Pedals

The true-stereo K eeley ECCOS artfully combines a delay pedal and a looper. At the heart of the ECCOS is a neo-vintage delay with unprecedented control over tape-style echoes. Create long and majestic sounding tape flanged delay lines and then switch to the feature-packed Looper to record endless layers of sound! Dual stomp switches in delay mode are for true-bypass, tap-tempo and even endless feedback – but in looper mode they allow you to record, play, reverse, half-speed and even trigger a “play-once”. Live or as a studio workstation the delay and looper work together giving you endless room for creating and experimenting in a small footprint. With over four years of development on the Quad 24/56-bit Dream DSP, Keeley has reached the pinnacle of delay sound quality with the amazing new tones in the ECCOS.   The ECCOS now features Sound on Sound Mode! Sound on sound mode lets you record without erasing the original loop. The volume of the loops degrade over time, recreating a vintage reel to reel recording technique. To set the decay of the loops, hold down the FDBK knob and adjust the Depth control. This alt control comes in handy when using Sound on Sound Mode.   ECCOS is a True Stereo Delay and Looper Studio quality delay with tape flanged modulation Features include 3 memory presets, subdivisions, trails, runaway feedback Huge array of tone and time-based controls with the Alt Hold feature Full-featured Looper with reverse and half-speed loop effects 2 minutes of looping in mono, 60 seconds in stereo, Endless layers of recording! True-Bypass and Tap Tempo on-board or remotely with any style pedal-switcher Expression pedal assignment over any parameter and in any direction Pro Rig designed, remote control thru 1/4″ jacks for live use with pedal switcher systems 100% analog dry signal, audiophile designed input to output Stereo True-Bypass/Trails, switchable on the fly 9 Volt DC, 115mA low-current design Made in Edmond, USA     The ECCOS features advanced independent switching. The Delay or the Looper can be turned on and off independently. You can start the Looper without without a Delay Setting.

The DRIVE section gives you two styles of overdrive to choose from: Crunch or Lead.  The Crunch Style gives you a gritty British tube-amp combo sound.  The Lead Style gives you a warm and dark, mid-pushed overdrive.  The WET side of the pedal gives you Delays and Reverbs.  A Vintage/Modern Switch allows you to toggle between Spring & Plate reverb or Analog & Digital delay.  Use the built-in effects loop to insert effects between Drive and Wet, or run it by itself as the only pedal you’ll need!   DRIVE Channel – A pair of modified super-drives to choose from. Volume, Tone, and Drive for days! STYLE Switch – Tube-amp Crunch or Lead-channel Sustain WET Channel – three knob delay or reverb with Blend, Decay, and Time Delay/Reverb Switch – Center toggle, WET Mode Select Top-mounted jacks for effect pedal insert or split TRS Insert Switch – side mounted selector True-Bypass or Trails Switch – side mounted selector 9VDC, 100 mA, no battery option Designed and Made in the USA

JHS Pedals is proud to present the Whitey Tighty compressor, our take on the classic effect that no one may ever know is on, but when it’s off you feel like your pants are down. The Whitey Tighty is as simple as it gets while never getting in the way. At only 1”x3”, you’ll save so much space on your pedal board that you’ll be able to add to your wardrobe of effects with ease. And with the ability to blend in compression and clean signal, you’ll be able to dial in the perfect sound that keeps everything in place. The Whitey Tighty is a FET compressor that has three simple controls: Volume, Compression, and Blend. The Volume control gives you the ability to set your volume at unity gain or slightly boosted to make up for any perceived loss from the compression. The Compression knob controls the amount of compression for everything from a subtle smoothing of your tone to a pleasing squash that’s perfect for country, blues, pop, and rock. Use the Blend knob to dial in the right amount of clean tone along with your compressed signal. This allows you to retain some of the natural feel of your clean tone while giving you the studio-quality compression that brings your sound to the next level. Tighten up your tone with the JHS Pedals Whitey Tighty!

