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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.  

In late 2023 we met Dave Jordan of Non-Human Audio at a pedal event in OKC. We were drooling over his unique Slow Loris modulated slap back effect and very excited to meet him. Chris and Dave were chatting about the Loris and Chris wound up offering to help him get the effect in a different and possibly more controllable way…mostly because it sounded fun.Fast forward a couple swapped schematics and a few wild tangents and the Florist was born. We were both so inspired with the possibilities of the new approach that Dave suggested we keep pushing it into new territory and release it as a collaboration.While the Florist starts with the core idea of the Slow Loris, it is something else entirely and is not a revision or modification of the original. For instance, the delay range on the Florist is way faster than the original. We also redesigned the signal path for higher fidelity, and use a compressor type detector circuit for controlling the delay speed. We add a second delay channel using its own different detector to try to achieve some through-zero flanging and tri-chorus sounds. The two wet signals and the dry signal have independent volume control (DRY, WET A, and WET B) to blend the signals together. The two wet signals have independent intensity controls (INTENSITY A and INTENSITY B) corresponding to the respective volume controls.Finally, we add a latching footswitch feature called GHOSTS which creates feedback right on the verge of oscillation in both of the delay lines, leading to some very odd sounds.The result is a versatile effects box that yields both borderline conventional sounds (it can sound great as a chorus or slapback) and a vast array of weirder sounds that defy categories... flanging, modulated reverb, notes flying everywhere in unpredictable ways, swirling high frequency sighs etc. It’s so weird and unique that it creates a scene whenever people try it out for the first time.We are especially excited to see how people apply it to music production...vocals and drums and synths...the possibilities seem wild and endless.

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.

This Benson pedal, like all other Benson creations, presents little distraction on your way to something inspired and musical. This pedal, aptly named the Preamp, uses FET transistors to simulate the tone of the Benson Amps Chimera 30-watt amplifier. Intuitively designed and versatile for a wide range of tones, the Preamp can find a comfortable fit on any board as a clean boost, overdrive, or even fuzz, if you're feeling adventurous. The Benson Preamp can take center stage in your instrument-to-amp signal chain or enhance your tonal output along with other effects. Any way you wish to bring some definitive Benson style to the table, the Preamp has it on tap.  

MODEL. • RELE SERIAL " • 241061 BUILD DATE • • DEC 2024 BODY WOOD... ... POPLAR FINISH.. • HI-GLOSS POLY BODY COLOR •• AGED LAKE PLACID BLUE / DAPHNE BLUE RACING STRIPE NECK WOOD MAPLE FINGERBOARD . BOUND ROSEWOOD INLAY .•••• • PEARLOID DOT RADIUS ... 9.5 NECK PROFILE .. • MEDIUM C SCALE .....! 24" NUT WIDTH •...1-5/8" FRETS ..... ••• 22-TALL/NARROW TUNERS .. KLUSON PLASTIC BUTTON BRIDGE .. • MASTERY & MUSTANG TAILPIECE PICKUPS ••• • NECK & BRIDGE - LOLLAR MUSTANG SPECIALS CONTROLS • MASTER VOLUME, MASTER TONE, 2 PICKUP ON/OFF, POLARITY, NECK ON/OFF/POLARITY BRIDGE ON/OFF/SERIES SERIES

MODEL. • RELE SERIAL " • 241061 BUILD DATE • • DEC 2024 BODY WOOD... ... POPLAR FINISH.. • HI-GLOSS POLY BODY COLOR •• AGED LAKE PLACID BLUE / DAPHNE BLUE RACING STRIPE NECK WOOD MAPLE FINGERBOARD . BOUND ROSEWOOD INLAY .•••• • PEARLOID DOT RADIUS ... 9.5 NECK PROFILE .. • MEDIUM C SCALE .....! 24" NUT WIDTH •...1-5/8" FRETS ..... ••• 22-TALL/NARROW TUNERS .. KLUSON PLASTIC BUTTON BRIDGE .. • MASTERY & MUSTANG TAILPIECE PICKUPS ••• • NECK & BRIDGE - LOLLAR MUSTANG SPECIALS CONTROLS • MASTER VOLUME, MASTER TONE, 2 PICKUP ON/OFF, POLARITY,

SPECIFICATIONS BODY: Basswood NECK: Roasted maple - Slim Medium C 12 radius - roasted maple with black dot inlay markers PICKUPS: Bareknuckle VHII ELECTRONICS: 1 volume control HARDWARE: Tuners - Kluson vintage style                       Bridge/Tailpiece - Floyd Rose Pro FINISH: Purple metallic ADDITIONAL: Gig bag

SPECIFICATIONS BODY: Semihollow w/Alder top and back NECK: Maple - Standard Medium C 9.5 radius - roasted maple fingerboard with black dot inlay markers PICKGUARD: Tortoise PICKUPS: Fralin Pure P.A.F ELECTRONICS: 3 way selector, 1 independent volume/1 independent tone control HARDWARE: Tuners - Kluson vintage style                       Bridge/Tailpiece - Mastery FINISH: 2 tone sunburst ADDITIONAL: Gig bag

