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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.

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.

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!

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.

Exact EP-3 circuitry, from the 22 volt power rail, to the JFET preamp (later spec), to the mixer stage, to the high gain silicon transistor based record and playback amplifiers, to the feedback loop. All circuitry is faithfully reproduced and fine-tuned from the original EP-3 specifications. The only thing missing are the record and playback heads, with a 24-bit high-fidelity digital delay line taking the place of the tape.All-discrete, through-hole construction with orange drop 225P capacitors, carbon composition resistors, germanium diodes, and other premium parts.

 The Catalinbread Belle Epoch Tape Echo, has tape echo sounds so authentic you’d swear there was tape inside the pedal! Inspired by the Maestro Echoplex, EP-3 model, perhaps the most famous tape delay ever, the Belle Epoch features everything we love about the EP-3 in a small, maintenance free pedal format. We felt that a “tape echo” pedal was much more than just a standard digital delay with some “filtering” on the repeats. There are a lot of subtle and not-so-subtle traits of the Echoplex that needed to be implemented in order to be authentic. The preamp, the self-oscillation character, the ability to control the “record level” of the signal hitting “tape”, the wow and flutter, the way the repeats decay, the way the circuit interfaces with the amp and other pedals – all these things were important to get right. The original unit was used as a musical instrument unto itself and this is what we captured with the Belle Epoch.

 Oil can delay units were manufactured by a company named Tel-Ray who later became better known as Morley. Tel-Ray mostly focused on being the OEM utilizing their oil can technology (Patent US3530227 A), branding units for Gibson (GA-RE4), Fender (Dimension IV), Acoustic, etc. They employed an electro-static storage method where the signal is “recorded” to a spinning disk, a layer of oil (for years rumored to be a mysterious carcinogenic oil) prevented this signal from leaking into the air before a “pickup” moments later played back the signal recorded to the disk. Compared to the counterparts of the day (tape, drum, wire delay machines), their sound was more low fidelity, murky, often with a more consistent musical vibrato that correlated to the spinning disk speed. We like to describe the sound as mysterious. The Catalinbread ADINEKO pedal is an echo, reverb, vibrato pedal that faithfully models the sonic experience of these oil can units.

Body: Eastern Poplar Neck: Maple Fingerboard: Maple Scale: 25.5″/648mm Frets: 22 Tuners: Wilkinson® WJ55 Bridge: Wilkinson® WVCD Distressed Pickups: 3 Wilkinson® Single Coils WVS Scratchplate: White Hardware Color: Chrome Controls: Volume/Tone/5-way Toggle Switch

Body: American Alder Neck: One Piece Hard maple – Bolt-on Scale: 25.5″/648mm Frets: 22 Medium Neck Inlays: Black Dot Nut: 42mm Wilkaloid Tuners: Wilkinson® Deluxe WJ55S Bridge: Wilkinson® WTB intonatable Pickups: 2 Wilkinson® WJTD Alnico 2 Single Coils Scratchplate: White Single Ply Controls: 1 Volume/1 Tone/Custom Wired 5-Way Lever Switch

Body: American Alder Neck: One Piece Hard Maple – Bolt On Scale: 25.5″/648mm Frets: 22 Medium Neck Inlays: Black Dot Tuners: Wilkinson® Deluxe WJ55S Bridge: Wilkinson® WTB Intonatable Pickups: 2 Wilkinson® Single Coils (N) WVTN  Alnico (B) WVTB Alnico Controls: 1 Volume/ 1 Tone/ 3-Way Lever

Features & Specs Pressed Maple top and back Mahogany frame and center block Double bound body Set mahogany neck Bound ebony fingerboard Aged pearloid block inlays 2-tier peghead 25” scale – 24 medium jumbo frets 12″ fingerboard radius 1.687″ nut width Rivolta C+ neck profile Rivolta “Brevetto” pickups Nickel hardware Kluson style tuners Nashville tuneomatic steel saddle bridge 3-ply black pickguard

