pedal

Introducing the Octahive v2, one of our legendary bees that has been buzzing since day one! This pedal draws inspiration from the iconic '70s octave pedals, blending vintagetones with modern enhancements. In BUZZZ mode, prepare to unleash a ferocious high-gain fuzz that's perfect for lowriffage and powerful chords. Enter the mystical OCTAVE mode and watch as you'retransported to a mind-bending psychedelic wonderland. And here's a tip fit for a Queen Bee: Roll down the PRE control, switch to your neck pickup, and watch those beeautiful octave harmonics take center stage. But that's not all! We've matched vintage tone with cutting-edge features to enhance your playing experience. Hold the footswitch to instantly switch from BUZZZ to OCTAVE, giving you complete control over your sonic destiny. And with a quick double tap, seamlessly shift between modes, keeping your creative flow buzzing. With three footswitch profiles, you can customize the speed of your momentaryswitching. It's all about tailoring the pedal to perfectly suit your unique vibe!The Octahive v2 is here to deliver the sweetest high octave buzz and allow yourcreativity to soar. Embrace the hive magic and let your sound bee heard like never before!. 

OVERHIVE The Overhive is an extremely versatile medium gain overdrive. It’s round and warm tone respects your amp, enhancing it’s best qualities while dynamically reacting to your playing. This pedal achieves the elusive mid-gain overdrive without making you feel a disconnect between you and your amp. Your sound remains punchy and direct with a warm musical break up and singing sustain. The controls give you nearly infinite possibilities. While the "Body" switch it's great for when you are switching guitars on a set or just feel like adding a low-end boost, the "Hive" switch can make you sound bigger and fatter, or tighter and thinner. The "Honey" control just adds sugar. Roll it down for a nice and smooth crunch, or roll it up for a smooth and dynamic drive, where your hands dictate the breakup. You also got tone control and master volume. With so many possibilities, it's hard to not find a place for it on your board. It's truly a hive of sweet tones.

The Swarm is an Analog Fuzz Harmonizer that sounds like a thousand killer bees coming to get you! It basically turns your input signal into a square wave, than multiplies and divides the frequency of that wave, giving you nine possible harmonies in two different octaves. Modulation is applied to the harmonies making them go from a nearly perfect tracking harmony to a wild and uncontrollable swarm of mad bees. WORKER sets the level of your input signal, now fuzzy and buzzy. SPECIES allows you to select between 9 different intervals for your harmonies. QUEEN and DRONE set the levels for each of the harmonies that stay one octave apart. FLIGHT and STING control the modulation applied to the harmonies. They are highly interactive controls and you will find many different sounds by just messing with them. STING sets how fast or slow the harmonies will follow your playing. Turn it CCW for it to feel like the harmonies sting you at every note you play. Turn it CW and the harmonies will sound like a drunk bee hovering up and down around the root. FLIGHT will set the response of the modulation. CCW the harmonies will keep it oscillating up and down, while CW it will glide and hold from one note to the next. MASTER control will set your output volume. With all that said, no matter how one tries to explain the theory and what each control does, the Swarm is best when played by instinct.

 VEZZPA Octave Stinger  AS THE NAME STATES THIS IS NO ORDINARY BEE. IT’S ACTUALLY A WASP, A NASTY AND AGGRESSIVE ONE WITH AN OP-AMP HEART THAT CAN PRODUCE AN EXTREME HIGH-PITCHED BUZZ. ON FUZZZZ MODE YOU GET A BIG WALL OF FUZZ, GREAT FOR THE COOLEST RIFFS AND POWER CHORDS. TURN DOWN THE SUSTAIN CONTROL TO GET A SPITTY FUZZING TONE OR TURN IT UP FOR A GATED SUPER HIGH GAIN FUZZ. ON STINGER MODE THIS WASP GETS AGGRESSIVE, BRINGING UP THE HIGH OCTAVE AND CUTTING THROUGH THE MIX. HARMONICS ON CRACK BEST DEFINES IT! ITS MULTI-FUNCTION SWITCH ALLOWS YOU TO SELECT BETWEEN THE MODES OR ACCESS THEM MOMENTARILY GIVING YOU MULTIPLE OPTIONS TO BUZZ.  BEE READY TO GET HIGH ON HONEY TONES! SPECS Pedal Size - 5.5" x 3.5" x 2.75" (including knobs, switches and etc) Dimensions - 4 1/2 “ x 2 1/4 “ x 2 1/4” Pedal Weight - 0.5 lbs / 0.25 kg Package Weight - 0.75 lbs / 0.5 kg Package Size - 6.75" x 5.25" x 3.25" Current Draw - 36mA Requires 9VDC power supply (Center Negative) *Does not include power supply