  Caroline Guitar's "ARIGATO" neither seeks to recapture the sounds of the past, nor to be state of the art. It is a snapshot of a future we were promised as children. While capable of the airy psychedelia of classic units, this one is meant to rumble, wobble, shake, rattle, and roar. It is also capable of going fully wet for interesting vibrato sounds, max out feedback for auto wah style filter sweeps, and a wide range of responsive shades throughout each control as they interact with the others. We’re pretty excited about this release; the first pedal Philippe ever owned was a phaser, and getting to make this feels like a homecoming. Your pedal was dreamed, designed and created at our small batch distortery™ in Columbia, S.C. Thank you for supporting our work, and putting it to good use for yours.Designer’s notes: if you and your customers have enjoyed our SOMERSAULT™ lo-fi modulator, then I think you’ll really enjoy ARIGATO. It’s built on a similar framework: an analog LFO that can do some wild stuff and push things beyond their boundaries, a mix control that can go 100% wet, and a havoc control that is all gas, no brakes. It’s an OTA based analog phaser but with a couple twists – the mode switch changes the capacitors and filter notches to more closely resemble a classic vibe pedal, giving the sweep a bit of an off-balance feel. The bypass on ARIGATO can also be a momentary bypass for instant phasing “hits” and releases. And the square wave, like the Somersault’s, can push the phasing into audible pumps and overload things. We could have tamed it for noise purposes, but we didn’t want to lose the fun. With this pedal we recommend starting with everything at 12:00 – “true north” as we’re fond of calling it – and then adjusting from there to discover how each control interacts with the others.

Tired of your fuzz getting lost in the mix? Wish you could just pour molten sonic gravy from your speakers? Imagine classic Muff-style fuzziness with the punch of a classic overdrive, and you have ShigeharuUsing a cascading hybrid of op-amp and BC184 transistor gain stages, Shigeharu provides all the sweet singing sustain and massive flamethrower gain you crave, but with unprecedented clarity, improved punch and definition, and consistent performance wherever it sits in your signal chain – even after buffers or wireless units. Combine that with the parallel octave-up voiced fuzz available on demand with the Havoc* stomp and you have a whole lot of nasty right here.Two extra controls reside inside the pedal – a bias/gate control for dialing up broken, spitty sounds, and a slide switch that locks the octave-up “on” and converts the momentary to a kill/mute switch.Shigeharu was designed in collaboration with our friend John Snyder at Electronic Audio Experiments, because this thing was fearsome enough to compel us to seek a second opinion.

Your quest for toanz have brought you to our HAWAIIAN PIZZA™: a bespoke artisanal blockchain of handcrafted tone, the sonic equivalent of a forbidden delicacy, all from just three knobs and the truth*. We discovered this circuit in the discarded manila file folders of our old multinational overlords, the Caroline Corporation, alongside all kinds of very 1970s corporate villainy and sci-fi plans for world domination. Your pedal was then dreamed, designed and created at our small batch distortery™ in Columbia, S.C. So thank you for supporting our work! *it’s really a fuzz, but a really versatile one

We’ve kept your original, dry signal path analog and pure, then given you a +21db boost/overdrive preamp to smash a low fidelity digital delay chip designed for karaoke machines and kids’ toys into smeared, repeated glory. Yeah, we’re going back in time – back to when they measured data in KILOBYTES! This pedal is VERY capable of fun runaway oscillations, both by turning up the summation knob or a controlled, high-pass filtered oscillation from the Havoc momentary footswitch. If you’ve ever struggled to make your delays come through prominently in the mix, or lost definition from your original signal, the attack and level controls can allow you to dial up everything from crisp, clean slapbacks to dirty, muted echoes and loud, powerful repeats. A beautiful, subtle modulation circuit courtesy of our friend Jack DeVille also sweetens the repeats with just the right amount of movement.

Are your cyborg bodies ready? You’ve asked us for this for a while – so we’re giving you what you want! MEGABYTE™ builds on our acclaimed KILOBYTE™ legacy with two old school lo-fi digital chips for more delay time, tap tempo, trails or true bypass, and nastier, dirtier runaway havoc. All with a straightforward (at least for us) and intuitive, immediately rewarding control setup. Less time menu scrolling, more time rock and rolling. We’ve added the most requested features from our customers’ wish lists while making sure we kept the qualities that they loved. This includes a fun and functional tap-tempo with three subdivisions, double the delay time (up to 1200ms) for better noise handling and range, easily switchable trails or true bypass options, and a nastier *Havoc™ paired to the tap switch to go with the +21db drive preamp and modulation for the delay side. On the inside of the pedal are controls for a 100% dry-kill for production work and a maximum headroom option on the havoc/oscillation side.