5.68 X 3.62 X 2.0 INCHES, 0.85 LBS The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.  At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.  In the late 1960’s, Japan was bursting at the seams with amazing guitar pedal companies and innovations. One of the most sought after effects from this time and place is the Univox Super-Fuzz. This effect is an octave fuzz that turns any note or chord into a thick and searing texture. Playing a high octave up alongside the distorted note, this is an effect that demands your attention. First produced inside of a large amp head sized multi-effect unit called the Honey* Psychedelic Machine (1967) and then re-released a few months later as a standalone pedal called the Honey* Baby Crying Effect. Honey* soon became Shin-Ei* and by 1968 Shin-Ei* became the guitar pedal powerhouse of Japan, making Shin-Ei* branded effects as well as producing those same circuits for dozens of brands like Shaftesbury, Kent, Crown, Jax, and America's Univox. This circuit found its way into the lineup of brands all over the world.  Thanks to product placement by Pete Townsend of The Who, the Univox Unicord Super-Fuzz version found fame above all the rest. First produced in a simple, unassuming grey metal enclosure (1968), it transitioned into a more eye catching form factor utilizing a large rectangle foot pad that said SUPER-FUZZ in large letters across the top (1970). Red and blue, black and grey, white and black, you could pick your color.  The Supreme is an exact replica of my favorite Super-Fuzz in my collection, my extremely rare black and grey model. Although every early version of this pedal sounds strikingly similar, this 1972 unit has a certain magic that makes it stand out above the others. Imagine an Octavia Fuzz that woke up on the wrong side of the bed, and that’s what you're plugging into here: a loud, screaming, full and vibrant octave fuzz that is always at 11.  The controls are Volume and Expand. Volume makes the effect louder as you turn it and Expand increases the amount of fuzz. On the side you will see two buttons. The “Tone” button engages a mid cut that flattens out the Supreme’s attack and makes it more submissive. Think of this as a preset scooped mid EQ control. The “Mode” button activates our very own “JHS Mode” setting. You will hear a much more pronounced octave up effect, thicker mid-range, and more available volume/boost.  If you want to replicate the classic octave fuzz sounds of Pete Townsend, Black Keys, White Stripes, Beastie Boys, and Mudhoney, this is it.  USES 9V DC NEGATIVE CENTER. 4MA CONSUMPTION. DO NOT USE MORE THAN 9V DC, OR YOUR WARRANTY WILL BE VOIDED.  THE SUPREME DOES ALLOW FOR BATTERY OPERATION VIA A SINGLE 9V BATTERY. JUST LOOSEN THE TWO REAR SCREWS FROM THE ENCLOSURE AND THE BACKPLATE WILL SWING OPEN. ON THE INSIDE YOU WILL SEE A BATTERY CLIP TO INSTALL THE BATTERY INTO.

JHS Pedals is proud to release the Paul Gilbert signature distortion "PG-14!” This is a new and unique distortion pedal specifically designed to Paul's specifications. At the heart of the circuit is a FET based distortion engine that emulates the touch, feel, and the response of a pushed tube amplifier.  This circuitry allows the player to have the dynamics and tone of loud stadium level amplifier at low/moderate volume levels.   ALL THE MIDS CONTROL! A second unique and essential feature of the design is that an active mid-frequency preamp is located at the front of the FET distortion circuitry. This design feature gives the user a vast sweep of tonal possibilities with any amp or guitar combination. The PG-14 is an end-all pedal for adding the ultimate dirt channel to your amplifier. A bonus feature is that it gives you all of Paul Gilbert's talent, decades of experience, and countless years of practice!  Just hit the footswitch!   THIS PEDAL REQUIRES STANDARD 9V DC NEGATIVE POWER, CONSUMES 67MA, AND MEASURES 2.2"X4.8"X1.6".