The Whocta Hell is a low octave fuzz, with fully independent controls for the fuzz and the octave. It’s a overdrive/fuzz summed up with a gnarly squared wave low octave, resembling an 8-bit bass synthesizer. Its octave has a range of one or two low octaves, selectable by a toggle switch, and also has its own separate bypass switch. The od/fuzz and octave work fully independently and can be used separately. The magic really happens when you start blending them together and finding your sweet spots. You can create a large range of tones, that can be used on many different ways. It’s up to you to choose between an indie rock lead, a bass synth or super mario bro sounding theme! No matter what you are into, the Whocta Hell will inspire you to create new music. Just do not forget, it is a beeast!  

EUNA is the Elite UNity Amplifier from 29 Pedals.  An input driver that replaces a conventional buffer, EUNA is built to protect and condition your instrument's signal to prepare it for whatever you want to do with it. Console grade build, three great sounding filters, and an alt-path insert loop for your classic fuzz and wah circuits that don't want to be buffered. Also features the 29 Pedals WHATEVER power supply, which accepts 7.5 to 35 volts of AC or DC in either polarity with no change in tone. EUNA is made by 29 Pedals in California. Even a few true-bypass pedals and 20' of cable can hang out your guitar's output and make it feel mushy and dark. Buffers can help, but they are often very simple circuits that create sonic issues of their own.EUNA is an Elite UNity Amplifier. It is designed to protect and condition your guitar’s signal. Use it in place of an input buffer. Plug directly in, first in the chain. You can safely remove all other buffers after it if you wish. We recommend an output driver at the end of your chain. You can use a conventional buffer, or try our output amplifier OAMP. Plug your guitar directly into EUNA with the shortest cable that is convenient.EUNA features an effects loop that activates when EUNA is OFF. It was designed for use with vintage or vintage-style fuzz pedals. The interaction between your guitar and your fuzz is disturbed by any buffering, so EUNA’s effects loop allows you to switch between a buffered input and guitar-direct-to-fuzz. You can also use the loop to remove your tuner’s buffer from the signal chain. Let us know what other uses you find for the loop! If nothing is plugged in to the loop, the pedal is true-bypass when switched off.EUNA features 29 Pedals’ WHATEVER power supply. The WHATEVER power supply accepts 7.5 to 35 volts of AC or DC (either polarity) with absolutely no change in tone. It’s true!!EUNA has three sweetening circuits - Harmonics, Bright and Low. Low adds a little bit of low end. Not too much, just a little bit for some sweet oomf or to make up for low-end loss in your pedal chain. Bright adds some brightness, and Harmonics pushes the air band where guitar harmonics are. Harmonics adds sweet, tube-like chime to any rig.EUNA preserves "touchyness" and "snap." There is also an increase in effective dynamic range of your signal, and in some cases coil noise is reduced! The custom-tailored load kicks the resonant peak of your pickups out typically about 5 or 10k compared to a load of a few true-bypass switches and reasonable cabling. The pickup’s top-end rolloff is smoother too. You'll feel more chime and less pinchy top-end.EUNA will take over +18dB input with extremely low THD* - many other pedals fold about +10dB or less! The extra headroom on the front end means that EUNA will pass through your entire signal. That extra headroom means that fast transients won't ever run out of room - no relatively normal electric guitar could clip this, even for an instant. It's absolutely flat from 10Hz to 50kHz, but all the above features create a perceived tone "sweetness."Connect power to the WHATEVER power input with a standard DC plug. You can use AC or DC, either polarity, 7.5 to 35 volts. EUNA consumes about 120 mA.Use the footswitch to engage or disengage EUNA. The light is brighter when EUNA is ON. When EUNA is OFF the insert loop is ACTIVE. If nothing is plugged into the insert loop, EUNA will be in True Bypass mode when switched off. You can connect a pedal to the Send/Return jacks. Connect SEND to the INPUT of the pedal you want to connect. Connect RETURN to that pedal’s OUTPUT.EUNA is DIY friendly - the opamp is socketed so you can very easily audition chips. Notes on the PCB will help experienced DIYers tailor EUNA completely to their rig. EUNA will drive down to 600 ohms perfectly flat, but there are a few places to delight in hacking. Remove only 4 screws and you can service/mod the entire audio path without disturbing the power supply side or removing the board from the chassis.The construction is a single 4 layer PCB with 2oz copper throughout. Huge traces and fully plated holes, like high-end recording equipment and hifi gear. This method provides superior fidelity and transmission. No jumper wires, fewer soldered connections, shorter paths, more copper. The power supply side is completely isolated from the audio side with a layer of shielding and separate ground planes connected at a single point in a proper star-ground configuration. No electrolytics in the signal path, only for PSU filtering. 1% thin-film resistors, WIMA film caps and other audiophile-grade components complete the short signal path.*THD better than 0.01% at +19dBu input & 10K Ohm load.THD better than 0.01% at +17dBu input & 600 Ohm load.125mm x 92mm or 4.875" x 3.625" footprint. 51mm or 2" tall.

