pedal

Designed with our friend Brian Hamilton from smallsound/bigsound for OBNE demo boards, we thought it a reasonable idea to offer every bedroom player a way to not annoy those around them.  Simply plug in the output of your pedalboard to the headphone amp, plug in headphones and blast your volume.  Play whatever you like, you're the only one who can hear.  Or a buddy can plug into the additional Headphone output.  Headphone output is mono out. Two 1/4 Headphone Output jacks allow two users to simultaneously listen. 9VDC ***Not to be used as a normal amplifier pushing cabinets.  Outputs are only intended for Headphone use.***

From Old Blood Noise:What began as a simple request for a vocal version of an Old Blood effect spiraled into a multi-function device with 10 new effects, versatile in/out and send/return sections oriented toward any instrument you want to throw at it, and ample control over all elements. It’s the new multi-tool for effects lovers on stage and in studio. XLR preamp for use with microphone level signals Switchable saturation section with blend, volume, and tone controls Two independently controlled effects sections with modulations, delays, reverbs and octaves, and controls over mix and two parameters of each A send/return to patch in external effects Post-saturation dry output for mixing versatility Relay bypass switching with momentary or latching functionality and effects trails Standard 9VDC center negative power

The Old Blood Noise Endeavors Mondegreen pedal is a digital delay hellbent on giving you something different than what you put in.  It’s delay. Into modulation.  And it’s weird.   A three-way toggle switch selects between three modes of modulated delay.STUTTER: A delay with a percussive tremolo on the trails.  WHIRL: A modulated delay adding chorus on the wet signal.  SHEER: A delay with increasing octaves on the repeats. Perhaps it’ll be strange enough in your hands.  Perhaps I’m underestimating your adventurous nature.  You sly dog.  Precocious Pup.  Get out of here.  Go get weird.   9VDC - 2.1mm negative center pin adapter.60 mA draw. The art of the Mondegreen comes from the illustrative ends of Jake Blanchard's mind. Check out more of his excellent work here: http://www.jakeblanchard.co.uk

Out of the hazy, sand blown distance, something comes forth.  Moving slowly, moving softly, it is seen and just as quickly lost.  It echoes in the open air, a voice on the wind.  It’s a Procession.  A cavalcade making its way through the deserts of a distant planet.  The sounds of another world.  Or something along those lines. Which is where the Old Blood Noise Endeavors Procession reverb comes in.  Its what we would use to create a science fiction soundtrack.  A strange mix of haunting reverb and three modulation settings, the Procession aims at inspiring something new, something fringe and something risky.The Procession's simple controls run the gamut of reverb soundscapes ranging from simple reverb to complex Sci-Fi filtery echo weirdness.  The Mix and Reverb knobs control the mix of dry/wet signal and the decay of the reverb, respectively.  The Speed and Depth knobs correspond with the selected modulation mode: Flange, Filter or Tremolo.The Procession has two footswitches.  The Bypass switch is your standard on/off True Bypass switch.  The Hold switch is a momentary footswitch that when pressed, will lock in whatever note is being played through the reverb effect.  This will sustain as long as the Hold switch is pressed.  If the Mix control is set less than 100% wet, you can continue to play over the sustaining reverb signal.- 9VDC - 2.1mm negative center pin adapter.- 60 mA draw.- The Procession now features an expression out jack and clickless switching.  The output level can be tweaked via an internal trimpot for boost, slight drop, or unity gain.

TOKI is a fuzz and fuzzy driver designed to deliver a wide range of textured gain sounds. Use the trim control to create “fuzz as light overdrive” sounds, hit both bright switches for some 70s glam riffs, find somewhere in between where you want to hang out. Discrete front end and IC back end for a versatile hybrid-fuzz experience. TRIM is a passive pad at the beginning of the circuit. CMP is a capacitor load control that can tweak the top-end of the signal. PAD is a passive pad between discrete gain stages. GAIN adjusts the drive of the second discrete gain stage and LEVEL is the final output control. The output driver is after the level fader to ensure that output impedance remains consistent. TOKI maxes out at about 57 dB input-to-output gain, although internally it’s making more than that. It draws a little less than 100mA. TOKI can be used after a buffer or input driver (like EUNA), and also can function as an always-on input driver at the beginning of the board if you like warm guitar tones. It stacks great with FLWR, JFET and OAMP. It will drive heavy loads, making it equally happy at the end of your board. The same WHATEVER power input and relay-based switching as our other pedals, and instant-bypass whenever power is removed.

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.

Rainger FX have produced the world's first gated delay pedal, the Echo-X. A development based on the original Echo-X pedal from 10 years ago, it's a digital delay, and the repeats can be controlled by the envelope of the guitar signal itself; stop playing and the repeats stop too. This gives the effect of the echo being far more "˜part of the sound', at times feeling like a tightly-edited guitar sample. It makes runaway feedback oscillations far more manageable too "“ each separate phrase can have wild howling feedback, with silence in between, then new feedback on the next phrase. Add to this some real-time control using the Rainger FX Igor controller, and pitch-bent echo swirls take over"¦Despite having four switches, five knobs, three LEDs and a foot controller "“ unbelievably - it's still a mini-pedal. Each Echo-X is supplied with an Igor "“ a dual-sensitivity pressure pad. Lightweight, no moving parts "“ and giving an easy solution to expression on-the-fly.

The Reverb-X really comes into its own in how it can deal with the reverb. It's based on the excitement of plugging an overdrive pedal after a reverb pedal; it's "˜wrong', but everything you play sounds huge and epic, exaggerated and full of texture and detail"¦ Here, an overdrive circuit "“ after the reverb "“ can be blended in via the "˜Distn' knob. Have it totally clean, a bit gritty, quite rough, or dial in a fully burnt-out glow. At all times, however, the input signal is unaffected; if you already use an overdrive pedal, the Reverb-X can add a whole new dimension of distortion to your sound! If your tone is clean however, it stays clean "“ no matter how much distorted reverb you dial in. Usually though, in this situation when you stop playing, the hum from your cable alone would be as loud as the notes you were playing! So you have to have a noise gate involved.

The Stinger Boost: A single-transistor boost featuring rare NOS (New Old Stock) transistors, the Stinger Boost delivers classic midrange honk that cuts through any mix. A switchable silicon and germanium circuit lets you dial in everything from glassy bite to warm, vintage saturation. The germanium mode provides a smooth and warm boost, and the silicon circuit delivers a brighter and hard edged push. The pedal’s single Boost knob controls the magic, offering everything from a subtle push to a full-on vintage-style gain boost.

The Stinger Drive: Inspired by the iconic MXR Distortion+ and DOD250 pedals, the Stinger Drive features Volume and Gain controls to dial in rich, midrange-forward drive with a smoother high end than traditional circuits. Built using a mix of NOS and modern components, this pedal delivers sought-after vintage tone with modern reliability. Combining old-school looks with modern reliability, each pedal is hand-aged and uniquely relic’d, making it look like it has spent 30 years on the road. Open one up, and you’ll see true vintage-style wiring, with all components on full display—just like they did back in the day. NOS transistors; hand-selected components for authentic vintage tone 9-volt operation via external power supply or on board battery Individually hand-aged enclosures for a one-of-a-kind look True bypass switching

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.