Pedal

This pedal is the mini version of the Air Traffic Controller – but with a switchable filter. The overdrive circuit (not switchable) is from the (now discontinued) El Distorto, so this is actually a two-in-one pedal. With the filter on and some white noise blended in it gives a’ moogy-soloing’ hi-resonance funk sound, or a stinging and intense lead tone. Filter off gives our tweaked mid-rangey optimum fuzz (as loved by Billy Gibbons).White noise hiss is a feature often ignored in ‘synth’ pedals, but it can add a great texture to the tone. Here it’s blendable; have none at all, just a clear zing – or crank it up towards electro percussion….There’s also volume and drive controls, a ‘hi/lo’ resonance button, and an ‘incoming’ signal indicator. It’s powered by standard 9v PSU (centre earth) – not included.This is actually the most flexible pedal from Rainger FX, covering guitar sounds that range from chunky and straightforward, or with a more electro edge, through to noise-based percussion guitar.  

Rainger FX Break Box Distortion PedalThe Break Box distortion is a high gain drive pedal – with a few extra tricks up its sleeve!Based on the Rainger FX El Distorto overdrive pedal from way back in 2009, the Break Box has the back half of a Tonebender added to it, the circuit taken directly from the Freakenbender – our Colorsound collaboration. The result is a stompbox with lots of low-end, good amounts of mids (not scooped), and some searing highs. Distortion goes from a light crunch to a high-intensity heavy distortion.Active sustainHold any note and chord for a second or more, and a chorus effect fades in – audibly growing the sound. This pedal has active sustain, transforming it from in-your-face dry chunky attack into a 3D room-like churning howl! It’s like a wave coming from behind and pushing you on…..You can adjust the chorus speed – from a slow twist to a fast psycho-wobble. Every long note-bend in a solo has extra flavour and meaning, every feeding-back chord now has movement. Because of the delay in the chorus appearing, you can play fast chords or note clusters – keeping all the accuracy and precision of modulation-free sound – with a glorious chorus bloom fading in on the longer-held bits.However, even with all this going on the Break Box is totally quiet when it should be; a noise gate unobtrusively shuts down any hiss and hum when you’re not playing.

Inspired by the incredible response to the Voyager I tremolo, Spaceman has carefully extracted the drive and tone-shaping elements to create the Apollo VII. Familiar sounds and new features collide in this explosive design.The simple control interface houses refined features while offering the highly regarded tone of the original. As a tribute to the Apollo VII, NASA's first three-person space mission, there are three controls: level, gain and tone. Each has been optimized to offer a wide variety of sounds, with up to 40dB of gain on tap. The toggle switch also provides three options: LED clipping, silicon diode clipping, and no diodes. LED clipping offers mid-range focused grit - this is the sound of the Voyager I. Silicon diode clipping provides a more compressed and aggressive sound with a smoother decay tail. With no clipping diodes in circuit, the Apollo VII becomes much more touch-sensitive and will growl and bark with astounding dynamic variation.Hand-wired and built in Portland, Oregon, the Apollo VII features true-bypass relay switching with a soft-touch footswitch. On top of the cast-aluminum enclosure sits a durable, engraved vinyl faceplate and jewel indicator light. This pedal is built to last a lifetime, both on Earth or in the vacuum of space. Features: - Three controls: level, gain and tone- Optimized to offer a wide variety of sounds- Up to 40dB of gain on tap- Three option toggle switch: LED clipping, silicon diode clipping, and no diodes

The Aurora is an analog flanger pedal that spans a spectrum of classic-sounding flanger tones to wild new experimental ones. This pedal is loaded with a great number of utilizations for whatever flanger tone you are on the hunt for. The Aurora features three modulation types across five settings accessible via the center knob. Two LFO modes, two tape modes, and one unswept comb filtering mode come together in a pedal that provides you with an enormous amount of freedom to tonally explore. The flanger effect can range from a quirky sweep to a blaring siren easily to cover a large amount of ground. Additional functions include a Trigger switch to uniquely interact with each of the five modes and controls to dial in additional forms of modulation. These settings can bring out some chorus or vibrato-like modulation when keyed in on. The Aurora is a pedal that is begging to be played while you sit back and enjoy your next flanger venture.

PRODUCT DESCRIPTION The Spaceman Delta II is a powerful optical harmonic tremolo with extensive tone shaping and rhythmic capabilities. The novel LFO enables its pilot to craft harmonic, and traditional tremolo sounds that stagger, hop, buzz, beat, and swirl with unparalleled variety using a brilliantly simple interface. Soar through the sonic scenery as evolving rhythms throb and pulse through your consciousness like stars flickering across the cosmos. TRULY HANDCRAFTED Hand-wired and built in Portland, Oregon, the Delta II features true-bypass relay switching with a soft-touch footswitch. On top of the cast-aluminum enclosure sits a durable, engraved vinyl faceplate and jewel indicator light. This pedal is built to last a lifetime, both on Earth or in the vacuum of space.