FLWR is an overdrive, distortion and sometimes fuzz! It starts very clean and gets up into Fuzz territory at max settings. It's designed to help you find your own breakup point, so your playing can stay dynamic and full range and still breakup nicely when pushed. The SHAPE controls manage the first gain stage, you can check the quickstart guide and example settings for more info. GAIN controls the second gain stage, and the control is non-linear. As you add gain the response gets a little warmer, helping tame highs at higher gain without losing clarity at lower gain. The clipping diode array is modular, pop off the back cover and you can swap out for a different array. PCBs are available to make your own module - if you happen to believe that some diodes are magical you are free to go on a side quest and track them down! FLWR ships with one module containing two array options. Select 1 or 2 on the CLIP control to engage them. The stock diode arrays are designed to be very subtle, but more extreme arrays are possible. FLWR uses the same WHATEVER power supply featured on EUNA and OAMP - the pedal will accept 7.5 to 35 volts of AC or DC in either polarity with absolutely no change in tone or power to the circuit. Overall size - Imperial is length (depth) 3 5/8", width 3 3/8", height 2 1/8" maxMetric is length (depth) 90mm, width 85mm, height 52mm max Same depth and height as EUNA and OAMP

What can be said about the humble boost pedal? It's an AC wave riding on a DC voltage and I did my very best to elevate it. JFET is rooted in my deep love of FET transistors, and their corresponding place in the hearts of many pieces of gear. FETs are very early solid-state devices that were designed to emulate vacuum tubes as closely as possible, and they have found their way into a sizeable number of classic pieces of gear. As usual for 29 we don't copy or emulate any of those, but start from a ground-up design. The JFET stage is neatly biased for a specific THD ratio, just enough hair to be tube-y but still very clean by most standards. A dual-stage IC output driver shapes the tone and ensures the output impedance stays constant as you turn the level fader. The three modes tailor the low end in a gentle way for fine-tuning of the boost sound with your guitar. Sounds great after EUNA, or as an alternate front-end to your board, makes about 18dB of gain and LOVES to be stacked with FLWR and other drives! Will happily drive cables and draws about 150mA. Still features our WHATEVER internal power supply and the build quality you've come to expect from BELIEVABLE AUDIO. Imperial is length (depth) 3 5/8", width 3 3/8", height 2 1/8" maxMetric is length (depth) 90mm, width 85mm, height 52mm max Same depth and height as EUNA and OAMP

OAMP is the Output AMPlifier from 29 Pedals.An output driver that replaces conventional buffers, line drivers and preamps, OAMP makes up to 29dB of gain, provides final signal conditioning and sweetening, and will drive lots of cable or capacitive loads. OAMP will drive down to 600 ohms! The alt path is similar to EUNA, it's active when the pedal is OFF. This will allow you to swap to a different output driver and create a sort of local channel-switching on your pedalboard. Also features the 29 Pedals WHATEVER power supply, which accepts 7.5 to 35 volts of AC or DC in either polarity with no change in tone. OAMP is made by 29 Pedals in California.OAMP has strong enough drive to drive several loads, passive splitters are no problem. You can manage the 29dB of gain using the two toggle switches, each stage has low and hi gain settings as well as a fixed tone filter. The Level control sits between the two gain stages and doesn't affect the overall input and output impedances. The Presence control dials in some classic amp-style mid-scoop to tailor the midrange drive, or simulate an amp when going direct.Check the quick-start guide and videos in the media section!

