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Pushing the envelope of distortion, the Echopark Nightmare is a combination of Clean Boost, Fuzz, Distortion, and Octave Down, sonically tuned to blend flawlessly together to produce amazing sustain for solos, bends, and fills. Looking down at the pedal. The top left knob is your Clean Boost (stand alone)/Sustain (when used with Hyper Distortion). The right top knob is a secondary Fuzz/Boost. The bottom center knob is the Hyper Distortion. Right footswitch is Sustain/Fuzz, Left footswitch is Hyper Distortion (center Knob). The Hyper Distortion works fully interactive with the controls on your guitar, as if they are connected. You will discover that the “fluctuating” pink LED responds to all variations of sounds that the unit produces, and substantially intensifies with the sustain, and auxiliary fuzz boost. The pedal is perfect for rendering your audience a snarling, yet controllable solo they will still be hearing for days to come..Custom billet aluminum knobs, powder coated/engraved chassis 9V DC, Center - , 2.1mm power jack, No Battery Terminal Inside, DC only, HAND MADE IN USA

A vintage spec Variatone on Steroids..!!Anothier fine innovation from Echopark. Create a plethora of tones, and give yourself the ability to filter out unwanted frequencies with a 5 position, on-board notch filter, then expand, boost, and distort from there, with 2 independent stacked Analog overdrives. This was originally a variant of our FQ-12, and custom pedal that I made for  Dweezil Zappa.  Notch filter (Front) is passive, and doesn't require power to work. Dial in 5 different analog tones ranging from .001uf to .1uf...use as a filter as well with other pedals that may be a little noisy. Channel 1 is a One Transistor clean boost, that has an overdrive control (front Right), that allows you to get clean boost, or OD, and everything in-between. Channel 2 is a separate One Transistor OD/Analog Fuzz. Stacked the produce an amazing, low noise distortion. With a Master output volume in the center, you can control the final Vol output, and mix from there. The Master Vol only works with Channel 2, or  combined channels on. Allowing you to switch from Distortion to Clean/OD by deselecting channel 2. Basically this is 3 invaluable pedals in one...all combined, it will blow your mind. Having an on-board Notch filter not only changes tones, but allows the user the ability to filter out the undesired squiels from high noise, stacked fuzz’s.  A must have for studio recording. You will wonder how you lived without this unit.. 

A Transparent modified delay based off of the PT2399 IC chip.  The Echopark EPD-1 is a digitally generated delay, with a true bypass and analog signal path. Modeled after the vintage  Echoplex Tape Delay, translated into MS (Milliseconds - .001 of a second). Looking down at the EPD-1. The right side pointer knob (MS) controls the Echo Delay, and is labeled with minimum (30MS), and Maximum (600MS). The graduation bar on the bottom is a key that shows you the graduation percentage of THD (total harmonic distortion) which becomes noticeable beyond  350MS, or beyond 1% THD, and graduates up to 3.5 % at 600MS. This is helpful in studio recording situations. The REP Knob on the left controls the Repeat Generation on the delay. MIX controls clean/delay saturation. 2.1mm 9VDC power in  - center  (9V internal Battery Option). Fully powder coated aluminum enclosure. HAND MADE IN USA.

The Echopark Dual-Harmonic Boost This is our 2nd version of the Dual-Harmonic Boost.  The same legendary “Dual Stacked” OD, but modified with OD Boosters on each circuit for the “Maximum” OD. The center tone pot has been replaced with a “Master Volume”, allowing you to crank both OD’s  for maximum distortion, at lower volumes. Because of the insane overdrive, the DHB2 has a 3 Way “Tone Control Switch” ranging  from (Far Left) Low, (Center) Med, (Far Right) High. This switch can be used to filter out unwanted frequency feedback at higher volumes, or a tone cut for playing certain styles of music. Far right knob is OD Gain BOOST 1, Far left knob is OD Gain BOOST 2. True Bypass, 2.1mm 9VDC power in, - Center (Internal 9V Battery Mounts on side).Powder coated aluminum enclosure. HAND MADE IN USA.

