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  T-Style Guitar  Color - Natural Figured Walnut Finish - Hand rubbed hard wax oil Weight - 7lb 11oz Body Wood - Two Piece Chambered Walnut Top Wood- Book Matched Figured Walnut Back Wood- Book Matched Figured Walnut Binding - Double Cream  Neck/Fretboard - Roasted Flame Maple/Rosewood 22 fret 9.5 radius laqered finish (Glossy) Roasted Flame Maple Rosewood Fretboard Stainles Steel Frets Wilkinson Compensated Bridge Plate Gold Hardware Vintage Butterbean Tuners Lollar Special T Pickups Cream Pickguard SHIPS WITH TWEED HARDSHELL CASE

NECTAR TONE SWEETENER   The Nectar "Tone Sweetener" strikes a perfect balance between versatility and simplicity. It offers a wide range of tones, spanning from a vintage tweed-style crunch to a full-bodied overdrive, and even a modern high-gain fuzz that pairs wonderfully with any guitar, pedal or amp. Use the mode toggle to switch between the DRIVE and FUZZZ modes, while the LEDS indicate the selected mode, even when the effect is bypassed. Fine-tune your sound with the TASTE control to set the perfect eq for each guitar or amp. The Nectar's responsiveness is truly unparalleled, like a delicate bee collecting pollen. Every nuance of your playing is enhanced and sweetened in the best way possible, with plenty of headroom. JUST AS NATURE’S NECTAR ENERGIZES WORKER BEES, THIS PEDAL SERVES AS THE FOUNDATION FOR YOUR TONE.Hand made in California by a swarm of bees.  BEE YOURSELF

The OctaHive is a super high gain fuzz with a well pronounced high pitch octave. The octave can be turned off by the toggle switch, turning it into a warmer and thicker fuzz pedal. The best way to achieve a well pronounced octave sound is by rolling off on the PRE gain and tone control on your instrument. The balance between  PRE and Honey is the key to achieve a variety of sounds. On the octave mode, things can get really nasty, splashy, and gated. It's great for high gain leads, especially when played above the 12th fret. With a little less HONEY you can get that "purple haze" tone. At low gain settings, it can produce "ring modulator" overtones, great for textures. With the octave off, it's a whole different pedal, producing a warmer and thicker fuzz tone, making it more versatile and "chord friendly". The OctaHive was based on the 1970's Tycobrahe Octavia and it can produce classic and modern sounds. A great addition to every pedalboard.

Introducing the Octahive v2, one of our legendary bees that has been buzzing since day one! This pedal draws inspiration from the iconic '70s octave pedals, blending vintagetones with modern enhancements. In BUZZZ mode, prepare to unleash a ferocious high-gain fuzz that's perfect for lowriffage and powerful chords. Enter the mystical OCTAVE mode and watch as you'retransported to a mind-bending psychedelic wonderland. And here's a tip fit for a Queen Bee: Roll down the PRE control, switch to your neck pickup, and watch those beeautiful octave harmonics take center stage. But that's not all! We've matched vintage tone with cutting-edge features to enhance your playing experience. Hold the footswitch to instantly switch from BUZZZ to OCTAVE, giving you complete control over your sonic destiny. And with a quick double tap, seamlessly shift between modes, keeping your creative flow buzzing. With three footswitch profiles, you can customize the speed of your momentaryswitching. It's all about tailoring the pedal to perfectly suit your unique vibe!The Octahive v2 is here to deliver the sweetest high octave buzz and allow yourcreativity to soar. Embrace the hive magic and let your sound bee heard like never before!. 

