitar amp features dedicated tone control on the clean channel, a custom designed 12″ speaker and stereo reverb, making it the perfect guitar amp for the studio or home use.
Two Footswitchable Channels
The guitar amplifier has two channels available for selection, a Clean channel and an Overdrive channel. Using the Volume control while on the Clean channel you are able to deliver everything from a clean sound through to a crunch tone. Alternatively you can select the Overdrive channel and again using the Gain control, change from a clean sound on the edge of breakup right through to a distorted lead tone.
5 Watt, Push-Pull Design The HT-5 power amplifier is a low powered push-pull design which produces the crunch and break-up characteristics of a traditional 100W output stage, but at a much lower volume. This is achieved by the use of a 12BH7 dual triode valve in push-pull configuration producing 5 Watts output, which is rich in valve harmonics and compression, sounding full and toneful even at the lowest volume level. 5 Watt, Push-Pull Design The HT-5 power amplifier is a low powered push-pull design which produces the crunch and break-up characteristics of a traditional 100W output stage, but at a much lower volume. This is achieved by the use of a 12BH7 dual triode valve in push-pull configuration producing 5 Watts output, which is rich in valve harmonics and compression, sounding full and toneful even at the lowest volume level. Digital Reverb The reverb control sets the overall level of the reverb effect. With the control fully counter clockwise there will be no reverb. Turning the control clockwise will increase the amount of reverb. ISF Control The ISF control works in conjunction with the Tone control. It allows you to choose the exact tone signature you prefer. Fully CCW is a more American characteristic with a tight bottom end and more aggressive middle, and fully CW is a British characteristic which is more ‘woody’ and less aggressive. Speaker Emulated Output The Blackstar emulated output design is a new benchmark for pro direct recording. This no-compromise design makes it easy to get your tone to disk and tape. You can also use it to run a line out to a PA. 12″ Speaker The HT-5C and HT-5R models both feature a Blackstar custom voiced 12inch 50W speaker. Specification Innovative 5 Watt valve combo 1xECC83 and 1x12BH7 valves Unique push pull power amp design Award winning HT Pedal preamp Two footswitchable channels 12″ 50W speaker custom designed by Blackstar Enhanced tone controls Patented Infinite Shape Feature (ISF) Fully equipped for studio or practice Digital Stereo Reverb Speaker emulated output with 1×12 or 4×12 voicing Effects loop with effects level switch Footswitch included Cool vintage styling
Second Hand. Mint condition.
For our first foray in to DSP we put our white lab coats on, we listened to a lot of reverb, and then we listened some more. We tore apart reverb tanks to see what makes them unique to create something truly special.
The Spring Theory is designed specifically for guitar. You won’t hear a supposed spring reverb simulation that just doesn’t cut it, or so-called “studio” reverb designed for vocals or drums simply ported to a pedal format as an afterthought. Simply put it’s the most accurate black face spring reverb pedal in existence.
Second Hand. Excellent condition. Add an MXR Bass Chorus Deluxe pedal to your rig and get the shimmering, liquid chorus sound of genuine bucket-brigade technology. More than a typical chorus pedal, the Bass Chorus Deluxe offers a full complement of tone-shaping controls plus crossover and flanger modes. Flanger mode turns your Bass Chorus Deluxe into a creamy, psychedelic flanger with ’60s and ’70s overtones. In crossover mode, the Bass Chorus Deluxe rolls off its modulation effect at 100Hz, adding shimmer to your highs without detuning your lows. Talk about versatility – you’ll be amazed at the tones you’ll get from your MXR Bass Chorus Deluxe!
Second Hand. Excellent condition. The Electro-Harmonix Nano Small Stone Phase Shifter is everything you love about the original Small Stone in a smaller, die-cast package! It’s an effects pedal that delivers full-bodied, three dimensional phasing to add a special swirl to every musical style. Blues boys and babes dig its rapidly rotating speaker effect while Country players use it to add seasoning to their chicken‘ pickin‘. Metal-heads and Industrialists dig the Stone’s jet plane woosh. No matter what your musical pleasure, the Nano Small Stone Phase Shifter is guaranteed to increase it!
Second Hand. Excellent condition. Got the digital blues? Coat your guitar in warm, organic tone. The Electro-Harmonix Analogizer Guitar Effects Pedal thaws out digitally processed guitar, and gives you the sound and feel of an analog delay without the long delay times. Boost your solos with up to 26dB of gain. Fatten your sound. The Analogizer is the antidote to harsh and lifeless sounding digital pedals.
Included with Gig bag.
Never judge a book by its cover! The Art and Lutherie Ami Cedar Antique Burst is modeled after the dimensions of a parlor guitar of the early 1900’s. Small in stature but surprisingly large where it counts most… Tone and projection.
The Ami’s tone is clear and pronounced, making it a great guitar for acoustic blues, slide, folk, fingerstyle or just to simply bring a different tonal color to your next musical project. While being extremely comfortable to play and very easy to carry around because of its compact size, the Ami’s amazing tone makes these guitars extremely hard to put down! Handcrafted in Canada.
Epiphone’s long friendship with innovator Les Paul dates back to the late ’30s and early ’40s when Les and fellow guitarists such as Charlie Christian and George Barnes were at the forefront of jazz guitar. Epi Stathopoulos and Les were good friends and Epi would let Les use the Epiphone factory on 14th Street in New York City at night after hours to experiment on guitar and pickup designs. This also was the era when Les, inspired by the stinging sustain heard in electric steel guitars, began dreaming of making a solidbody guitar. He built his first, the legendary „Log,“ at the Epi factory in 1941. Over the years, Les continued to work closely with Epiphone luthiers, reviewing new product ideas and offering suggestions.