The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.  At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.  In 1969, Electro Harmonix released the first “Triangle” version of the legendary Big Muff distortion fuzz. All throughout the 1970’s we see various new revisions of this famous circuit like the V2 "Rams Head” (1973), V3 “Pi” (1977), V4 “Op Amp” (1978), but in 1984 everything stopped. Electro Harmonix filed its second bankruptcy, closed its doors, and the mighty Big Muff disappeared for almost a decade.  In the early 90’s Mike Matthews noticed that his 1970’s Electro Harmonix pedals were selling for vintage/rare prices. By 1991 he worked out a manufacturing agreement with an ex-soviet manufacturing company in St. Petersburg and brought the Big Muff back to life. This new version was technically the 7th version of the now famous Big Muff, but since Mike no longer owned his old trademarks, he labeled it the “Mike Matthews Red Army Overdrive” by Sovtek*.  This is the very first Russian-made Big Muff ever produced and possibly the rarest of all time. Only manufactured in small numbers from 1991-1992, very few examples of this still exist, making this almost impossible to find. It shares characteristics with the famous Sovtek* “Civil War” (Late 1992) version, but it stands on its own. Warmer, clearer, and more defined than any of the Soviet Big Muffs that followed, the Red Army offers a unique flavor of a very familiar effect. The Crimson is an exact replica of my own Red Army Overdrive, allowing you to own a unique part of fuzz history.   The controls are Volume, Tone, and Distort. Volume sets the overall output level of the effect; turn it up and things get louder. Tone lets you sweep between bright and dark tones so that the Crimson works well with a range of different amplifiers and guitars. Distort is the distortion control; the more you turn it clockwise, the more fuzz you create. On the side you will see a “Mode” button that lets you access a never before heard “JHS Mode”. Push that button for a mid frequency boost that forces your sound through the mix.  If you love the tones of the Smashing Pumpkins, Wilco, Sonic Youth, David Gilmour, White Stripes and Dinosaur Jr, then this is the pedal for you. USES 9V DC NEGATIVE CENTER. 4MA CONSUMPTION. DO NOT USE MORE THAN 9V DC,OR YOUR WARRANTY WILL BE VOIDED.  THE CRIMSON DOES ALLOW FOR BATTERY OPERATION VIA A SINGLE 9V BATTERY. JUST LOOSEN THE TWO REAR SCREWS FROM THE ENCLOSURE AND THE BACKPLATE WILL SWING OPEN. ON THE INSIDE YOU WILL SEE A BATTERY CLIP TO INSTALL THE BATTERY INTO.