OVERHIVE The Overhive is an extremely versatile medium gain overdrive. It’s round and warm tone respects your amp, enhancing it’s best qualities while dynamically reacting to your playing. This pedal achieves the elusive mid-gain overdrive without making you feel a disconnect between you and your amp. Your sound remains punchy and direct with a warm musical break up and singing sustain. The controls give you nearly infinite possibilities. While the "Body" switch it's great for when you are switching guitars on a set or just feel like adding a low-end boost, the "Hive" switch can make you sound bigger and fatter, or tighter and thinner. The "Honey" control just adds sugar. Roll it down for a nice and smooth crunch, or roll it up for a smooth and dynamic drive, where your hands dictate the breakup. You also got tone control and master volume. With so many possibilities, it's hard to not find a place for it on your board. It's truly a hive of sweet tones.

The Swarm is an Analog Fuzz Harmonizer that sounds like a thousand killer bees coming to get you! It basically turns your input signal into a square wave, than multiplies and divides the frequency of that wave, giving you nine possible harmonies in two different octaves. Modulation is applied to the harmonies making them go from a nearly perfect tracking harmony to a wild and uncontrollable swarm of mad bees. WORKER sets the level of your input signal, now fuzzy and buzzy. SPECIES allows you to select between 9 different intervals for your harmonies. QUEEN and DRONE set the levels for each of the harmonies that stay one octave apart. FLIGHT and STING control the modulation applied to the harmonies. They are highly interactive controls and you will find many different sounds by just messing with them. STING sets how fast or slow the harmonies will follow your playing. Turn it CCW for it to feel like the harmonies sting you at every note you play. Turn it CW and the harmonies will sound like a drunk bee hovering up and down around the root. FLIGHT will set the response of the modulation. CCW the harmonies will keep it oscillating up and down, while CW it will glide and hold from one note to the next. MASTER control will set your output volume. With all that said, no matter how one tries to explain the theory and what each control does, the Swarm is best when played by instinct.

 VEZZPA Octave Stinger  AS THE NAME STATES THIS IS NO ORDINARY BEE. IT’S ACTUALLY A WASP, A NASTY AND AGGRESSIVE ONE WITH AN OP-AMP HEART THAT CAN PRODUCE AN EXTREME HIGH-PITCHED BUZZ. ON FUZZZZ MODE YOU GET A BIG WALL OF FUZZ, GREAT FOR THE COOLEST RIFFS AND POWER CHORDS. TURN DOWN THE SUSTAIN CONTROL TO GET A SPITTY FUZZING TONE OR TURN IT UP FOR A GATED SUPER HIGH GAIN FUZZ. ON STINGER MODE THIS WASP GETS AGGRESSIVE, BRINGING UP THE HIGH OCTAVE AND CUTTING THROUGH THE MIX. HARMONICS ON CRACK BEST DEFINES IT! ITS MULTI-FUNCTION SWITCH ALLOWS YOU TO SELECT BETWEEN THE MODES OR ACCESS THEM MOMENTARILY GIVING YOU MULTIPLE OPTIONS TO BUZZ.  BEE READY TO GET HIGH ON HONEY TONES! SPECS Pedal Size - 5.5" x 3.5" x 2.75" (including knobs, switches and etc) Dimensions - 4 1/2 “ x 2 1/4 “ x 2 1/4” Pedal Weight - 0.5 lbs / 0.25 kg Package Weight - 0.75 lbs / 0.5 kg Package Size - 6.75" x 5.25" x 3.25" Current Draw - 36mA Requires 9VDC power supply (Center Negative) *Does not include power supply

The Whocta Hell is a low octave fuzz, with fully independent controls for the fuzz and the octave. It’s a overdrive/fuzz summed up with a gnarly squared wave low octave, resembling an 8-bit bass synthesizer. Its octave has a range of one or two low octaves, selectable by a toggle switch, and also has its own separate bypass switch. The od/fuzz and octave work fully independently and can be used separately. The magic really happens when you start blending them together and finding your sweet spots. You can create a large range of tones, that can be used on many different ways. It’s up to you to choose between an indie rock lead, a bass synth or super mario bro sounding theme! No matter what you are into, the Whocta Hell will inspire you to create new music. Just do not forget, it is a beeast!  