Now, the Epiphone Les Paul Tribute Plus honors Epiphone’s friendship with Les by combining his classic design features with legendary Epiphone quality and value with the added power of Gibson USA ’57 Classic humbuckers. But this guitar is not just about recreating the „old,“ it’s also about looking ahead, just as Les himself continued to do throughout his lifetime. Using 4-conductor pickup wiring, Epiphone has added two push/pull tone pots to allow for series/parallel pickup switching. The result is a Les Paul with all the standard sounds plus a huge palette of tonal possibilities at your fingertips. The Les Paul Tribute Plus also features Epiphone’s famous built-to-last hardware and electronics including a U.S. Switchcraft 3-way toggle, Mallory-150 tone capacitors, Epiphone StrapLocks, 16:1 ratio premium Grover locking tuners, and a premium hardshell case. Resonant mahogany body with Classic Les paul design Upgraded hard maple cap and AAA flame maple veneer Gibson USA ’57 Classic humbuckings with series/parallel switching Grover locking tuning machines Hardshell case included Mahogany body Hard maple cap and AAA flame maple veneer 24.75″ Scale mahogany set-in neck Rosewood fretboard with 12″ radius and 22 medium-jumbo frets Gibson USA ’57 Classic humbucking neck pickup (4-wire) Gibson USA ’57 Classic Plus humbucking bridge pickup (4-wire) Individual volume and push/pull tone controls Locktone tune-o-matic bridge Locktone stopbar tailpiece Grover locking tuning machines Hardshell case included
The DV NEOCLASSIC 112 SMALL is our smallest and lightest guitar cabinet! It is a very portable single 12″ cab, with glorious classic tone, punch and volume in a small unit.
With 150W of power handling, this cab is a perfect choice for any genre of music from jazz to rock and everything in between, and for guitarists who need a small, portable cab (or two for a stereo rig), it only weighs 18.3 lbs ( 8.3 kg) !
The DV NEOCLASSIC series of cabinets feature a super lightweight neo magnet custom made by DV Mark. These innovative speakers are the result of hard work and several tests on neodymium speaker tonal character: a lightweight speaker that sounds and responds like a classic speaker.
To this day, no one which tried this super-micro 50W guitar amp can believe the volume and classic sound quality that it is able to give thanks to its innovative design in a such small package.
The DV MICRO 50 features two channels* with very user-friendly and effective controls, on-board reverb, XLR Line Out plus a headphone output and an a handy mini-plug aux in jack for connecting an MP3 player to mix with your sound so you can practice anywhere and anytime you like. *On channel 2 we included a convenient onboard overdrive pedal circuit, with more controls than a simple pedal, with complete EQ, gain and master controls, they work in addition to the clean channel controls.
Its Input Special circuit is the result of several test with the most popular effects, it’s designed to perfectly interface with all the effects most used by guitarists. If ever an amp was made for pedals, this is it!
This amp also features a Dual Voltage Switch 120V/240V to use the amp in countries with different voltages, without having to carry an external converter!
Power output: 50W @ 8ohm / 60W @ 4ohm Preamp: Solid State Power Amp: MPT (Mark Proprietary Technology) Channels: two (clean / lead) Controls (clean ch): Level / EQ: bass-mid-high Controls (lead ch): Level / Drive / EQ: bass-high Effect: Reverb Speaker outputs: 4 ohms minimum load Other features: Footswitch input for channels switch AUX IN Headphone OUT XLR Line OUT with GND Lift Dual Voltage selector 120V/240V* *(not available on the 100V version manufactured for Japan) Dimensions (W/H/D): 7.87″ / 20 cm | 2.51″ / 6.4 cm | 8.7″ / 22.1 cm Weight: 4.19 lbs / 1.9 Kg
Second hand. Excellent condition. The RC Booster offers a super transparent 20db+ clean boost with an adjustable ±15dB two band active EQ that adds a wide range of harmonic content to your ideal sound. As a clean boost, it can enhance other pedals, such as „overdrive and distortion pedals,“ or you can crank the gain for a „crunch“ sound. But, the RC Booster is so extremley transparent that many players find they leave it on all the time. It also features true bypass for eliminating any signal interference when switched off.
Drive the preamp of your vintage tube amp into modern-rock territory and beyond with the Supro Boost. This JFET booster pedal provides 20dB of noiseless gain to add sweet harmonic saturation and sustain to the amp tone you already know and love. A Dark/Bright toggle lets you thin out humbuckers or fatten single-coils to better carve out or claim your space in the mix. The Supro Boost even lets you control a custom gain range with an expression pedal for cranking up on the fly without losing your sweet spot – great for solos and coaxing feedback from your amp.
Power your pedals with Ojai—the highest horsepower, most technologically advanced effects pedal power supply of its size. Ojai delivers clean, rock-steady power to your effects pedals in a lightweight and expandable package, giving you flexibility and room to grow.
You get five high-current, individually isolated, ultra-low-noise outputs—each with its own dedicated regulator and custom transformer. Each output provides a massive 500mA of current.
Ojai’s dual-stage topology, pre-regulated outputs, optically isolated feedback, and advanced multistage filtering result in a power supply that allows your pedals to achieve their highest possible dynamic range. Dual isolation. Ojai’s all analog circuitry offers two stages of isolation. Each of the five output channels is individually isolated from the 24V DC, and the 24V DC is isolated from the AC input power, eliminating ground loop and AC line noise issues. Ojai also provides dual power regulation: Wide-bandwidth optically isolated feedback loops on each channel, as well as on the input, allow both the input and outputs to adjust for changes, ensuring solid output under changing load conditions.
Peavey’s MiniMax bass amplifier head packs a punch – in a diminutive package. How do they pack 500 watts of bone-rattling power into a chassis that weighs under six pounds and fits in your backpack? Cutting-edge technology – that’s how. But the MiniMax story doesn’t begin and end with raw power. This little beast has finesse. Like DDT speaker protection, 3-band EQ, Peavey’s TransTube gain boost, and psychoacoustic low end enhancement that adds bottom without killing your speakers. Yes, MiniMAX boasts an impressive feature set, but it also has a gentle price tag that any working bass player can afford.
Second hand, mint condition. The Uni-Vibe, the product that embodies the rotating speaker simulation, can now be authentically heard once again in the Moollon ReVibe.
The light producing bulb, reflecting mirror cover, light/darkness-receiving photocell, and vintage-spec transistor make up the core parts of the ReVibe, and an exact design replication of the legendary Uni-Vibe means a true rebirth of the original, as proven in the foundational parts: the high efficiency miniature CDS and custom made-to-order mirror cover. The unique vibrato and supple feeling that the ReVibe adds to a guitar range of tones sets it apart from every other Uni-Vibe clone on the market, in that this is the first true recreation of the original.
From sweeping, phaser-like dreamy chorus tones naturally emanating from the guitar“s natural low-mid range resonance to a fast rotating speaker simulation, a wide spectrum of tonal possibilities are made available. Producing a well-balanced timbre without leaning heavily toward either low or high frequencies, the Moollon ReVibe will prove to show the true tonal essence of the original vibrato pedal.