Features & Specs Pressed Maple top and back Mahogany frame and center block Double bound body Set mahogany neck Bound ebony fingerboard Aged pearloid block inlays 2-tier peghead 25” scale – 24 medium jumbo frets 12″ fingerboard radius 1.687″ nut width Rivolta C+ neck profile Rivolta “Brevetto” pickups Nickel hardware Kluson style tuners Nashville tuneomatic steel saddle bridge 3-ply black pickguard

In 2012, I had a crazy idea for a tone shaping device that had never been done before in the world of guitar pedals. I wanted to create an effects pedal that replicated the hard-to-achieve sounds of "direct-in" electric guitar recordings that I loved.  Bands like the Beatles, Spoon, Wilco, and Steely Dan had used this technique for years, but it was nearly impossible to recreate live. I wanted this pedal to transform my guitar rig into the tonal equivalent of a Neve studio console, and that was no small task. After lots of trial and error, experimentation, and re-works, this concept evolved into something far beyond what we had imagined. In 2014 as we filmed the first demo videos at Abbey Road Studios in London and this idea had evolved into the most unique product we had ever made. The Colour Box was a full-fledged studio-grade preamplifier, EQ, and distortion generator with multi-instrument compatibility. It did what I had always wanted it to do, but it did so much more! On its release day, I wasn't quite sure how it would be accepted, but I knew that I loved it. As a few months went by, we saw something amazing begin to happen; this pedal was showing up in all types of environments. Producers, engineers, and artists were emailing us, tagging us on socials and showing how they had put the Colour Box to use. Studio vocals, live vocals, kick drums, acoustic guitars, bass, keys, overhead drums, stereo buses, room mics, synths, re-amps, and some incredibly large stage setups had it on almost every instrument! This unit can be heard on dozens of recordings from U2, Wilco, The National, Spoon, Collective Soul, Muse, the War on Drugs, and Phantogram amongst others. As proud of this pedal as we were, we wanted to make it better, so we did.  VERSION 2 EMERGES The Colour Box V2 has all the same functionality of the V1 with many new and improved additions like expanded EQ controls, a Hi/Lo switch for massive clean headroom, and the ability to pass phantom power to your condenser mics.  The most significant improvements are: Addition of an Output transformer Safely Passes 48V Phantom Power EQ Shift Knobs for precision EQ control Hi/Lo Switch for ultra clean headroom 100% available clean signal even on acoustic guitar Silent switching, aka no "switch-pop" Runs on standard 9V DC Neg power FEATURES & CONTROLS The Gain section in red has three controls: Master, Pre-Vol, and Step. The Master volume controls the overall volume of the unit. The Pre-Vol controls the amount of gain between the two internal gain stages. This acts as a "drive" or "gain" control, adding more grit, distortion, and even fuzz as you increase the gain. The Step control increases the gain of each preamp stage in five stages. Rotating the Step knob from left-to-right will increase the gain by the following: 1st is +18 dB, 2nd is +23 dB, 3rd is +28 dB, 4th is +33 dB, 5th is +39 dB. The Colour Box V2 has a new Hi / Lo switch to control the amount of clean headroom you have available. In the Lo mode, you will easily be able to get ultra clean sounds without breakup. Lo Mode is excellent for tone shaping when distortion is not needed. In the Hi mode, the Colour Box V2 will distort much more readily, giving you a broad spectrum of overdrive, distortion, and fuzz sounds. In addition to the Hi / Lo gain switch, there is a -20dB pad switch on the right side of the Colour Box V2. This function only works when in XLR input mode and can help tame the volume for high output microphones. MOST POWERFUL EQ YET The EQ section in blue has three new Shift controls correlating to its standard Treble, Middle and Bass controls. The classically labeled EQ knobs adjust the amount of frequencies that get boosted and cut, while the Shift knobs adjust the range of frequencies that the Treble, Middle, and Bass knobs control. EQ Functions Treble Knob - Cut/Boost Control     +/-15dB  flat at noon.  CCW cuts, CW boosts. Middle Knob - Cut/Boost Control    +/- 10dB  flat at noon.  CCW cuts, CW boosts. Bass Knob -   Cut/Boost Control   +/-15dB  flat at noon.  CCW cuts, CW boosts. Frequencies controlled by EQ Shift Knobs: Treble Shift - 2kHz to 30kHz –  CCW lowers the center Freq, CW raises the center Freq. Middle Shift - 150Hz to 2.4kHz –  CCW lowers the center Freq, CW raises the center Freq. Bass Shift - 20Hz to 440Hz –  CCW lowers the center Freq, CW raises the center Freq. The Hi-Pass section is enabled by the toggle switch below the Hi-Pass knob. Just flip it up to engage the Hi-Pass knob. The HPF is a 2nd order 6dB per octave highpass filter. The -3dB cutoff freq (the frequency at which the filter starts to act) can be adjusted from 160Hz to 650Hz. XLR AND OUTPUT The Colour Box V2 has a combination XLR and 1/4" input jack to use either an instrument or microphone. Select your input with the input selector switch on the right side of the pedal labeled INST/XLR. VERSION HISTORY V1 = Smaller enclosure; no “shift” EQ knobs; seven knobs total. V2 = Larger enclosure; ten knobs total; added Hi/Lo Toggle; passes phantom power. Output transformer addition.