EUNA is the Elite UNity Amplifier from 29 Pedals.  An input driver that replaces a conventional buffer, EUNA is built to protect and condition your instrument's signal to prepare it for whatever you want to do with it. Console grade build, three great sounding filters, and an alt-path insert loop for your classic fuzz and wah circuits that don't want to be buffered. Also features the 29 Pedals WHATEVER power supply, which accepts 7.5 to 35 volts of AC or DC in either polarity with no change in tone. EUNA is made by 29 Pedals in California. Even a few true-bypass pedals and 20' of cable can hang out your guitar's output and make it feel mushy and dark. Buffers can help, but they are often very simple circuits that create sonic issues of their own.EUNA is an Elite UNity Amplifier. It is designed to protect and condition your guitar’s signal. Use it in place of an input buffer. Plug directly in, first in the chain. You can safely remove all other buffers after it if you wish. We recommend an output driver at the end of your chain. You can use a conventional buffer, or try our output amplifier OAMP. Plug your guitar directly into EUNA with the shortest cable that is convenient.EUNA features an effects loop that activates when EUNA is OFF. It was designed for use with vintage or vintage-style fuzz pedals. The interaction between your guitar and your fuzz is disturbed by any buffering, so EUNA’s effects loop allows you to switch between a buffered input and guitar-direct-to-fuzz. You can also use the loop to remove your tuner’s buffer from the signal chain. Let us know what other uses you find for the loop! If nothing is plugged in to the loop, the pedal is true-bypass when switched off.EUNA features 29 Pedals’ WHATEVER power supply. The WHATEVER power supply accepts 7.5 to 35 volts of AC or DC (either polarity) with absolutely no change in tone. It’s true!!EUNA has three sweetening circuits - Harmonics, Bright and Low. Low adds a little bit of low end. Not too much, just a little bit for some sweet oomf or to make up for low-end loss in your pedal chain. Bright adds some brightness, and Harmonics pushes the air band where guitar harmonics are. Harmonics adds sweet, tube-like chime to any rig.EUNA preserves "touchyness" and "snap." There is also an increase in effective dynamic range of your signal, and in some cases coil noise is reduced! The custom-tailored load kicks the resonant peak of your pickups out typically about 5 or 10k compared to a load of a few true-bypass switches and reasonable cabling. The pickup’s top-end rolloff is smoother too. You'll feel more chime and less pinchy top-end.EUNA will take over +18dB input with extremely low THD* - many other pedals fold about +10dB or less! The extra headroom on the front end means that EUNA will pass through your entire signal. That extra headroom means that fast transients won't ever run out of room - no relatively normal electric guitar could clip this, even for an instant. It's absolutely flat from 10Hz to 50kHz, but all the above features create a perceived tone "sweetness."Connect power to the WHATEVER power input with a standard DC plug. You can use AC or DC, either polarity, 7.5 to 35 volts. EUNA consumes about 120 mA.Use the footswitch to engage or disengage EUNA. The light is brighter when EUNA is ON. When EUNA is OFF the insert loop is ACTIVE. If nothing is plugged into the insert loop, EUNA will be in True Bypass mode when switched off. You can connect a pedal to the Send/Return jacks. Connect SEND to the INPUT of the pedal you want to connect. Connect RETURN to that pedal’s OUTPUT.EUNA is DIY friendly - the opamp is socketed so you can very easily audition chips. Notes on the PCB will help experienced DIYers tailor EUNA completely to their rig. EUNA will drive down to 600 ohms perfectly flat, but there are a few places to delight in hacking. Remove only 4 screws and you can service/mod the entire audio path without disturbing the power supply side or removing the board from the chassis.The construction is a single 4 layer PCB with 2oz copper throughout. Huge traces and fully plated holes, like high-end recording equipment and hifi gear. This method provides superior fidelity and transmission. No jumper wires, fewer soldered connections, shorter paths, more copper. The power supply side is completely isolated from the audio side with a layer of shielding and separate ground planes connected at a single point in a proper star-ground configuration. No electrolytics in the signal path, only for PSU filtering. 1% thin-film resistors, WIMA film caps and other audiophile-grade components complete the short signal path.*THD better than 0.01% at +19dBu input & 10K Ohm load.THD better than 0.01% at +17dBu input & 600 Ohm load.125mm x 92mm or 4.875" x 3.625" footprint. 51mm or 2" tall.