The Wall of Sound—a concept many have heard of, but nobody can pinpoint. This is the sound captured in Gold Star Studios by Phil Spector and his mentors. Essentially, the technique involved studio artistry that filled in the cracks with lush soundscapes. When you hear a Gold Star song, you know it. The tone was and is legendary.
Leave it to Keeley, then, to develop a reverb pedal that best captures these legendary tones. The Gold Star reverb contains three Wall of Sound-esque modes that cam be manipulated far beyond the studio’s original parameters.
Three selectable reverb modes adorn the Gold Star: Compressed, Distorted and Flanged. Each mode is governed by Decay and Mix knobs, as well as two knobs (Vinyl and Depth) that change function depending on the mode. Let’s check those modes out! Compressed: This mode adds a compression to the reverb tails that responds to playing dynamics. Harder picking will result in a more compressed sound. The Depth knob acts as a compressor’s threshold control. while Vinyl acts as a compressor’s ratio control. This is extremely useful for note separation when a song or lick calls for such. Distorted: A thick, meaty distortion engulfs the reverb spread, which is perfect for shoegaze bands. In this mode, Vinyl controls the amount of distortion, while Depth controls the pre-delay. Pre-delay controls the amount of elapsed time between the input signal and when the reverb „kicks in,“ use this for an interesting accented effect. Flanged: This is actually a dual mode, depending on where the Vinyl control is set—noon is the „zero point.“ When turned to the right, a warped vibrato sound is heard; turned left, a lush flangers wraps the reverb trails. In Flanged mode, Depth acts like a depth control on a standard flanger. Keeley even went so far as to replicate tape machine response from the original Gold Star machines for a true-to-life studio experience without Phil Spector hovering over you and being weird. Keeley Electronics Gold Star Reverb Features: Three distinct reverb modes: Compressed, Distorted and Flanged Two knobs change function depending on mode Real tape machine-like response built-in to the signal path Hand-made in USA Standard 9v center-negative power operation (adapter not included)
The Keeley Bubble Tron delves into some of the signal manipulation techniques that helped make Frank Zappa such a distinctive lead guitarist. A flanger/phaser that dynamically responds to your pick attack, cycling only as you play, the Bubble Tron features a Random Stepped Filter with proprietary M-Style Synth bandpass shaping. Combine its three modes of operation in uniquely creative ways, and the Keeley Bubble Tron plays like an extension of your fingers. And your brain.
Over a dozen new innovations, such as fourth-generation noiseless pickups and high-mass, full-sustain saddles, conspire to make the American Elite Stratocaster one of the best modern Strats for the money. The classic tone cocktail of an alder body and maple neck provides the same punch, bite, and twang that built Fender’s empire, but the expanded 10-way S-1 pickup switching system and comfortable compound-radius neck will give even veteran Strat players reason to upgrade. Fender’s tremolo system is also better than ever for the American Elite, with a smoother response and a copper-infused bridge plate to help fight tuning slippage.
Fender Stratocaster: the look and sound of rock ’n‘ roll Fourth-generation Fender noiseless pickups with S-1 switching No-slip tremolo bridge adds texture to chords and leads Fender Stratocaster: the look and sound of rock ’n‘ roll The Fender Stratocaster has helped shape the sound of rock ’n‘ roll for the past 60 years, from psychedelia and surf rock to punk rock and metal. The Fender American Elite carries on that tradition today with the classic build players love – a comfortable, lightweight alder body and fast maple neck for superior tone and playability – with over a dozen new innovations to continue to inspire great music for the next generation. Fourth-generation Fender noiseless pickups with S-1 switching Fourth-generation noiseless pickups give the American Elite the classic Strat sound without the hum and buzz. And for exciting tonal options, the American Elite’s S-1 switching gives you 10 total pickup options – which include running all three in series – with the push of a button. Sweetwater Strat purists appreciate that Fender built the S-1 switch discreetly into the volume knob for an unmodded, timeless look. No-slip tremolo bridge adds texture to chords and leads The quintessential Fender tremolo is now even better. The American Elite moves from shimmery chords to distinct vibrato and beyond with a natural response that won’t strain your hand. You can dive-bomb confidently thanks to a set of locking tuners on one end and a high-mass, copper-infused bridge plate on the other to help fight tuning slippage. Fender American Elite Stratocaster Electric Guitar Features: Fender noiseless single-coil pickups (4th generation) S-1 switch provides 10 pickup options for exciting new tones Select alder body for light weight and a punchy, balanced sound C-shaped compound maple neck with a fast satin finish and heel contour Rosewood fretboard has a warm response and smooth touch Tremolo bridge adds texture to chords and leads High-mass saddles for added chime and sustain Locking tuners for tuning stability and quick string changes
Inklusiv Gig Bag. Like the guitar, the SG bass has been one of rock’s defining instruments. This reproduction is true to the Gibson original”light, fast, and loaded with a Sidewinder humbucker and a mini-humbucker to give it tonal power, and a set neck to give it the sustain that made the original famous.
Mahogany body Glued-in mahogany neck SlimTaper „D“ neck profile 34″ Scale 1.65″ Nut width Rosewood fretboard w/trapezoid inlays Sidewinder humbucker neck pickup NYT Bass mini humbucker bridge pickup
Inklusiv Gig Bag. Authorized by Gibson, with the EB-0 Electric Bass, Epiphone has brought back a classic bass guitar of the early ’60s. Based on the SG, this guitar-sized (30-1/2″ scale) electric bass is a great axe for anyone not quite large enough for a full-size bass. Though small and light, the Epiphone EB-0 Bass has huge sound, and full-size people can play it too.
Re-creation of a ’60s classic authorized by Gibson Based on the SG with 30-1/2″ scale Great axe for anyone not quite large enough for a full-sized bass Small and light Sidewinder Humbucker Pickups Chrome Hardware Nut Width: 1.50″ Mahogany, Bolt-on neck Rosewood Fingerboard Dot inlay Mahogany body
The Empress Effects Reverb features realistic simulations of spaces, as well as surreal ambiances that are represented with stunning sound quality. Featuring stereo ins and outs, a small footprint and all the controls at your finger-tips, it strikes the perfect balance of control and ease of use, avoiding laborious menus. Presets, the versatile control port, and MIDI open up a world of possibilities for live performances. In addition the SD card input allows you to save your algorithms. Whether you’re looking for a classic spring, realistic room or new sonic flavors to expand your creativity, the Empress Effects Reverb delivers it all. It would make an ideal addition to any pedalboard.