The Benson Amps Germanium Preamp Pedal answers a simple question: What if Benson Amp’s modern-classic Preamp pedal featured the warm, dynamic, and utterly vintage-tinged sound of a germanium gain stage? Unsurprisingly, the answer is “incredible,” as the Benson Amps Germanium Preamp pedal offers a richer and less gain-heavy flavor compared to its FET-transistor-equipped predecessor. Besides this pedal’s Germanium-based gain stage — borrowed from Benson Amps’ Germanium Boost pedal — the Germanium Preamp is nearly identical to the standard Preamp pedal, delivering the same pleasing EQ and decidedly amp-like playing experience that’s made the Preamp pedal a perennial hit among Sweetwater’s overdrive obsessives. Dynamic, versatile, and steeped in the gritty germanium tones of the vintage era, the Benson Amps Germanium Preamp pedal is a superb spin on a true boutique dirtbox classic.

A WORD FROM JESSICA "When Benson first asked me what I wanted out of a pedal, I asked if he could smash together my favorite fuzz tones and vintage echos. One of my favorite pedal configurations has always been running my echos & delays before my dirt pedals to get unorthodox sounds. So, we started there and it morphed into a pedal than became bigger and wider than what we initially had imagined." To call this simply a ‘gated fuzz pedal with an echo feature’ would be an injustice to its essence! Beyond the splatty gated sounds, I wanted a fuzz that could get wooly and straight forward, or shake hands with my favorite gauzy My Bloody Valentine textures. I wanted it to clean up nice and work as a treble booster for my guitar solos, or sound like a foreign landscape of oscillation and interrupting textures. Simply put, it has become the most interesting and versatile pedal on my board.” STRONG FLAVORS Over the last 3 (!) years, we’ve been working with our long time friend and associate Jessica Dobson from the Seattle band Deep Sea Diver to take her signature sound (fuzz and delay) and put it into one box. We started with a silicon three-transistor fuzz variant (kind of a deranged mashup of mk1.5 and mk2) and tweaked it into oblivion. Its two main controls (bias and gate) cover a wide range of sounds from agressive treble booster to thick, dark textured fuzz to the gated skronky sounds often found in the Deep Sea Diver discography. These controls are interactive and change the EQ and distortion profile with even small tweaks...a lot of fun to be had! The echo is from a tweaked data-sheet PT2399 that is perfectly tuned to the fuzz side and has the standard time, feedback and level (echo) controls. Holding down the footswitch will send the echo into sustained feedback at some settings, which, in conjunction with a short delay time, is a sound that can be found all over DSD records. We recommend holding this down....whenever. One unique feature of the Fuzz-Echo is the ability to change the fuzz and echo orders...this is done by powering the pedal on while the footswitch is depressed. The LED will be green if fuzz is before echo, and orange if echo is before fuzz (this is our favorite) The Fuzz-Echo does not care where it is in the signal chain, or what guitar (or bass! or synth!) is used. It will have a small amount of hiss, even on “cleaner” settings. If you find yourself thinking about the hiss, our advice is to play a guitar solo instead! POWER SUPPLY This pedal is for use only with a 9vdc Boss syle center negative power supply...There is no battery. Please do not subject this pedal to more than 9vdc or the pedal or power supply could be destroyed. This pedal draws less than 100ma and will work well with most supplies.

Benson calls this a Preamp because it is! The circuit is based on the Chimera 30 watt guitar amplifier, but substitutes FET transistors for the vacuum tubes. The result is an extremely amp-like and versatile clean boost/overdrive/fuzz pedal that imparts rich harmonics and a very musical EQ to your signal chain…truly a Chimera in a box!