FLWR is an overdrive, distortion and sometimes fuzz! It starts very clean and gets up into Fuzz territory at max settings. It's designed to help you find your own breakup point, so your playing can stay dynamic and full range and still breakup nicely when pushed. The SHAPE controls manage the first gain stage, you can check the quickstart guide and example settings for more info. GAIN controls the second gain stage, and the control is non-linear. As you add gain the response gets a little warmer, helping tame highs at higher gain without losing clarity at lower gain. The clipping diode array is modular, pop off the back cover and you can swap out for a different array. PCBs are available to make your own module - if you happen to believe that some diodes are magical you are free to go on a side quest and track them down! FLWR ships with one module containing two array options. Select 1 or 2 on the CLIP control to engage them. The stock diode arrays are designed to be very subtle, but more extreme arrays are possible. FLWR uses the same WHATEVER power supply featured on EUNA and OAMP - the pedal will accept 7.5 to 35 volts of AC or DC in either polarity with absolutely no change in tone or power to the circuit. Overall size - Imperial is length (depth) 3 5/8", width 3 3/8", height 2 1/8" maxMetric is length (depth) 90mm, width 85mm, height 52mm max Same depth and height as EUNA and OAMP

What can be said about the humble boost pedal? It's an AC wave riding on a DC voltage and I did my very best to elevate it. JFET is rooted in my deep love of FET transistors, and their corresponding place in the hearts of many pieces of gear. FETs are very early solid-state devices that were designed to emulate vacuum tubes as closely as possible, and they have found their way into a sizeable number of classic pieces of gear. As usual for 29 we don't copy or emulate any of those, but start from a ground-up design. The JFET stage is neatly biased for a specific THD ratio, just enough hair to be tube-y but still very clean by most standards. A dual-stage IC output driver shapes the tone and ensures the output impedance stays constant as you turn the level fader. The three modes tailor the low end in a gentle way for fine-tuning of the boost sound with your guitar. Sounds great after EUNA, or as an alternate front-end to your board, makes about 18dB of gain and LOVES to be stacked with FLWR and other drives! Will happily drive cables and draws about 150mA. Still features our WHATEVER internal power supply and the build quality you've come to expect from BELIEVABLE AUDIO. Imperial is length (depth) 3 5/8", width 3 3/8", height 2 1/8" maxMetric is length (depth) 90mm, width 85mm, height 52mm max Same depth and height as EUNA and OAMP

OAMP is the Output AMPlifier from 29 Pedals.An output driver that replaces conventional buffers, line drivers and preamps, OAMP makes up to 29dB of gain, provides final signal conditioning and sweetening, and will drive lots of cable or capacitive loads. OAMP will drive down to 600 ohms! The alt path is similar to EUNA, it's active when the pedal is OFF. This will allow you to swap to a different output driver and create a sort of local channel-switching on your pedalboard. Also features the 29 Pedals WHATEVER power supply, which accepts 7.5 to 35 volts of AC or DC in either polarity with no change in tone. OAMP is made by 29 Pedals in California.OAMP has strong enough drive to drive several loads, passive splitters are no problem. You can manage the 29dB of gain using the two toggle switches, each stage has low and hi gain settings as well as a fixed tone filter. The Level control sits between the two gain stages and doesn't affect the overall input and output impedances. The Presence control dials in some classic amp-style mid-scoop to tailor the midrange drive, or simulate an amp when going direct.Check the quick-start guide and videos in the media section!