Hall Reverb Hall reverb usually refers to the Reverb in a concert hall and is modeled from a large and fairly reflective space. It typically used at longer decay times in the 2 or more seconds range. Hall reverbs generally have more muted high frequency compared to other reverbs, which leads to a smooth warm sound. Because the room size is large, the early reflections are slower to arrive, and are very pronounced before the tail becomes diffuse. Plate Reverb Plate reverbs were originally created from an electro-mechanical device that vibrates a large sheet of metal to create reverb sounds. At one end is a driver that vibrates the metal, and at the other end a transducer that captures the vibration of the plate and turns it back into an electrical audio signal. The decay times could be controlled by applying damping to the different sections of the plate. The sound quality of this feature is superb Spring Reverb Spring Reverb units are little tanks that suspend springs between a driver and a transducer. They typically sit in the base of your amplifier. A driver circuit uses a coil and magnet to vibrate the springs, which creates reverberation. Like the plate reverb previously mentioned, a receiver circuit at the other end of the springs converts the mechanical vibration back to an electrical audio signal. The sound varies depending on the amount of springs, the spring tension, and how much the signal is being driven. The electronics at the driver and receiving end can play a huge part in the tone of the sound. The decay can last up to 3 or 4 seconds. Spring reverb is a classic sound for guitar players due to its discrete delay-like reflections which are prominent in the response. Room Reverb Like with other reverbs, the Room reverb is based on a physical space. It usually has a shorter decay which depends on the size of the room, and the amount of absorptive materials on the walls. Because we spend most of our lives in small or medium sized rooms, it’s a very natural sounding reverb. The key to a realistic sound are the dense early reflections. These are the first reflections from the floor, walls or ceiling that arrive to the ears after the direct sound. They’re instrumental in creating the sense of size and space. It is an ideal choice for subtle applications and at shorter times. Sparkle Reverb The sparkle reverb is created by an octave effect that’s fed into a large sounding tail. The octave is a little bit slow to build, and it goes higher and higher in pitch as time goes by. This creates a very airy and open sound. This mode adds a lushness and surreal element to the sound and is perfect with slower legato playing. Modulation In the modulated reverb tail, there is modulation applied to each of the delay lines so you get a similar sound, but you don’t hear the distinct chorus pulse because there’s so many going on at once. This leads to a sound that’s warm and smooth. This mode will work on a variety of playing styles and parts. Ambient Swell The ambient swell mode detects either breaks in your playing or use trigger detection to detect note starts, then they apply a smooth adjustable fade-in. This mode works well at 100% wet and at long decay times. Delay and Reverb This classic combo is a must-have for any guitarist. These tones are renowned for featuring on 80’s recordings, and add a versatile feature to the pedal. Reverse Reverse is a great tool for fading into songs or solos, as it gives it a dramatic approach. Ghost The ghost mode adds a really smooth and spooky layer behind your dry playing. The tail is made up of a lot of resonant and modulated elements that meld together to create a really unique sound. The hi and low filters sound really great when you have them on the move with the resonance up. The resonance control and decay work together to shape the tone and length of the decay. Lo-fi Whilst using the Lo-fi mode, the dry signal gets effected with some raunchy filtering and distortion along with the wet, giving you a complete lo-fi signal. The reverb tails aren’t meant to be smooth. You’ll hear some grainy discrete delays rattling around in there which make it ideal for intros or bridges where you want to switch things up. Beer Finally, this mode is truly unique, and shows how versatile the pedal is. Complete with perfect stereo sound quality. Features The pedal has 12 algorithm types, some include multiple variations. For example, vintage and studio plate, dark and bright springs. Also, as more algorithms get added you can update your pedal via the SD Card Pristine sounding classic hall, plate, spring and room sounds that rival or surpass studio units costing many times more. A complete palette of tweak-able ambient sounds that offer the creative player so much customisation Easy to operate Many algorithms have infinite hold settings or the ability to tap in delay time Signal to noise ratio of >104dB and maintains an analog dry path Settings can be saved to 35 presets. With three stomp switches, accessing the presets is easy 2 Preset Modes including Bank style or scrolling style True Bypass and Buffered Bypass 3 Cabinet Simulators which are perfect for recording, practicing or for gigs without an amp Hum-free operation when operating in stereo with two amps. Output 2 is isolated with a transformer to eliminate nasty ground loops High Quality Audio Analog Dry Path means that the dry signal is left untouched, and blended with the wet signal using VCA Unsurpassed Connectivity allows you to connect an expression pedal, external tap switch, control voltage, external audio input and MIDI – all using a standard 1/4″ jack Advanced Configuration Menu Small Size unit of approximately 5.7″ by 3.75″ by 1.75″ Specifications Input Impedance:1MΩ Output Impedance: 100Ω Output Impedance (transformer):600Ω Frequency Response (-3dB, dry) :10Hz – 50kHz Frequency Response (-3dB, wet) :10Hz – 23.4kHz Total Harmonic Distortion (dry):0.09% Total Harmonic Distortion (wet):0.22% Dynamic Range (dry):106.9 dBA Dynamic Range (wet):105.5 dBA Input Headroom (dry):+10.0 dBu Input Headroom (wet, no pad):+0.5 dBu Input Headroom (wet, 6dB pad):+5.7 dBu Input Headroom (wet, 12dB pad):+10.8 dBu Output Headroom: +16.2dBu Power Input Connector:2.1mm Barrel Connector Required Current:300mA Height (enclosure only):1.75” Height (including controls): 2.25” Length:5.7” Width:3.75” Weight:1.5lbs
Second Hand. Mint Condition. The pedal achieves sounds ranging from the classic auto-wah to your own unique space-bass or ”Funkadelic” sound. It features controls for threshold and attack, and runs in three different modes, Hi-Q, Up and Down. The BassIQ with the unique Down mode set can be used along with an EBS OctaBass to achieve a synth-bass sound.
Evolution. The BassIQ was first introduced at the millenium shift. From the 2008 edition improvements added 3 dB higher headroom, higher sensitivity (makes it easier to dial-in) and new analog circuitry with higher dynamics and lower noise, as well as true bypass switching technique. More than meets the eye. There are several trim pots inside the BassIQ. Such as High-pass filter mix-in, Gain trimmer and Dynamic high-pass filter mix-in.