Rossie is a dynamic multi-filter pedal, encompassing 3 essential tone-enriching filter effects: * Envelope Filter - a colourful resonant filter that follows your picking dynamics.* Step Filter - a groovy, arpeggiated filter with fully adjustable steps.* Manual Filter - great for static tone shaping or sweep-able wah-like effect using an expression pedal.Each filter mode offers 4 filter types: lowpass, bandpass, highpass, and peaking. Sweep range and resonance width are also adjustable. And on top of all of these, a dedicated Mix knob allows blending of wet and dry signal, this gives you total control of how much filtering effect is imparted on your guitar or bass signal.

The Keeley Delay Workstation is a powerful, dual DSP processor delay and reverb machine.  Combining Keeley’s unique delay and reverb patches in an incredibly small package, the Delay Workstation is an extremely creative tool. With the Delay Workstation you can combine vintage slapback and multi-head tape echoes with Spring or plate reverbs to create some instantly classic sound spaces.  You can set the Delay Workstation for warm sounding analog delays and then use the chamber or hall reverbs to create a huge warm and endless space.  Need rhythmic delays with some shimmer?  It’s here.  Always wanted to have the perfect ducking delay?  One that backs out of the way until your done with your notes, then the echoes fill in. “Ducking” is a very intelligent way for clearing the clutter in a sound that would normally be overrun with delays and echoes.   Wanna get twisted?  Try the Pitch delay into our Flanged Reverb. The Reverb side of the Delay Workstation contains all of the most common reverbs and some delays. The Morph control allows users to put creative twists on the reverb patches like spring tension, shimmer, and random flanging.  There are two delays included in the reverb bank.  You can use these to setup very cool ping-pong delays and many other creative rhythmic patterns. Two banks of eight legendary effects.  Super Fidelity.  Super Compact. The Delay Workstation has on-board tap tempo on the Delay side and external expression control on the Reverb side. Effects Include: Slapback w/reverb Tape Delay w/tone control Multi-Head Echo w/3 head control Analog Delay w/dynamic modulation Digital Delay w/inverse dynamic modulation Subdivided Delay w/dotted eighth, eighth, triplet, sixteenth Ducking w/compression ratio Pitch Shifting delay with w/octave up/down control Spring Reverb w/tension control Chamber Reverb w/filter control Hall Reverb w/tone control Plate Reverb w/tone control Shimmer w/octave up control Flanged Reverb w/vibrato or random modulation