The "Legends Of Fuzz'' series is a collection of the world's most historic, rare, and sought after circuits.  At JHS, fuzz pedals have been in our lineup for over a decade. We have designed original circuits, replicated classics, and we have seen the trend of fuzz popularity come and go. The "Legends Of Fuzz'' series is our tribute to the most important fuzz circuits ever made. It is our way of ensuring that the stories of these effects live on in the music that you are going to make. From the earliest days of fuzz in the mid-60's London scene to the 1990's ex-Soviet military factories that brought the Big Muff back to life, fuzz tells a story, and that story includes guitarists just like you. There is nothing more primitive than plugging your guitar into a vintage fuzz circuit; it is raw, untamed, and so pure that it pushes the boundaries of what your instrument can accomplish. Plug into a fuzz and plug into sixty years of beautifully broken sound.  In April of 1965, a new device changed rock 'n' roll forever. From the back workbench of Macari’s Musical Exchange on Denmark Street in London, Gary Hurst invented the Sola Sound* Tonebender* fuzz. Building on the foundation of the American-made 1962 Maestro Fuzz Tone*, Gary expanded what fuzz could do and gave a new sound to the thriving London music scene. Starting with his very first prototype made in a simple wooden box (April 1965) to the many other official Sola Sound* versions like the MKI (Sept 1965), MK2 (Mid 1966), MK3/MK4 (Feb 1970), etc., the Tonebender* has evolved just like the music that it helped create. The JHS Bender is our attempt to recreate the most prized Tonebender* in my collection: my 1973 MK3 Silver/Orange “Onomatopoeia” version. This version has three very special germanium transistors, tons of mojo, and fifty plus years of experience, but it is finicky and it doesn’t always do what you want it to do. I had to ask: could we replicate this pedal sonically? Could we capture what it's all about, but in a way that is more consistent, dependable, and easy to manufacture? Yes. The end result is a pedal that gives you the touch, feel, and response of the vintage germanium fuzz but with accuracy and consistency of carefully chosen modern silicon transistors.  The controls are Volume, Tone, and Attack. Volume sets the overall output level of the effect; turn it up and things get louder. Tone lets you sweep between bright and dark tones so that the Bender works well with a range of different amplifiers and guitars. Attack is the distortion control, the more you turn it clockwise, the more fuzz you create. On the side you will see a “Mode” button that lets you access a never-before-heard “JHS Mode”. Push that button for more gain and a mid frequency boost to send you leads soaring through the mix. With higher Attack settings in this mode, you will feel the fuzz slightly gate depending on your picking dynamics. If you want a fuzz that can go from middle of the road crunch distortion to full out aggression, the Bender is for you. The tone control is extremely flexible and allows for dozens of sonic variations that most fuzz users only dream about.  If you love the fuzz sounds of Led Zeppelin, Jeff Beck, The Beatles, Mick Ronson (David Bowie), and My Bloody Valentine, then the Bender is for you.   USES 9V DC NEGATIVE CENTER. 4MA CONSUMPTION. DO NOT USE MORE THAN 9V DC, OR YOUR WARRANTY WILL BE VOIDED.  THE BENDER DOES ALLOW FOR BATTERY OPERATION VIA A SINGLE 9V BATTERY. JUST LOOSEN THE TWO REAR SCREWS FROM THE ENCLOSURE AND THE BACKPLATE WILL SWING OPEN. ON THE INSIDE YOU WILL SEE A BATTERY CLIP TO INSTALL THE BATTERY INTO.

Cabzeus is a algorithm-based  speaker - cabinet - miking  simulator system. Connected direct to your gears this device enables you to obtain the sound of a miked-guitar amp cabinet without the hassle of miking your cabinets. Extending this basic function, we’ve built into Cabzeus a plethora of unique and powerful features that goes beyond simple speaker simulations. Stereo I/OCabzeus has 2 independent channels, each with its own input, thru, and output. Using a special software that we provide you can freely customize the simulation aspects (speaker type, cabinet type, mic placement, etc.) of each channel independently. To help you get the most of your stereo setup, we have also included powerful stereo processing functions such as : adding short delays (0.02 ms to 125 ms) to one of the channel. blending two simulation channels. independent volume and phase control.  2 Operating Modes : Stereo Cabs : simulates the process of close-miking two independent speaker cabinets. Each simulator channel has its own extensive set of parameters, including speakers and cabinet type selections, mic-placement , blending, phase, and volume, offering rich and versatile simulation scenarios for both live and direct-recording applications.   Stereo Mics : simulates the process of capturing the sound from a single speaker cabinet using two microphones, one mic is placed close to the speaker (close-mic) and the other is placed further back in the room (room-mic). An extensive set of controls offers flexible arrangements and powerful means to combine the two microphone signals into huge expansive stereo sounds. Balance of Analog and Digital.Cabzeus uses advanced DSP processing techniques coupled with clean and robust analog circuit designs which ensures optimal operating headroom and absolutely minimal noise. Each algorithm has been painstakingly hand-crafted and tuned to achieve faithful emulation of popular and proven speakers and cabinets, we literally spent hundreds of hours analyzing speakers data and an equal amount of time reconstructing their responses through complex algorithms.Speaker & Cab selectionSpeakers selections are organized into 4 classes: Guitar, Bass, Gears, and Miscellaneous. Integrated DI BoxYou can connect a wide range of input sources, ranging from your favorite stompboxes, preamps, your head amp's speaker out, to any music player (see Application Ideas). Its stereo balanced outputs are capable of driving long cables straight to mixing console or FOH speakers. These outputs are tolerant to phantom power, they will not be damaged by accidental application of phantom power. Key Features : Compact, stereo Speaker / Cabinet simulator + DI Box. 2 inputs - 2 thrus - 2 outputs (balanced) 8 Presets. Input Pads : 0dB (unity), -20dB or -30dB. Independent Mic Position controls. Deep algorithms editing via CabsLab® software. MIDI and External Switch Inputs for remote preset change. Stereo headphone out with volume control. Internal charge pump circuitry boosts 9V supply voltage to 18V for extended headroom. Specifications : Input impedance: 1 MOhm.   Output impedance: 300 Ohm.       Sampling rate : 48 KHz. DAC / ADC resolution : 24 bits. Current consumption : ~150 mA. Weight : 0.6 Kg (1.2 lbs). Dimension : 12 (L) x 9 (W) x 5.5 (H) cm Power source requirement : 9VDC (negative center).