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

Features & Specs chambered mahogany body German carve top (mahogany on solid colors, maple on burst / natural) double bound body set maple neck bound fingerboard aged perloid block inlays​ bound peghead 32” scale – 20 medium jumbo frets 12″ fingerboard radius 1 1/2″ nut width​ Rivolta Medium C neck profile Rivolta custom wound pickups nickel hardware open gear tuners​ nickel bridge plate gold plexi pickguard

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

SPECIFICATIONS BODY: Alder NECK: Maple - Classic Medium C 9.5 radius - rosewood fingerboard with white dot inlay markers/Med/Jumbo .045-.105 frets PICKGUARD: Tortoise PICKUPS: Lollar Jazzmaster  ELECTRONICS: Full Jazzmaster HARDWARE: Tuners - Kluson vintage style                       Bridge/Tailpiece - Mastery FINISH: Dakota Red in Lo-Gloss Nitro ADDITIONAL: Hard case

The Airline Newport DLX is our love letter to the rare National Newport Val-Pro 88 from the late 50’s and early 60’s. Icons of the studio and stage have recognized the draw of the vintage National guitars’ Valco designs, from The Cure’s Robert Smith to The Black Keys’ Dan Aurbach. Our Newport DLX boasts two ‘Vintage Voiced Double Coil’ humbuckers as well as a piezo bridge pickup and a 5-way pickup selector switch. Each pickup has individual volume and tone-control knobs located above allowing for endless tonal combinations and experimentation. Throw in a Bigsby tailpiece and a master volume-control knob, and you’ve got a modern tone monster with all of the mojo of a vintage National.   Product Details: Body: Tone Chambered Mahogany Neck: Maple, Bolt-on Fingerboard: Pau Ferro, Sharks Tooth Fret Markers Scale Length: 24 3/4″ Scale, Zero Fret Width at Nut: 1 5/8″ Pickups: Dual Airline VVDC Humbuckers Switching: 5-way Controls: 1 Volume, 1 Tone for each pickup, master volume Bridge: Tun-o-matic Hardware: Grover Style Nickel/Chrome Strings: D’Addario #10 Unique Features: Rubber body binding, Piezo bridge pickup Unique Features: NATIONAL-Style Striped Pickguard  

SPECIFICATIONS BODY: One piece ash NECK: Tinted one piece maple with stainless steel frets PICKGUARD: Single ply black PICKUPS: Anderson Tele ELECTRONICS: 3 way selector, volume/tone controls HARDWARE: Tuners - vintage style split shaft                       Bridge/Tailpiece - Wilkinson vintage six screw FINISH: Black nitro ADDITIONAL: G&G hard case

SPECIFICATIONS BODY: Alder NECK: Tinted one piece maple with stainless steel frets PICKGUARD: Single ply white PICKUPS: Anderson '59 ELECTRONICS: 5 way selector, 1 volume/2 independent tone controls HARDWARE: Tuners - vintage style split shaft                       Bridge/Tailpiece - vintage six screw FINISH: Black nitro ADDITIONAL: G&G hard case

SPECIFICATIONS BODY: Two piece Spanish Cedar with Black Walnut Top NECK: Maple with rosewood fingerboard, C profile - .860 at the 1st fret, .960 at the 12th. Fretwire is Jescar FW47095 PICKUPS: TV Jones Starwood Telecaster ELECTRONICS: 3 way switchcraft selector, 1 volume/2 independent tone controls, Bourns pots HARDWARE: Tuners - Gotoh                       Bridge/Tailpiece - Gotoh In-Tune Bridge FINISH: Satin open grain Nitro ADDITIONAL: Momo case

SPECIFICATIONS BODY: Two piece Spanish Cedar with Mahogany Top NECK: Maple with rosewood fingerboard, C profile - .860 at the 1st fret, .960 at the 12th. Fretwire is Jescar FW47095 PICKUPS: TV Jones Starwood Tele bridge and Powertron neck ELECTRONICS: 3 way switchcraft selector, 1 volume/2 independent tone controls, Bourns pots HARDWARE: Tuners - Grover open gear                       Bridge/Tailpiece - Trimmed edge vintage tele with In-Tune saddles FINISH: Satin Black Nitro ADDITIONAL: Momo case

Spring reverb and bonus “room” reverb mode. Decay control to dampen or expand reverb. Retain your tone with all analog clean signal path. Trails option when bypassed Separate controls for the reverb and dry signal levels. Redesigned preamp for tube like dynamics and feel. Tone control for subtlety or in your face splash. By analyzing the design, sound and physics of real spring tanks we captured the nuances of tube driven spring reverb. Even something as innocuous as unplugging your guitar cable (kerplangagnangang)  sounds like real deal. A tone control allows you to dial in the perfect timbre. There is also an internal reverb send trimmer serving two purposes- 1. It allows you to turn down for hotter input signals. 2. It does essentially what the dwell control does on an outboard reverb tank. You can turn it up for a more dramatic effect or back it off for subtlety. Unlike a real spring tank the the decay knob allows you to dampen the springs for shorter reverb or bend the laws of physics resulting in long psychedelic resonating trails. The clean signal path is all analog. JFET amplifiers carryout the send and recovery of the reverb signal for even more tube like dynamics. The Super Spring Theory is equally at home in front of a clean or dirty amp. …But wait, There’s more! – Room Reverb There’s also that other reverb setting. ROOM. Don’t think of this as your typical subtle ambiance room reverb. That is certainly possible with the decay knob rolled back. The decay knob alters the dimensions from a broom closet to a cavern covered in ceramic tile with reverb trails over three minutes long. Like no other reverb pedal on earth. Every aspect of the Super Spring Theory was designed from the ground up. You won’t find a “reverb brick” inside. It’s not a datasheet design from someone else.  The Super Spring Theory uses our own DSP reverb algorithms that you can’t get anywhere else. More options In 2011 we set out to create the most realistic spring reverb simulation ever. The Spring Theory was born with authentic sound, feel and dynamics. Since then we’ve been taking notes for the next evolution. We listened and we know what you want. New features are packed in the same pint sized pedal. Now you can hear reverb tails when bypassed. Separate level controls for the dry and reverb sounds along with the new wide range tone control allow for subtle reverb to in your face salt water splash.