Tap into a vast range of reverb and delay effects with the EarthQuaker Devices Avalanche Run stereo effects pedal. You’ve got it all: tap tempo, six time division settings, and expression pedal control. You can use delay or reverb individually, or combine them for atmospheric effects. Guitarists think you’re definitely going to dig the Avalanche Run, and with stereo inputs and outputs, we’re pretty sure keyboardists are going to get in on the action too.
Tape-style delay with „bucket brigade sensibilities“ Stereo operation Tap tempo to match song tempo Hold down tap switch to instigate auto oscillation Reverb offers deep cave-like tones
The EarthQuaker Devices Acapulco Gold distortion pedal is like putting a vintage tube amp’s master volume control on your pedalboard. It’s based on the sound of a cranked Sunn Model T amplifier, and the single-knob control takes your tone from quieter to louder, covering a wide range of dirty tones that are very responsive to your guitar’s volume and tone controls.
Distortion pedal for electric guitar Based on the sound of cranked power amp tubes One single knob for dialing in a wide range of distortion tones Very responsive to your guitar’s volume and tone controls
The DigiTech Whammy is legendary. Unfortunately, it takes up a lot of pedalboard real estate. The DigiTech Whammy Ricochet pitch shift pedal changes that. Instead of a bulky treadle, you control Whammy Ricochet with its momentary footswitch. And it’s ridiculously easy: customize independent rise and fall time ballistics, hold down the footswitch, and dive-bomb to your heart’s content. Seven selectable pitch intervals and a Range toggle switch provide you with plenty of tone-bending options. The guitarists at Sweetwater have had a blast re-creating their favorite classic Whammy pitch-shifting sounds with the DigiTech Whammy Ricochet. We’ve dreamed up a few new ones, too!
Classic Whammy effects without a bulky treadle Pitch bends of up to 2 octaves up or down are controlled with a momentary footswitch 7 pitch intervals and a Range toggle switch provide plenty of tone-bending options Customizable control of Shift and Return time LED Trajectory Ladder yields instant visual feedback Latching footswitch mode to lock rise or fall of pitch True bypass design preserves your tone
The DigiTech Trio+ band creator and looper pedal is one of the most powerful practice, writing, and performance tools a guitarist can ask for. The basis of the pedal is DigiTech’s popular Trio technology that listens to your playing and automatically plays bass and drum accompaniment. But the Trio+ offers five additional genres for getting the right feel. An onboard looper lets you lay down rhythm guitar parts for each loop. And the Trio+ lets you store and sequence these loops any way you choose to build full songs for your performances.
Band creation Powerful looper 6-step sequencer Band creation The heart and soul of this pedal is the same technology that made the original Trio pedal a massive hit. You choose a genre and style and begin playing. The Trio+ will listen to your guitar and instantly offer the correct bass and drum parts to fill the song. On the Trio+ you’ll enjoy five additional genres of accompaniment that the original didn’t offer. And you can instantly and easily change the tempo of your songs and loops without affecting their pitch. Powerful looper Onboard the Trio+ pedal is a powerful looping function that is the same as DigiTech’s powerful JamMan line of looping effects. The looper footswitch controls the whole thing, allowing you to record, play back, undo, and redo songs at a whim. The pedal boasts a Micro SD card slot, and includes an 8 GB card. But you can expand the power of your DigiTech Trio+ pedal as you wish by using cards with larger storage capabilities. Now your accompaniment will have the exact guitar parts you want. 6-step sequencer The Trio+ pedal is your favorite song-writing partner. When looping, you can save your different sections into one of six Part locations. Each Part can be accessed instantly and arranged as a 6-step sequencer. You can move each section around as you please. And you’re even able to control the intensity of the backing band for each individual Part. The original Trio sells like hot cakes here at Sweetwater, and we know the Trio+’s additional features will make it a favorite of any guitarist that checks it out. DigiTech Trio+ Band Creator and Looper Pedal Features: Band creation and looper pedal in one Same great performance options as the original Trio 5 additional genres of band creation 6-step sequencer for performing whole songs Built-in looper lets you lay down guitar tracks Dial in your tone with the effects loop Expand the unit’s memory with the SD card slot Power supply included
Bass players have sought the legendary Ampeg tone for decades, and now you can tap into it in a convenient preamp pedal with the Ampeg SCR-DI. Plug in your electric bass guitar, use the Ampeg EQ, tone controls, and Scrambler Overdrive to conjure your ideal bass sound, then send it direct to the PA system with the balanced XLR output – a dead simple way to achieve monumental bass. You can also send a split of the signal, affected or unaffected, to your bass amp too if you choose. Considering it’s a great way to get outstanding tone in the studio too
Create iconic Ampeg bass amp tones Bass Scrambler Overdrive puts some hair on your sound Smart connectivity for stage and studio Create iconic Ampeg bass amp tones Ampeg has employed their legacy preamp and tone stack circuits to give the SCR-DI the famous punch and power that Ampeg is known for. There’s a wide range of tone to tap into, from the smooth character of Ampeg’s Portaflex cabinets to the harmonically-rich SVT sound. No matter what style of music you play, there are some sweet tones to be discovered with the SCR-DI. Bass Scrambler Overdrive puts some hair on your sound When you need bass tone with aggression, kick on the Bass Scrambler Overdrive on the Ampeg SCR-DI. Drive and Blend controls let you dial in just the right amount of effect, from subtle harmonic enhancement to full-on grunge. Smart connectivity for stage and studio Ampeg knows you need flexible options when you’re playing in different venues and studios. That’s why they packed the SCR-DI with a balanced XLR line out, an affected 1/4″ output, and an unaffected 1/4″ output. The XLR is the perfect choice for going direct to a PA or recording device, while the 1/4″ connections are ideal for connecting to a traditional bass amp too. Ampeg SCR-DI Bass Preamp Pedal Features: Bass preamp pedal with EQ, tone controls, and Bass Scrambler Overdrive Send your tone direct to a PA or recording system with the balanced XLR output Send a split of your signal to monitors or your amp with the 1/4″ outputs Creates a wide range of iconic Ampeg bass tones Perfect for practice, with 1/8″ aux input to jam along with your music player
Second Hand. Mint Condition. It’s both a treble boost and a full-range boost. The treble boost pumps treble and upper mid frequencies like a vintage Treble Boost pedal. In full-range mode it enhances all frequencies and is a great way to kick a slightly overdriven amp into heavy drive. A gain knob varies the overall gain from mellow to full rip and a tone knob lets you tweak the EQ. Features a true bypass for unaltered tone when not activated.