Cabzeus MONO is a compact yet powerful speaker simulator + DI.Box pedal. It was developed as a single channel version of its stereo big brother, Cabzeus. Cabzeus Mono offers 12 Speaker algorithms modeled after the real-life counterparts, each algorithms has 4 variations (speaker size and cabinet type), for a total of 48 sounds to select from. Simple yet effective user interface lets you browse through the algorithm library and user presets with ease. The speaker simulation may be bypassed allowing you to use Cabzeus Mono as a straight forward DI Box. Headphone OutA headphone out with a dedicated volume control allows you to have a silent practicing session in the middle of the night. And to make your headphone listening experience more satisfying, despite only mono signal is available, we added a capability to insert an adjustable amount of short delay on the Right channel audio to widen the perceived stereo field. Integrated DI BoxYou can connect a wide range of input sources, ranging from your favorite stompboxes, preamps, your head amp's speaker out, to any music player (see Application Ideas). Its stereo balanced outputs are capable of driving long cables straight to mixing console or FOH speakers. These outputs are tolerant to phantom power, they will not be damaged by accidental application of phantom power. Key Features : Compact Speaker / Cabinet simulator + DI Box. Ports : Input, Thru, Outputs (balanced - XLR) 2 Presets. Input Pads : 0dB (unity), -20dB or -30dB. Mic Position control. Stereo headphone out with volume control. Internal charge pump circuitry boosts 9V supply voltage to 18V for extended headroom. Specifications : Input impedance    : 1 MOhm.   Output impedance : 300 Ohm.       Sampling rate : 48 KHz. DAC / ADC resolution : 24 bits. Current consumption : ~120 mA. Weight : 0.45 Kg (0.9 lbs). Dimension : 7.5 (L) x 9 (W) x 5.5 (H) cm Power source requirement : 9VDC (negative center).

Enclosure Dimensions (in):  4.77" x 2.6" x 1.39" Power:  9-18 volt neg. center pin ONLY.   Current draw:  10mA @ 9v.   The Southland Harmonic Overdrive is built on the Lightspeed Organic Overdrive platform, we have developed what we believe to be the best overdrive on the market.  The Lightspeed was built with the specific purpose of being a light to mild overdrive.  The Southland is the next logical step for the Lightspeed platform—more gain, with two stages of clipping (utilizing different diode types for each stage of clipping), a focused midrange (not that annoying “hump”), and a bit of presence on top of the signal, to help cut through the mix.  The Southland Harmonic Overdrive, like the Lightspeed, is touch sensitive, responds to pick attack, and has dynamics that just won’t stop.  On top of that, we’ve selected a chip to drive the Southland that takes it to the next level.  The Southland Harmonic Overdrive will fit with any musical style, and pairs amazingly well with the Lightspeed Organic Overdrive.  If you're looking for two pedals that stack amazingly well together, and can give you a rich, harmonics-filled overdrive tone, then it's time to get a Southland Harmonic Overdrive, AND a Lightspeed Organic Overdrive, today!!! ***NOTE***We've been getting quite a few questions, about whether or not the Southland and Lightspeed cover the same territory.  The truth is that they don't.  The revoicing of the circuit to have more of a focus on the mids, and more presence in the top end, as well as the increase in gain of the circuit, push the Southland to a place that the Lightspeed doesn't get to...one of the primary goals with the development of the Southland was to create a pedal that was different, AND would work well together with the Lightspeed.  The combination of the Southland and the Lightspeed make for one of the most heavenly overdriven tones we've ever heard...and we're okay with that! Amazing mild to medium overdrive and crunch! Thick harmonics, amazing sustain! Focused midrange (without the annoying hump), and extended presence range, to help cut through the mix! True Bypass! Uses 9-Volt battery or standard neg. center, 2.1mm power supply. Built with top quality components Lifetime warranty to the original owner!