Expand Your Sonic Horizons With Enhanced Modulation And Mixing Capabilities - The Spaceman Effects Artemis Modulated Filter Pedal The Artemis represents a reimagining of one of the oldest, most prominent families of effects: Filter pedals. Featuring a 2-pole state-variable design with high-pass, band-pass, and low-pass outputs and enhanced modulation and mixing capabilities, the Artemis is a new vector to expand your sonic horizons. A host of animation possibilities from conventional to bizarre await you via the 7-mode modulation bus. From there, Artemis offers the unique ability to access each filter response individually or in tandem, presenting an unparalleled level of custom tone shaping ability. Plug in to an Artemis and explore a distant shore of your creative Sea of Tranquility. Simultaneous HP, BP, and LP output Notch filter and custom filter responses possible for phased and vibe-like tones Up to 10dB of boost per output, with infinite cut 15Hz-5kHz corner frequency range Modulation may be disabled for use as a 3 band EQ Additional control via external expression pedal or CV

The Spaceman Effects Sputnik III is a unique all-germanium fuzz featuring vintage Soviet transistors. Offering an uncommonly wide range of fuzz tones, it truly runs the gamut: smooth, gritty, vintage, modern, thick, thin, buzzy, bassy, splatty, sputtery, noisy, velcro-ripping, controlled, or completely off the rails. Astonishingly responsive and versatile, the Sputnik III is ready to transport you into a universe of grit, chaos and corruption.  

The Polaris is a low to medium gain overdrive with a unique set of features. Building on top of an impressive overdrive, the Polaris features a unique filter feature accessible via the Filter control or expression pedal connection. Three filter options allows you to dive in and interact with the Polaris directly and sweep through different filtered voices. The Polaris introduces a distinct layering effect with the Initial control that can be used to mix in your pre-filtered overdrive tone for some fuzzy undertones as you play along. With unique tonal settings and plenty of experimentation to be had, the Polaris invites you to get in on the spacious, overdriven action.

Spaceman Titan II Fuzz Effects Pedal The Titan II Fuzz Machine is a unique discrete circuit using silicon transistors.  Despite only having three control parameters, the Titan II packs a wide array of distinct tones within its cast aluminum shell. Named after the NASA rocket that launched the Gemini manned space missions, the Titan II has arrived to blast your tone into the stratosphere! FUZZ, DISTORTION, OVERDRIVE… The Titan II is a unique discrete circuit using silicon transistors. Despite only having three control parameters, the Titan II packs a wide array of distinct tones within its aluminum shell. At full bore, you will get splatty, nasty fuzz tones; but the wide-range Gain control also delivers great low gain tones that start to crossover into overdrive territory. Furthermore, in-between these extremes exist fuzz-tinged distortion tones as well. SIMPLE CONTROLS, COMPLEX RESULTS For even more tonal variety, the Titan II cleans up nicely with the volume on your instrument, adding additional levels of fuzz textures and expression. The Tone control offers a complex tonal shift, allowing the Titan II to cover an incredible range of tone and texture. The Titan II sounds awesome with standard, bass and baritone guitars, as well as most things you plug into it.  

An overdrive for guitarists needing their amp to sound great at any volume. The all jFet design stacks well with other overdrives, pushes your tube amp for more sustain, and  most importantly sounds great on its own through a clean amp at any volume.