Don’t let its small size fool you – the Peavey 6505 Piranha 20-watt amplifier packs the tonal tenacity that Peavey’s 6505 series is known for. With a single 12AX7 tube added to the solid-state gain structure, this small amp head will make your guitar sound like a beast through larger speaker cabinets. A front-panel switch toggles Crunch and Lead modes. The effects loop gives you more options for integrating effects pedals and also allows you to use the 6505 Piranha as a „preamp driver“ – simply connect the effects loop send to the input of a separate amplifier. And while it has the goods to be your main gigging amplifier, the Peavey Piranha is also the most size- and space-efficient backup amplifier you could ask for.
The original Dallas Arbiter Fuzz Face sound –
the origin of all distortion pedals and
the legend through decades to the present –
born again in a new body.
Named after the atomic number of silicon,
Fuzz Fourteen realizes the cool and open
sound of the late 60’s silicon transistorized
The original BC108C transistors, capacitors with the same spec, carbon composition resistors, and the original spec wires are all hand selected and matched to complete the top fuzz sound and minimize variations. True-bypass with LED in a compact size case brings ease of use and esthetic look.
Second hand. Mint Condtion. The Jet City JCA20H tube amp head delivers pure tube tone from a single-channel amplifier with absolutely no gimmick features to dilute the all-tube signal path. Elegance of design both inside and out deliver unflinching reliability in a guitar amp good-looking enough to make a girlfriend jealous. With full EQ control and separate Preamp and Master volumes, Jet City JCA20H can deliver spanky cleans through crunchy overdrive.
Jet City Amplification delivers the utmost in tone, while being affordable enough for musicians slugging out a living on the small stage.
One of the age-old dilemmas with learning the guitar (or any stringed instrument) is the initial pain associated with fretting down strings, especially when you’re just starting out and playing a guitar with old rusty strings and an action a mile high. Previous solutions have involved the use of ointment (and by ointment I mean alcohol), glues, bandages, turning your amp up way too loud and not caring, the use of fake finger tips like Tony Iommi (who of course had to because of an industrial accident) or simply not caring, full stop. If you are however quick to give up on this fine instrument because of fingertip pain you may need some help … you may need some (enter booming voice) “Rock Tips” (pun intended).
I’d honestly have to say the whole idea of liquid calluses had me worried at first. It had me thinking of a science experiment where you actually grow the callous like a carrot or potato in water, and I was afraid I’d end up like that guy in Stephen King’s Creepshow where the guy turns into a plant. Cast your fears aside; this stuff is a great alternative to solutions of the past, working much better than band aids, or household glues like superglue which are really hard to get off and completely desensitize your fingers. Trust me, once you’ve become immune to the smell, it actually works amazingly well (help me I’m turning into a late night TV commercial announcer!). That’s because Rock Tips claim this product has been developed from a medical adhesive for the skin. The solution takes about a minute to dry and comes off with soap and water. I pulled the bottle out of the pack and slowly applied the solution to my fingertips and flesh underneath the nails. The smell of liquid is just horrible and may have hallucinogenic properties (no sniffing kids), but I soldiered on into the unknown, on my quest for the perfect callus. The solution dries like clear nail polish in about a minute, then you can start playing. At first, the feeling is a little strange; you lose sensitivity but can still feel the strings. After a little while you adjust very well and begin to realise that even everyday guitar playing actually causes a little bit of pain and stress on your fingertips (even with calluses). One coating wasn’t enough for me, so I applied another layer. At this point in time I’ve recently returned from a month-long holiday overseas having barely touched a guitar in all that time (except for a couple of impromptu performances with an Asian cover band), so my calluses are pretty soft right now. The Rock Tips formula gave me the feeling of old stubborn fingertips from hours of steel-string acoustic guitar playing, so you get a definite edge when it comes to endurance. The experience is quite enjoyable, so I decided to cover the fingertips on my right hand as well for a bit of fingerstlye. The formula definitely works better on your fretting hand because a lot more surface area is required on your picking hand, so you’ll have to really baste your fingers to get the best results. Just about anyone can benefit from the Rock Tips solution, even seasoned professionals who get cracked, dry skin. So if you’re suffering from pain, here’s a tip, get “Rock Tips”.
Because we can’t all have personal engineers standing by to provide the best possible acoustic guitar tone, LR Baggs offers you the next best thing: the Session Acoustic DI. Thanks to its series of simple, one-knob controls that cover complex processes including saturation, multiband compression, and selective resonance filtering, the Session Acoustic DI lets you dial in a professionally smooth and vitally warm sound in seconds. Other great benefits include a variable highpass filter, onboard VU meter, and a mute switch that’s really handy when you’re swapping out guitars. And with both 1/4″ and balanced XLR outputs, the LR Baggs Session Acoustic DI is an ideal addition to both your live and studio recording rigs.
Ease your guitar tone into the mix with analog saturation Multiband compression adds essential polish to your dynamics Must-have tools help fight feedback and clean up your sound Ease your guitar tone into the mix with analog saturation Acoustic guitar may be about the last instrument on Earth you’d consider saturating, but many seasoned professional engineers swear by saturation as a way to make many acoustic instruments sit perfectly in the mix. Lucky for you, the LR Baggs Session Acoustic DI makes this process incredibly easy – just roll on the saturation dial and enjoy the natural, analog warmth. Multiband compression adds essential polish to your dynamics As a concept, multiband compression is pretty simple: you divid your signal into separate frequency bands, compress them individually, and sum them back together. The results are impressive, allowing you to seriously rein in your dynamics, without squashing the life out of your tone. In practice, multiband compression is one of processes that normally requires both software and a fair bit of understanding how to use it. The LR Baggs Session Acoustic DI’s Comp/EQ knob takes all the headache and guesswork out of multiband compression. As you increase the dial, a pre-programmed 3-band compressor goes to work, smoothing out your guitar, without tarnishing your tone, allowing you to dig in with all the intensity you want, without overloading your gear. Must-have tools help fight feedback and clean up your sound While most of the Session Acoustic DI is devoted to making good sound better, the guitarists at Sweetwater couldn’t help but take note of the handy tools onboard that let you fix less-than-ideal tone and put the kibosh on feedback. For starters, there’s a variable highpass filter that lets you cut out boom and rumble that can easily build into thunderous feedback. Speaking of feedback, there’s also a Garret Null notch filter onboard the Session Acoustic DI, which carves out the specific resonant frequencies that most often cause trouble, and if that’s not enough, there’s a phase flip switch you can kick in too. Finally, because sometimes, ground loops just happen, LR Baggs put a simple ground-lift switch on the other side from the highpass filter, letting you cut out hum and buzz. LR Baggs Session Acoustic DI Preamp Pedal Features: And all-in-one tone enhancing preamp/DI pedal for your acoustic-electric guitar Optimized for guitar but works great with all of your acoustic instruments Add vital warmth to your guitar’s natural sound with real analog saturation Multiband compressor smooths out your dynamics, without damaging your tone Variable Garret Null notch filter and phase switch combat show-stopping feedback Variable highpass filter lets you cut low-end boom at 40Hz, 80Hz, 120Hz, or 200Hz All discrete signal path includes both 1/4″ and XLR outputs and mute footswitch Ground lift switch effectively eliminates ground-loop hum VU meter lets you visually optimize the input gain for your instrument Powered by phantom power, 9V battery, or external power supply Ruggedly built from aluminum, steel, and ABS plastic Custom carrying case included
Gigging guitarists need amps that are dependable, sound great, and are ready for life on the road – and that’s how Peavey designed the Classic 20 MH mini tube amp head. Two channels lets you cover everything from sweet clean chimes to overdriven rock leads, and the wide-ranging character is perfect for blues, country, and rock players.