SOUNDDrawing inspiration from our history in tape and bucket brigade echo servicing, our design goal was creating floaty and colorful repeats with a chaotic yet musical degradation. That’s the heart of the thing, the whole point.RANGE With a 30ms-1250ms range, the Benson delay goes fast enough to do chorus, vibrato and slapback, and slow enough to create blurred and haunted soundscapes, with a whole spectrum of warbly musical sounds in between. ALIENS Hold down the tap knob to boost feedback for some self oscillation! Perfect for holding notes out, and especially for making alien invasion noises in tandem with the time knob (within a toe’s reach). Works when the feedback knob is up a bit. Does not introduce unwanted clicking sounds into the signal path. Adjustable via internal trim pot.WARBLEThe Low Frequency Oscillator has a tremendous range of both speed and depth, as well as sine, square and random waveforms. Does warble, seasick, tape flutter, all the good sounds. TAPThe Benson Delay has the most accurate tap tempo ever applied to the PT2399 thanks to Bontempo, an open source technology concocted by Antoine Ricoux at Electric Canary, which was then refined and implemented by film colorist Octave Zangs (two geniuses). Each pedal CALIBRATES ITSELF IT’S SO COOL.SMOOTHWe wanted to avoid the more modern issues of delay design; like the digital jaggedness that can come from adjusting the time control on a digitally clocked device, whether analog or a fully digital simulation (HAS THIS EVER HAPPENED TO YOU?). In other words, let’s not assume the aforementioned aliens have glitchy spaceships.WOW THE NARRATIVEThe design process was characteristically obsessive and obliquely dysfunctional, so we’ll spare you most of it. Lots of bright people in the industry left their mark in one way or another. Special shout outs to Jack Deville, Bryan Sours and John Snyder. Lessee...after dutifully slogging through the modern bucket brigade scene for a while, we found our paradise in the form of the ubiquitous PT2399. Turns out, when you treat it well, you can get a great sounding delay with a massive range out of it.  We utilized a combination of gooey compander chip, analog filtering, and careful gain staging (amp designers are decent at that). We hope you love it.THE MENUTo access LFO waveform and tap division menu, hold down BYPASS for two seconds, then tap TAP/ HOLD once. BYPASS switch toggles between SINE, SQUARE and RANDOM waveforms, which will blink 1, 2 or 3 times respectively. TAP/HOLD switch toggles through QUARTER, DOTTED EIGHTH, and EIGHTH note tap divisions, and the LED will blink 1, 2 or 3 times (respectively). Hold down BYPASS for two seconds to exit MENU. Center Negative 9VDC power supply, 100ma current draw.2 years warranty excluding modification or damage.  

When designing the temperature controlled fuzz, we tried some unusual approaches. One false start utilized a voltage controlled error correction circuit to bias a single germanium transistor. It ultimately didn’t work for the fuzz, which is comically sensitive to transistor gain attributes. We did find a place for it though. It turns out it was PERFECT for achieving a germanium clean boost that, (like our fuzz) is impervious to component drift, leakage, and temperature....moreso in fact. We also fixed a couple other issues preventing the germanium transistor from being used as a convinc- ing linear boost...we increased the input headroom (even a normal guitar signal will drive a germanium transistor into unwanted input distortion without some tweaks) and increased the input impedance (a BJT transistor would normally thin out bass frequencies and interact negatively with whatever flows into it). The result is a germanium clean boost that can utilize a germanium transistor WITHOUT the weird artifacts that were previously accepted as part of the deal...temperature sensitivity, drift, and suboptimal input impedance and headroom. After the boost is first powered up, it takes about ten seconds before the error correction circuit correctly biases the germanium transistor After this things get interesting....we can hear how having the boost engaged makes guitar signals sound more musical...even when set at the same volume as the bypassed tone. Notes are given a simultaneously smoother and more detailed character, like a compressor but different. Some people we’ve shown it to have noted that it appears to deemphasize the unwanted parts of a signal and enhance the good. It’s killer on bass. It helps acoustic guitar pickups sound more natural. And of course it’ll push your amp into a frenzy. We hope you like it.