World’s first octave modulator / octave shift pedal. World’s first shepard tone guitar synthesizer. LFO and envelope octave shifting. All analog filter design. Inspired by old school synthesizers and the 8 bit computing era. The first ever guitar synth with octave modulation So what the heck is octave modulation? The octave theory seamlessly crossfades between octaves. Paired with an awesome filter this creates a multitude of possibilities. like 8 bit chiptune sounds, classic guitar synth, super sub bass tones and the world’s first ever shepard tone guitar synthesizer. With great power… An array of knobs covered many early 1980s synthesizers. This gave you the power to create a wide range of sounds. Of course, on some settings the synthesizer wouldn’t make a sound, would go into uncontrollable oscillation, or make weird noises. Sometimes the weird noises weren’t the weird noises you expected. While many guitarists enjoy tweaking and honing their tone most of us don’t have that level of patience for fiddling with a matrix of interactive settings. The Octave Theory strikes the perfect balance giving you the power to create your own sound without endless knob tweaking or (gasp!) a tedious menu driven interface. The Filter: Resonant filter inspired by the Korg MS20. Like the MS20 the resonance knob can push the Octave Theory into oscillation. Most guitar synth pedals won’t let you go there. They think you can’t handle so much raw power. To be fair many of those filter oscillation sounds can get shrill or overbearing. If you keep the filter frequency low you can give your synth tones some growl. Use this power responsibly.  AMP vs. Filter priority and envelopes. ADSR envelopes are a mainstay of synthesizers. While lacking full external ADSR control an internal ADR (Attack/Decay/Release) envelope is generated to control the oscillator output level. (AMP – synthspeak for modulating the oscillator output level.) AMP Priority (white marker): In modes with the white marker the decay knob gives you full control of the AMP decay. In these modes the filter also follows the ADR envelope at a fixed depth. This allows you to make notes decay quickly and gracefully. Turning the knob up allows for longer decay times. Filter Priority (green marker): In green marker modes the filter follows an envelope generated by the strength of the input. (The same way envelope filters work) The depth knob controls how much influence the the input envelope has over the filter. When in filter priority the internal ADR envelope is fixed with infinite decay time. Octave Modulation: Modulate your octaves in four ways. LFO modulation, envelope modulation, shepard tone, or manual mode. LFO: This is where you’ll find the chiptune sounds, especially with the square and double square wave modes.In the triangle, square and double square modes the filter follows the internal ADR and the freq knob. In random Mode the filter follows the LFO. The octave mod knob controls the LFO speed. Envelope: Playing dynamics modulate the octave cross fade.  The octave mod knob controls the envelope’s overall influence.  Shepard Tone:  As you work your way up the guitar neck playing higher notes, the octave cross fade descends. When set = modes playing one octave higher will produce the same note. You can play up the neck forever and arrive at the same pitch whether you are playing an open low E or the high E string on the twelfth fret. In ↓ modes the output pitch will get lower and lower as you play higher up the neck. In all shepard tone modes the oct. mod knob manually controls the octaves from several octaves down to several octaves up. Manual mode: This is most similar to our original guitar synth pedal, the Octasynth, but with the most requested feature added. Instead of the Octasynth’s blend control which only allowed for one or two octaves down, the oct. mod knob takes you from three octaves down to two octaves up.

Once again we’ve knocked the world of filter pedals off its axis. Autowah, envelope filter, step filter, random sample/hold filter, even a pixelated envelope filter. This one does it all. After a year in development we present The Prometheus DLX. An analog filter with digital control. We made sure to not build in any artificial limitations. The filter sweep goes above and below normal guitar frequencies, and works well with other instruments such as bass and synthesizers. Select between lowpass, bandpass and highpass filters, and virtually unlimited ways to manipulate them. We took the mad science of the original Prometheus and multiplied it, adding features that not only increase the sonic possibilities, but also make it easier to use. The DLX is a re-imagined Prometheus that uses all the knowledge we gained from The Quasar DLX, and our experience making the most exciting filter pedals in the world. We also added some improvements. More resonance? Yep! Tap tempo? You got it! For even more headroom the DLX will operate at 18 volts. There’s even an internal switch to add a dry signal blend to the bandpass filter. (See, we love you bass players too!) While the options are nearly infinite, we made sure to keep things simple enough so that the average guitar player could figure them out in a few minutes. The Prometheus DLX has nine basic functions: Analog envelope – forward and reverse. Step – tap tempo step filter based on 7 LFO shapes. Trigger LFO – tap to trigger one LFO cycle. Manual LFO – Manually control LFO speed. Warp LFO – tap tempo LFO speed with wave shape warp. Pixilated Envelope – sample/hold envelope control. Envelope Trigger – Envelope triggers LFO. Envelope->LFO manual – Envelope drives LFO speed. Fixed sensitivity. Envelope->LFO – Envelope drives LFO speed. Variable sensitivity. In each of these settings, the WARP control and TAP/HOLD serve different purposes to get the most out of each effect. The expression pedal input can be used with any non-envelope functions. Depending on the shape & mode settings the expression pedal has a different effect. For example, in trigger LFO mode the LFO shape is mapped to the expression pedal. Select the ramp wave for a “standard wah” effect. Choose the saw wave for a reverse wah. The triangle/square wave is especially strange. We also made major improvements to the step filter in the DLX. We not only added tap tempo, but the underlying LFO rate is locked to the step rate. If the step rate changes, there is no need to readjust anything to keep the same arpeggiated pattern. The warp knob is used to adjust the ratio of the step rate and the underlying LFO between 1:1 and 1:1.5. This ensures that there are no redundant settings. Notes about The Prometheus DLX: Powered by an external regulated 9VDC to 18VDC adapter with a negative center 2.1mm barrel style plug. Power supply is not included. If using a “daisy chain” power supply all other pedals MUST be negative ground. Current draw is less than 100mA. Length 4.7″ x Width 3.7″ x Height 1.2″ Input impedance- 1M Output impedance- Less than 1K. The Prometheus DLX is hand made in Oregon. Die cast metal enclosures for durability. 3PDT switches for true bypass switching. Red/Green LED indicator. Three-year limited warranty July 2015- Version 1.5 update: The most versatile filter pedal on earth just got better.The improvements include: More consistent settings between 9 and 18 volt operation. Minor changes and smoothing of the analog envelope follower Improved power filtering

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.

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.