Switchable wattage for great tube tone at any volume Perfect for creating your own unique guitar tones Designed for long-term performance Switchable wattage for great tube tone at any volume The Peavey Classic 20 MH is perfect for practice and recording, thanks to its switchable 20-watt, 5-watt, or 1-watt operation. Lowering the wattage allows you to get cranked-amp tone and distortion at lower volume levels. Whether you’re playing in your bedroom, in your studio, or onstage, you can dial in the perfect amount of tube tone and volume with the Classic 20 MH. Perfect for creating your own unique guitar tones We’ve had the great opportunity to get to know Hartley Peavey here at Sweetwater, and we know that Peavey approaches guitar amp design with the goal of making them sound as unique as your playing style. The Classic 20 MH definitely has a vibrant sound to it and sensitive touch response, but it doesn’t have a specific, defined voice. Spend some time with it, and you’re sure to come up with a sound that is distinctly yours. Designed for long-term performance We keep referring to the Classic 20 MH as a gig-ready amp, and we mean that Peavey designed this guitar amplifier with long-term performance in mind. Proper tube maintenance isn’t the favorite activity of any guitarist, so the Classic 20 MH’s Tube Status Indication makes it much easier to make sure your amp is always ready to rock. We know that sometimes a direct output is a much better solution than miking up your cabinet, and the Classic 20 MH’s Mic Simulated Direct Interface makes it easy to plug directly into the PA with respectable tone. From practice to recording to performance, the Peavey Classic 20 MH is the kind of amp you can count on. Peavey Classic 20 MH Tube Guitar Amplifier Head Features: Mini tube amp head with switchable 20-watt, 5-watt, or 1-watt operation Inject great tone directly into the PA system with the Microphone Simulated Direct Interface USB output for easy recording direct to your DAW Tube Status Indication lets you know your power tubes are still working properly Footswitchable channels, effects loop, and reverb
Voodoo Lab’s Tremolo pedal delivers authentic vintage tube amp tremolo sounds from gentle and warm, to machine gun-style insanity all in a single pedal. By using the same lamp and photocell assembly found in many classic tube amps, Voodoo Lab’s Tremolo gives you real analog tone right from a compact 9V stomp box!
By using the inventive Slope control, you can change the shape of the tremolo waveform from traditional to full on stuttering madness and all points in-between. Speed and intensity controls provide a wide range that includes very slow and deep sounds, and the Volume control lets you cut or boost the overall output to your amp.
Authentic lamp and photocell tremolo circuit Slope control for waveform tweaking Ultra wide range of Speed and Intensity settings Compact, pedal board friendly size True bypass switching with LED Runs on a 9V battery Hand built in the U.S.A.
Shure’s SRH550DJ headphones have swivelling cups that make them easier to move away from your ear if you wish to monitor outside sounds. As the name suggests, it’s a nice feature for bedroom DJs, and one that adds comfort and flexibility for everyone else. The headphones’ padded cups sit securely on top of the ear. Like most similarly styled headphones they can get a little warm, but they’re nonetheless comfortable for long use – their cup padding is interchangeable with that of related Shure models. They come with a screw-on 1/4 inch audio adaptor.
We were pleased to find that almost no noise escaped the headphones at comfortable listening volumes and that they also excluded most external noise. They can output plenty of volume from a modest input, and as such are well suited for use with MP3 players. The padding on the headband is minimal, but sufficiently comfortable; the headband itself is sturdy and highly adjustable. The cups fold up for easy storage in the supplied bag.
Designed for professional audio engineers and musicians, the SRH840 Professional Monitoring Headphones from Shure are optimized for studio recording and critical listening. A precisely tailored frequency response and 40mm neodymium dynamic drivers combine with total comfort and durability to provide the ultimate listening experience. The replaceable cable and included set of replacement ear pads ensure a long-lasting lifetime of use.
Precisely tailored frequency response delivers rich bass, clear mid-range and extended highs. Wide, padded headband provides ergonomic fit for superior comfort over extended periods Closed-back, circumaural design rests comfortably over the ears and reduces background noise Collapsible design for easy storage and portability. Legendary Shure quality to withstand the rigors of everyday use Bayonet Clip securely locks cable into ear cup Replaceable ear cup pads included to ensure long product life 3m (10ft) coiled detachable cable provides plenty of length and easy storage and replacement Carrying bag protects headphones when on the go or not in use Transducer type: Dynamic neodymium magnet Driver size: 40mm Sensitivity (1kHz): 102 dB/mW Impedance (1kHz): 44Ohms Max. input power (1kHz): 1000mW Frequency range: 5Hz – 25kHz Net weight (without cable): 0.7lb. (317.5g)
The Mooer GE100 is a compact, portable and versatile multi effects pedal that makes an ideal addition to your portable setup. If there’s no room in your kit for a bespoke pedal setup, the GE100 is a great alternative. With a few extra features that are really useful on stage and in the studio like drum rhythms and a chord/scale library it’s a tool you’ll find a lot of uses for.
The GE100 has 8 effect modules with 66 different effects including chorus, flanger, filters, EQ’s, modulation, delay, reverb and echo all with 6 assignable expression pedal parameters for perfect tone control.