THE BASICS The Germanium Fuzz is a fuzz pedal. The knobs change the sounds. IMPORTANT: after plugging it into power (9vdc only), it will take 2-3 minutes on average to sound correct. Good time to tune your guitar and grab a beverage. The color of the LED indicator light might change. Don’t turn the internal trimmer. THAT’S IT. Read on only if you want some excellent primary source material for an online fuzz thesis… This pedal is designed around two germanium 2N527 OR 2N404 Germanium Transistors. They have been graded for gain and leakage and carefully matched to sound their best. They are set up in the ubiquitous 60’s circular fuzz topology, and tuned for good sound, and include some additional oddities aimed at solving the issues that prevent more widespread use of Germanium devices....detailed below. THE FIRST FUZZ PEDAL WITH AUTOMATIC THERMAL BIAS TECHNOLOGY The bias of the transistors in this pedal is automatically regulated by a circuit that GENTLY warms the transistors to a preset operating point using analog components, and ensures a consistent sound, no matter the external temperature. When the LED is orange, the transistors are warming up to increase their hFE (transistor gain) and to shift the bias point to the correct voltage. When the LED turns green, the warmer is off because the correct bias and hFE have been set. Expect the LED to toggle back and forth every so often while the pedal is on…that is how you know its working. The heaters will warm the transistors enough to still be effective on a sunny stage, but far cooler than anything that would harm the transistors. This pedal is designed to operate between freezing and 100˚F but might still sound fine outside this range. There are two colors: Studio Black is not meant for direct sunlight, Solar White is fine with it. We have found there is a 20˚F difference between a black pedal and a white pedal in direct sunlight. INPUT IMPEDANCE The low input impedance of the classic two transistor germanium fuzz circuit is both a blessing and a curse….a blessing because it can yield a tight sparkly clean tone when guitar volume is rolled down, and a curse because it sounds nasty (in a bad way) if there are buffers or pedals before it in a signal chain. We went to some extremes to keep the blessing and lose the curse. We installed a class A buffer in the very input of the Germanium Fuzz. This buffer feeds a passive pickup simulator circuit (an audio transformer set up as an inductor, a resistor, and a capacitor). These two additions make compatibility with other pedals possible without losing the desired sound. After the pickup simulator circuit, we have added an “Impedance” control, which simulates rolling down the guitar volume to get that tight sparkly sound…without adjusting your guitar volume….which you can still do and still sounds great. GAIN RANGE The circuit has been tuned to be used as a rich sounding clean boost, an overdrive, all the way up to an aggressive fuzz with some octave overtones. It will sound different, and I think more useful, than the classic versions. There are many colors of tone available with the impedance and gain controls…they are very interactive. This is meant as a “pretty” fuzz a la 60’s-70’s classic rock/psychedelic rock. It is not a spitty, harsh experimental fuzz and more often sounds like an overdrive or distortion until the gain is turned all the way up, and the impedance is turned down. INTERNAL TRIMMER Please don’t turn the internal trimmer. It is precisely set at our factory. Turning the trimmer voids the warranty. The correct trimmer position is marked in case you get one used where a tone lord hath already turnt it. POWER SUPPLY This pedal is for use only with a 9vdc Boss syle center negative power supply...There is no battery. Please do not subject this pedal to more than 9vdc or the pedal or power supply could be destroyed. This pedal draws less than 100ma when the heater is engaged, and far less than that when it is off. It will pull those 100ma instantaneously, which most power supplies have no issue with. With substandard or non standard power supplies it is possible the pedal will start oscillating madly at the heater threshhold, where the LED changes, in which case may we suggest using a current doubler cable, or switching to a higher rated power output. WARRANTY INFORMATION: 2 years excluding modification, trim pot manipulation, or damage.