Enclosure Dimensions (in):  4.77" x 2.6" x 1.39" Power:  9-18 volt neg. center pin ONLY.   Current draw:  10mA @ 9v, 18mA @ 18V.  A brave new  world of tone, the SOMA ‘63 Vintage Preamp is the first pedal in the XFR series of pedals from Greer Amps. The SOMA ’63 is a true vintage preamp, based on the tone and feel of vintage brown era amplifiers from California. This pedal simulates the entire preamp, phase inverter, power section, and even the feel of the vintage 10 inch Utah speakers that were in those famous brown amps. The tone stack is designed to provide a wide and dynamic range of tonal options to the user. The Presence control works with the tone stack, and is designed to be a wide range control, effecting the overall sound of the entire circuit. The SOMA ’63 features a steel core transformer in the audio signal path. The transformer lends to the overall tone shaping of the circuit, and when the gain is pushed hard, especially with higher output pickups, the small steel core transformer will saturate, just like a vintage amplifier. The SOMA ’63 can be used as a tone-shaping preamp, or as an overdrive pedal. There are a wide variety of tones available in the SOMA ’63, so spend some time with your new pedal, and find the tones that rock your world! The SOMA ‘63 runs off of a standard, negative center pin 9 volt power supply, and can be ran off of up to 18 volts. At 9 volts, the SOMA ‘63 will have more grit and texture. At 18 volts, you can expect higher headroom, a bit stiffer response, and less overall grit. Greer Amps’ lifetime warranty covers manufacturing defects and component failure to the original owner, it does not cover misuse or abuse.

Enclosure Dimensions (in):  4.77" x 2.6" x 1.39" Power:  9-18 volt neg. center pin ONLY.   Current draw:  15mA @ 9v. Greer  Amps expands the XFR line with a new offering!  The Royal Velvet Class-A British Drive and Pre nails the feel and tone of two of Nick Greer’s favorite amps. Imagine a world in which a V*x 30 watter and a Greer Thunderbolt30 got together. In that world, you’d end up with a sound machine much like the Royal Velvet. This British drive and pre features the same transformer as the previously released, award winning SOMA63. After a year of working with this super versatile transformer, we have found a way to alter the feel of it by changing the “loading” of the transformer. This really brings the pedal to life, and makes it something truly unique in the space of drive pedals today. If you’re looking for that Class-A British grind with some chime on the top end, this beauty is what you need. The EQ is dialed in right between the AC and Thunderbolt30 tones, and the drive is oh so sweet. At 9 volts, you’ll get some grind and slight compression with the gain up and moderate output pickups. 18 volts provides more of a stiff feel, and more clean headroom with that British sparkle! Classic British tone, drive, and grind! Features a steel core transformer! Can be used as a preamp, and takes drives amazingly well (stack it--it sounds great when it's stacked with other drives)! True Bypass! Uses 9-Volt battery or standard neg. center, 2.1mm power supply. Built with top quality components Lifetime Warranty to the original owner!