SOUNDDrawing inspiration from our history in tape and bucket brigade echo servicing, our design goal was creating floaty and colorful repeats with a chaotic yet musical degradation. That’s the heart of the thing, the whole point.RANGE With a 30ms-1250ms range, the Benson delay goes fast enough to do chorus, vibrato and slapback, and slow enough to create blurred and haunted soundscapes, with a whole spectrum of warbly musical sounds in between. ALIENS Hold down the tap knob to boost feedback for some self oscillation! Perfect for holding notes out, and especially for making alien invasion noises in tandem with the time knob (within a toe’s reach). Works when the feedback knob is up a bit. Does not introduce unwanted clicking sounds into the signal path. Adjustable via internal trim pot.WARBLEThe Low Frequency Oscillator has a tremendous range of both speed and depth, as well as sine, square and random waveforms. Does warble, seasick, tape flutter, all the good sounds. TAPThe Benson Delay has the most accurate tap tempo ever applied to the PT2399 thanks to Bontempo, an open source technology concocted by Antoine Ricoux at Electric Canary, which was then refined and implemented by film colorist Octave Zangs (two geniuses). Each pedal CALIBRATES ITSELF IT’S SO COOL.SMOOTHWe wanted to avoid the more modern issues of delay design; like the digital jaggedness that can come from adjusting the time control on a digitally clocked device, whether analog or a fully digital simulation (HAS THIS EVER HAPPENED TO YOU?). In other words, let’s not assume the aforementioned aliens have glitchy spaceships.WOW THE NARRATIVEThe design process was characteristically obsessive and obliquely dysfunctional, so we’ll spare you most of it. Lots of bright people in the industry left their mark in one way or another. Special shout outs to Jack Deville, Bryan Sours and John Snyder. Lessee...after dutifully slogging through the modern bucket brigade scene for a while, we found our paradise in the form of the ubiquitous PT2399. Turns out, when you treat it well, you can get a great sounding delay with a massive range out of it.  We utilized a combination of gooey compander chip, analog filtering, and careful gain staging (amp designers are decent at that). We hope you love it.THE MENUTo access LFO waveform and tap division menu, hold down BYPASS for two seconds, then tap TAP/ HOLD once. BYPASS switch toggles between SINE, SQUARE and RANDOM waveforms, which will blink 1, 2 or 3 times respectively. TAP/HOLD switch toggles through QUARTER, DOTTED EIGHTH, and EIGHTH note tap divisions, and the LED will blink 1, 2 or 3 times (respectively). Hold down BYPASS for two seconds to exit MENU. Center Negative 9VDC power supply, 100ma current draw.2 years warranty excluding modification or damage.  

In late 2023 we met Dave Jordan of Non-Human Audio at a pedal event in OKC. We were drooling over his unique Slow Loris modulated slap back effect and very excited to meet him. Chris and Dave were chatting about the Loris and Chris wound up offering to help him get the effect in a different and possibly more controllable way…mostly because it sounded fun.Fast forward a couple swapped schematics and a few wild tangents and the Florist was born. We were both so inspired with the possibilities of the new approach that Dave suggested we keep pushing it into new territory and release it as a collaboration.While the Florist starts with the core idea of the Slow Loris, it is something else entirely and is not a revision or modification of the original. For instance, the delay range on the Florist is way faster than the original. We also redesigned the signal path for higher fidelity, and use a compressor type detector circuit for controlling the delay speed. We add a second delay channel using its own different detector to try to achieve some through-zero flanging and tri-chorus sounds. The two wet signals and the dry signal have independent volume control (DRY, WET A, and WET B) to blend the signals together. The two wet signals have independent intensity controls (INTENSITY A and INTENSITY B) corresponding to the respective volume controls.Finally, we add a latching footswitch feature called GHOSTS which creates feedback right on the verge of oscillation in both of the delay lines, leading to some very odd sounds.The result is a versatile effects box that yields both borderline conventional sounds (it can sound great as a chorus or slapback) and a vast array of weirder sounds that defy categories... flanging, modulated reverb, notes flying everywhere in unpredictable ways, swirling high frequency sighs etc. It’s so weird and unique that it creates a scene whenever people try it out for the first time.We are especially excited to see how people apply it to music production...vocals and drums and synths...the possibilities seem wild and endless.

When designing the temperature controlled fuzz, we tried some unusual approaches. One false start utilized a voltage controlled error correction circuit to bias a single germanium transistor. It ultimately didn’t work for the fuzz, which is comically sensitive to transistor gain attributes. We did find a place for it though. It turns out it was PERFECT for achieving a germanium clean boost that, (like our fuzz) is impervious to component drift, leakage, and temperature....moreso in fact. We also fixed a couple other issues preventing the germanium transistor from being used as a convinc- ing linear boost...we increased the input headroom (even a normal guitar signal will drive a germanium transistor into unwanted input distortion without some tweaks) and increased the input impedance (a BJT transistor would normally thin out bass frequencies and interact negatively with whatever flows into it). The result is a germanium clean boost that can utilize a germanium transistor WITHOUT the weird artifacts that were previously accepted as part of the deal...temperature sensitivity, drift, and suboptimal input impedance and headroom. After the boost is first powered up, it takes about ten seconds before the error correction circuit correctly biases the germanium transistor After this things get interesting....we can hear how having the boost engaged makes guitar signals sound more musical...even when set at the same volume as the bypassed tone. Notes are given a simultaneously smoother and more detailed character, like a compressor but different. Some people we’ve shown it to have noted that it appears to deemphasize the unwanted parts of a signal and enhance the good. It’s killer on bass. It helps acoustic guitar pickups sound more natural. And of course it’ll push your amp into a frenzy. We hope you like it.