Products

Marshall amps helped supercharge the performance, and shape the sound of rock and roll. When the house lights dimmed, all you could see through the hazy darkness was the array of red pilot lights shining from a backline wall of Marshall stacks. In the absence of your own personal wall of Marshalls and the necessary road crew required to lug them around, the Dirty Little Secret (DLS) is the perfect secret weapon in your tone arsenal. This is your “always on” pedal, designed to be the “foundation” of your pedalboard, transforming any amplifier into those raging British stacks. It forms the core of your guitar sound which you can enhance and embellish by adding boosters, fuzzes, filters, and other overdrives in front of it.

The Binson Echorec was so cool we had no choice but to bring it back. And we wanted to bring it back right. We wanted to take all the goodness of that huge Binson Echorec and squeeze it down into a standard sized stompbox without losing anything. In fact, in addition to not losing any of the qualities that made it such a compelling musical device, we wanted to EXTEND its capabilities because the original Binson hinted at possibilities that it couldn’t realize. We’re talking about variable delay time! We thought, “What if we had the same four playback head concept but could stretch the delay time out beyond the 300mS of the original Binson?” Then the rhythmic patterns suggested by the various combinations of those four playback heads could really come to life!

You’ve heard the rumors: Some of rock ‘n’ roll’s greatest tones were achieved without pedals. Not so fast! While that’s technically true, some of the most venerable guitar gods relied on an old tape echo unit to help achieve their legendary tones. This unit is the Maestro Echoplex EP-3. While some guitarists made great use of its echo effect, others dragged one to every gig just for its magical preamp. This preamp circuit was wired always-on, and so even those using it as an echo effect received significant tonal enhancements from the preamp circuit as well. Everyone from Eddie Van Halen to East Bay Ray of the Dead Kennedys relied on the EP-3 preamp to take their sound to previously unreachable heights. And now you can also, with our Epoch Boost.Around the shop, we refer to the Epoch Boost as a “mastering pedal,” because it sounds like your base tone, but sculpted to perfection by a mastering engineer. This is accomplished  by employing the same internal circuitry as a real EP-3, from the NOS Orange Drop capacitors to the output mixer stage that acts as a rudimentary frequency selector---it’s all there. We’ve taken the liberty of kicking the internal voltage all the way up to 22 volts, just like the original unit, giving you unparalleled headroom and clarity. Inside, we’ve included a switchable hi-Z input buffer if you’d like to use the Epoch Boost as your only pedal (don’t worry, we won’t judge). The Boost control gives you just the EP-3 tone when rolled off, but adds up to 20dB of crystal-clear boost as you crank it. And trust us, you’re gonna want to.

Big and powerful, yet refined, the Formula No. 55 melts into your amp, transforming it into a wide ranging tweed monster!The Formula No. 55 is a Foundation Overdrive that reproduces, in exact detail, the preamp section of the classic Fender™ tweed 5E3 Deluxe using an all-discrete JFET-based signal path. The Volume and Tone controls replicate, part for part, the circuitry of the 5E3, giving you authentic tweed amp response. The output section is designed to give you punch and volume with a low output impedance to drive your amp perfectly. Set the Hi-Lo button to "Lo" for the cleaner response of a vintage tweed. "Hi" is like hot rodding your amp by swapping in higher gain tubes.

Featuring a plethora of useful options, the Giygas gives you everything you’ve ever wanted in a fuzz box, along with some stuff you never knew you wanted (but deep down, you totally knew).  The core of the fuzz circuit is brawny and fierce, yet with plenty of violin-like sustain and articulation on tap, and the entire thing is wrapped in a clean blend circuit. From there, the fuzz gets catapulted into a gyrator-based mids boost, and then into a tilt EQ circuit. With the blend rolled all the way back, you can use just the powerful high-headroom EQ to sculpt your clean tone. A horde of options await you under the hood, ones that will make our four-stringed friends extremely happy. 

 The Naga Viper is a booster that lives in the grand old tradition of the Dallas Rangemaster “Treble-Booster”. The original Rangemaster has been used by many influential British guitarists including Tony Iommi, Brian May, Marc Bolan, and KK Downing and Glen Tipton of Judas Priest. These guitarists, while completely unique in their styles, share the Rangemaster as the secret of boosting their cranked British tube amps into a juicy, harmonic-laden rock tone that always cuts through the mix and is ultimately proto-metal. The Naga Viper is hommage to this famous circuit. Beyond it’s basic tuning, the Naga enhances the classic circuit with the addition of two extra controls – Range and Heat. The original Rangemaster had just one control – Boost which everybody dimed anyway but essentially controlled the output volume. Our RANGE knob is a continuous control which allows you to go from classic treble-boost to a full-range boost and anywhere in-between – as the original could only function as a set frequency “treble-booster”. The HEAT knob gives you control over the gain level saturation, unlike the original which was fixed at maximum gain.

The Catalinbread SFT is an AMPEG® inspired foundation overdrive that bridges the "Get Yer Ya-Ya's Out (Stones) and the Desert Sound (Stoner) eras. We’ve always been smitten by AMPEG®. Early on the company was a Jazz purist company, completely overlooking (possibly looking down on) more popular genres like Country & Western and Rock that FENDER® and MARSHALL® openly embraced. From a design standpoint they took more queues from the hifi world than they did from guitarists as evidenced by their tube complements, gain stages without cathode capacitors, and implementation of the Baxandall tone controls. And they we’re no slouches to innovation either, “Flip-top” combos is a great example. Not to mention there is at least one model of amplifier that had a torsion bar to adjust the tightness of the speaker baffle!