The Quasar v4 offers eleven modes paired with a simple control surface. An abundance of non-traditional options are on tap. Rhythmic modulation patterns. Sci-fi discombobulation. Envelope speed control. Traditional phaser and rotary tones are in the box too, but you want more, right? Something different? Something that stands out? All analog phaser. Synchronized tremolo and chopper effects. Active volume regulation. This eliminates the drastic volume disparities typical of many phasers. Wide range of traditional and experimental sounds. Subdecay has been designing and building Quasar phasers since 2005. For the new Quasar we explored new territory. We love defying effects conventions and breaking the rules. The Quasar’s next evolution is here and we’ve built in so much more than before. Many of the new features are normally only found in fully digital effects. A wide variety of options are under your control. Pairing the analog and digital world together means there’s no compromise of analog headroom or that organic swirl that digital units just can’t match. Modes & Controls: In most modes the controls do what you’d expect. The offset knob is the exception. The offset knob is mode dependent. It sets anything from the phaser sweep center point to synchronized modulation ratios. Rate: Always controls modulation speed.Depth: Controls modulation depth.Color: Usually controls phaser resonance. In mode 5 it controls a portamento function.Mode: Set to any of the eleven modes. Modes are broken down into four categories: 1-4 Cross modulation (X-MOD)5-6 Step Sequencing (STEP)7-8 Envelope (ENV)9-11 Traditional X-MOD: Cross modulation is our fancy way of saying the effect is modulated two different ways at the same time. 1 & 2 -Triangle + Sine & Triangle + Square:The phaser is modulated by a slow triangle LFO and a faster Sine or Square wave LFO.Offset: Sets LFO ratio to 2, 4, 8, 16 or 32. 3 – X-Fade:A cross fade effect. This is kind of like when the radio DJ fades out from one song and into the next one, but instead this crossfades the phaser effect and the clean signal.Offset: Controls how often the effect crossfades over each cycle of the phases. Set to a ratio of 2, 4, 8, 16 or 32.Depth: Controls the cross fade depth. 4 – Tremolo:Synchronized phaser and tremolo.Offset: Sets tremolo ratio to 2, 4, 8, 16 or 32.Depth: Controls tremolo depth. Step Sequencer: Rather than traditional smooth phasing these modes create rhythmic phaser/filter patterns. 5 – Step Pattern:A stepping pattern based on a triangle waveform.Offset: Sets how far steps skip ahead on the triangle waveform creating repeating patterns.Color: Portamento control. Turn to the left to soften step patterns. Turn all the way to the left and modulation will smoothly glide from each step to the next step creating a myriad of unique wave forms. 6 – RND:Random Phaser sequencer with volume chopper (square wave tremolo)Offset: controls how long the volume is chopped per step. (0 – 50%) Envelope modes: Modulation is manipulated by touch dynamics. 7 – Envelope speed control:A phaser effect where the modulation speed is altered by playing dynamics. (Similar functionality to our Vagabond Tremolo, and (discontinued) Siren Vibrato.)Offset: slows down or speeds up modulation when you hit the guitar strings. 8 – Envelope Phaser:Similar to an envelope filter… but with a phaser.Offset: Controls phaser resting point.Depth: Controls how much playing dynamics modulate the phaser (just like an envelope filter.)Rate: Controls envelope attack and decay speed. Traditional: 9 – Rotary / Vibrato:Inspired by the long discontinued DOD FX22 with a deceptively huge range going from straight tremolo or vibrato, to very present filter/phaser tones.Offset: Controls tremolo depth.Color: Turn to the right for resonance. Turn to the left for a pitch vibrato effect. 10 – Slow Triangle LFO:Long linear phaser sweep perfect for slow speeds.Offset: controls center point of modulation. 11 – Fast Sine LFO:A faster phaser using a sine wave LFO.Offset: controls center point of modulation.