There is a fully functioning 180 second looper and drum machine that can be used for practice or recording, if you need a bit of background rhythm to work on your timing to just to support your sound on stage this is great… and you dont even need to wait for it to setup a snare and find a decent pair of sticks. Chord and scale library Mooer also added a Scales & Chord library so you can quickly look up difficult and unusual chords and patterns. No more thumbing through chord charts or trying to find that perfect scale base for your next recording session. Here’s what Mooer have to say about this pedal GE100 Guitar Multi-Effects Processor is a brand new release in Mooer’s Multi-Effects Processor product line. By using a completely new digital planform, GE100 will provide you with the most authentic, modern and rich tones. No matter it is stompbox simulation or amp simulation, or other effects which carry Mooer’s legacy, this Guitar Multi-Effects Processor will present all. GE100 has its unique and rich tones. With easy operation and versatile function, it can definitely help you to get your own unique sound! Specifications Large LCD display 8 effect modules 66 effect types 23 drive sounds 7 legendary amp simulators Assignable expression pedal Scales&Chords dictionary Tap tempo function and 180 seconds looper 40 Drum rhythms 10 Metronome rhythms 80 Factory preset patches 80 User patches DC 9V Adapter or AA battery(X4)power supply
Electro-Harmonix has introduced the Wailer Wah, which features the circuitry, sound and tone of the award-winning Crying Tone in a traditional rack and pinion style pedal and at an extremely affordable price point.
The Wailer Wah delivers expressive wah and cocked wah sounds and, at just over 1.5 pounds, a substantial weight saving over many popular wah wah pedals.
“Our goal was to build a wah pedal that sounds great, deliver it at an astounding low price and make it provide good weight savings for the player who has to schlep their own gear around,“ says Electro-Harmonix President Mike Matthews. „I am very excited about the EHX Wailer Wah.”
The Bass Clone by Electro-Harmonix is a chorus pedal by Electro-Harmonix that’s almost identical to its guitar brother, the Small Clone, with a few added functions to make it more suitable for bass. The Clone is a famous chorus, most notably used by Kurt Cobain from Nirvana. It has a deep, lush texture that keeps a brilliant clarity that keeps a very low signal to noise ratio.
It’s got a dedicated EQ control so that you control the chorus signal to avoid your bass signal getting too muddy. The treble will affect the whole signal, whereas the bass control, will not affect the modulated signal. it will only change the dry signal.
The Bass Clone chorus pedal’s core circuitry is nearly identical to the legendary Small Clone chorus, but with added features especially for bass. Chorus is a combination of modulated and dry signals. The Bass Clone’s Crossover switch cuts low end from the modulated signal so the pedal delivers a more accurately articulated bottom end with excellent note definition. The Treble control affects the whole signal while the Bass control only affects the dry half. Together with the Crossover switch they provide precise sound shaping that lets you achieve a tight, focused bass guitar sound with a well-defined low end and shimmering chorus on top. Specifications Compact chorus based on the legendary Small Clone with added features for bass Provides precise sound shaping control for a tight, focused sound with a well-defined low end and shimmering chorus on top Delivers an accurately articulated bottom end with excellent note definition True bypass switching for maximum signal path integrity when in bypass mode Tough, compact die-cast package 9-Volt battery included Optional EHX 9.DC/200mA power supply available Dimensions in inches: 2.75 (w) x 4.5 (l) x 2.1 (h) Dimensions in mm: 70 (w) x 115 (l) x 54 (h)
A 3-channel overdrive rocket for your pedal board.
With the Carl Martin Plexitone Overdrive Effects Pedal, you get a crunch channel, a high gain channel, and a 20dB clean boost channel for every tone you want: subtle overdrive, hard-rock crunch, high-gain shred, or bass-heavy grunge. An integrated regulated power supply gives all the headroom you’ll need.
3-channel overdrive pedal Clean 20dB boost Crunch channel High-gain channel Tone and level knobs
MXR has combined two of the most-used phaser pedals ever made in the MXR Mini Phase 95 pedal. The original Phase 90 pedal was a four-stage phaser that practically defined the phaser sound for electric guitar, and the Phase 45 that followed was a two-stage phaser that delivered a smoother sound that blended better with certain music styles. You get both flavors in the MXR Mini Phase 95 pedal, switchable with the 45/90 toggle switch. The „Script“ switch toggles feedback in the effect, providing a pronounced sweep when on and a lusher, more subdued sound when off. Many guitarists choose MXR phasers for their pedalboards, and the MXR Mini Phase 95 pedal offers two iconic phaser effects in a single road-worthy stompbox.
Phaser effects pedal for electric guitar Based on two classic phaser pedals: the Phase 90 and the Phase 45 Toggle between two-stage phasing and four-stage phasing with the 45/90 switch „Script“ switch toggles feedback for a more pronounced „swoosh“ or a more subdued effect Compact, rugged pedal is perfect for any pedalboard
The Morley George Lynch Tripler Pedal lets you route one guitar to up to three amps. A lot of players, including George Lynch, want to be able to hook up 3 amps and switch each independently or in any combination. Morley has designed the Tripler to do this, and at George’s request, added a boost knob that increases the signal strength of the entire Tripler output to compensate for lost volume when using all 3 channels simultaneously. The Morley Tripler is housed in a cold rolled steel case for years of use and abuse. Comes with LED indication for each channel and runs on one 9V battery or optional Morley adapter. Morley gives you a 2-year warranty with the George Lynch Tripler.
Links up to 3 amps and switches independently or combines them in any way Boost knob compensates for volume loss when 3 channels are used simultaneously Housed in cold rolled steel case LED indication for each channels Runs of 9V battery or optional Morley adapter
Drawing inspiration from David Gilmour’s tone to complete the puzzle, the individual pieces that make up the Keeley Dark Side workstation are Fuzz, Delay and Modulation.
The Fuzz side of the Dark Side is a big fuzz style distortion based on a 1977 op-amp style. Letting your guitar sing with sustain, yet retains the essence of you guitar whether single coil or humbucker based.
The next core element in the Dark Side pedal is the Delay and Modulation side. You can select between a multi-head tape delay effect or between a combination of 4 different modulation sounds; Flanger, Rotary Speaker Cabinet, U-Vibe, and Phaser.
Like the Monterey, this unit is completely hand built. Including the high-end DSP, everything is hand assembled and soldered by technicians with decades of experience, attention to detail and tone at every point.