One of the most recognizable pieces of gear in classic rock canon is the old Hornby-Skewes Treble Booster, a version of the classic effect used by too many artists to list. While almost all of them used a Rangemaster, the Hornby-Skewes version came stock with a silicon transistor for a more biting sound that cut through even the densest of mixes. The SKEWER stays true to that circuit, giving the old JHS unit the same treatment as our Naga Viper. This lets you dial in the desired frequency range from rich and full to treble-heavy, as well as control the amount of boost. You can also vary the amount of transistor gain for some extra juice. Some players had their original Treble Booster modded to play nicer with the rest of their gear. We’ve taken the liberty of giving you that mod as well, which is fully adjustable via the trimpot inside. Further enhancements include a noise reduction filter and anti-pop switch circuitry. This one bites just a little harder than our Naga Viper, and sounds fantastic with the DREAMCOAT.

Listen to any recording from the 70’s and you’ll most likely hear the sound of a plate reverb, a giant mechanical contraption roughly the size of a king size bed. It was ubiquitous in the studio, and was the only reverb used on Pink Floyd’s iconic Dark Side of the Moon album for example. What made plate reverb so cool? It adds lush ambience, dimension, thickness, and depth in an unobtrusive way. When you listen to your favorite albums from the 70s you probably don’t even realize how much plate reverb you are hearing. Go back and listen and hone in on the reverb sound and you’ll probably be surprised how much reverb is actually there. In the studio the plate reverb signal was often processed on the way back to the console where the things like filtering and delays were applied.

Whether you want to add a classic look to your rig, are convinced of the tonal improvements some guitar legends used to swear by, or are just looking for a well made cable that allows you some flex, our Classic Coil Cables are just the thing for you. Made at 25ft of high quality coil in white or black and proprietary Creation Plugs featuring a laser etched lightbulb logo, these things will scream class at a price that won't break the bank.Features: Hand Soldered by Humans 25ft Coil Cable available in White or Black Proprietary Creation Plugs with Laser Etched Logo Heavy Duty Spiral Shielding Creation Cable Wrap

Specs:- Cable is 4mm in Diameter- Braided Shield- Stranded Copper Center- Capacitance - 80pf per Meter (roughly 26pf per foot) What's Included:10 feet of Creation Patch Cable ONLY (Plugs sold separately)

Our Pro Speaker Cables are a workhorse cable. No outrageous claims. No snake oil. These are made from legendary, top quality components, meticulously soldered, and guaranteed by our limited lifetime warranty for an affordable price. Simple.  Features:- Hand soldered by humans- Mogami W3082- Top Quality Neutrik Ends- Offered in a variety of lengths- Optional White or Black logo heat shrink How we measure our cables - We measure our cables by the distance between the edge of the plug to the edge of the opposite plug.

The Aero Series Pedalboard has been years in the works. While it is seemingly simple, each and every detail was carefully planned. From the thoughtful slot layout, to the convenience of having multiple handle placement options on larger models, to the radius of its edges, and down to how to make it as lightweight as possible and still strong. This is a board that took perfection to be so simple.Why a slotted flat board? The height of the board and the clearance below is the perfect amount of space for cable runs as well as small power supplies, such as The Gig Rig System, and others for ultimate space saving and minimalism. You’ll be amazed how much more you can fit on this board versus a traditional flat board. Foot Extension Kit: With the use of the Foot Extension Kit (sold separately), you can fit even more, raising the clearance from .95" to 1.45" which is enough for items like a Strymon Ojai or Zuma R300, or even the Elevation V2 patch bay. Just mount items like that with dual lock and you're all set. Features: Precision Cut from Aircraft Grade .1” Aluminum for exceptional strength and rigidity. Slotted design for easy cable management Engraved Solid American Black Walnut Badge Matte Black Finish Comes with 3 ft Hook and Loop and Pedalboard Essentials kit Made in USA

Need a little extra room under your Aero Series flat board? Simple. With this foot extension kit, you can replace the 3/8” standard bushing with a 3/4” bushing between the underside of the board and the foot fastened with the longer screw. This gives you an additional 1/2” of clearance to go from .95” to 1.45” which will easily clear slim power supplies like Strymon Ojai or Zuma R300. Along with this additional height you can now fit some patch boxes or buffers under your board and with the convenient cut outs on the side of the Aero Series, you won’t block the input jacks on them when mounted near either edge of the board. To install, simply unscrew your feet, remove the standard bushing and then re-attach the foot using the kit’s included longer bushing and screws.  Included: - 6 Screws - 6 Bushings

Our patch bay makes adding I/O capability simple and easy. Each unit houses 4 TRS passthroughs. By using TRS this opens the door for those that want to use various splitter cables, or use an adapter cable for XLR connections.These connections are housed in a proprietary aluminum enclosure with threaded holes. These perfectly align with the pre-installed outer plate of our Elevation Series V2 and allow you to install from the exterior of your board with 4 screws.    Patch Bay Features: 4 TRS Passthroughs (In or Out) Aluminum enclosure Mounting hardware included