ROOMS is a stereo, multi-function digital reverb capable of searing volume, gated walls of sound, and long, trailing reverberant ambiances with an intuitive array of controls designed with live mood-bending in mind. ROOMS was designed to the highest standards of flexibility and audio fidelity. A studio-quality mixer section provides independent DRY and FX controls over six meticulously programmed reverb algorithms; ROOM, DIGIT, PEAK, GATE, WAVE, and GONG. Each different verb is capable of a universe of sounds, and ROOMS is here to help you explore them. ROOMS' creative I/O switching and dual-mono dry signal lines allow for a wealth of possible mono and stereo configurations, making it easy to route signals for parallel processing or stereo amplifier setups. CONTROLS  FREQ: Controls the frequency parameter of the current mode. DEPTH: Controls the depth parameter of the current mode. TIME: Controls the reverb time in all modes. DRY: Controls the volume of the dry signal, from -inf to 20x gain. FX: Controls the volume of the reverb signal, from -inf to 20x gain. ALT: Engages the ALT mode, switching between two sets of controls. When active, FREQ is controlled with the F knob, DEPTH with the D knob, and TIME with the T knob. Additionally, the ALT mode turns on expression control of either FREQ or TIME using the F<->T Switch on the side of the pedal. NOTE: Expression control ONLY works in ALT mode and when an expression pedal is plugged in. SPECIFICATIONS Dimensions: 5.95" x 3.86" x 2.96" (including hardware). Weight: 18 oz. Power: 80 mA, 9V (runs on a standard 2.1 mm negative center 9V adapter). Expression Pedal: Almost any expression pedal will work with ROOMS. When not plugged in, the controls work as normal. NOTE: Expression control ONLY controls the F or Tknobs when ALT mode is engaged and when an expression pedal is plugged in.

A synthetic atmosphere creator. Use the effect on any instrument to add depth and simulate different environments. Push the Altitude and hear the reverb blasted with gloom and distorted shimmer. Flip the tone toggle to get completely different vibes. Experiment and combine a variety of settings to obtain the perfect ambiance for your sound. CONTROLS Vol: Controls the master output volume. Altitude Control:  This is similar to gain. Turn it up to bring in a more wide open, distorted sound. Verb: Blends in the amount of reverb. Dark/Light Symbol:  Dark cavernous reverberation to  bright shimmering reverberation. **When the Altitude and Verb controls are turned past 12 o'clock, the pedal can produce potentially harmful volumes, white noise, and other artifacts** . SPECIFICATIONS Dimensions: 4.86" x 3.67" x 2.06" (including hardware). Weight: 14 oz. Power: 9V (runs ons a positive ring, negative tip 9V DC adapter or included 9V battery). Current Draw: 66 mA.

A powerful, ethereal delay pedal with otherworldly controls. Push the feedback for vast worlds of colorful sound. Introduce a bit of warble with the modulator for ghastly chorus tones, or a ton of it to absolutely warp the delayed signal. Once your delay is thoroughly warbled, turn up the fuzz and pulverize it into delayed, shattered pieces. This is the preferred echo for recording engineers and touring pros around the world because, simply put, it just sounds that good. CONTROLS Master: Sets the overall volume. Fuzz: Sets the amount of gain, from clean to fuzzed-out bliss. Delay: Sets the volume of the delayed signal. D Time: Controls the delay time (numbers shown in milliseconds) between 20 ms and 1.2 seconds. Long delay times can create flutter, noise, and distortion.  FBack: Controls the feedback of the delays, from slapback to wild runaway oscillation.  Left Toggle:  Up for clean blend,  down to kill the dry signal and hear only the repeats. Speed: Controls how fast the modulator runs.  Depth: Sets how far the modulator will swing the delay time. At high intervals, the pitch of the repeats will shift several semitones! Right Toggle:  Up for a smoother modulator waveform,  down for a sharp, square-shaped wave. . SPECIFICATIONS  Dimensions: 5.87" x 4.72" x 2.35" (including hardware). Weight: 21 oz. Power: 9V (runs on standard 2.1mm negative center 9V adapter or included 9V battery). Current Draw: 40 mA.