pedal

Marshall amps helped supercharge the performance, and shape the sound of rock and roll. When the house lights dimmed, all you could see through the hazy darkness was the array of red pilot lights shining from a backline wall of Marshall stacks. In the absence of your own personal wall of Marshalls and the necessary road crew required to lug them around, the Dirty Little Secret (DLS) is the perfect secret weapon in your tone arsenal. This is your “always on” pedal, designed to be the “foundation” of your pedalboard, transforming any amplifier into those raging British stacks. It forms the core of your guitar sound which you can enhance and embellish by adding boosters, fuzzes, filters, and other overdrives in front of it.

The Binson Echorec was so cool we had no choice but to bring it back. And we wanted to bring it back right. We wanted to take all the goodness of that huge Binson Echorec and squeeze it down into a standard sized stompbox without losing anything. In fact, in addition to not losing any of the qualities that made it such a compelling musical device, we wanted to EXTEND its capabilities because the original Binson hinted at possibilities that it couldn’t realize. We’re talking about variable delay time! We thought, “What if we had the same four playback head concept but could stretch the delay time out beyond the 300mS of the original Binson?” Then the rhythmic patterns suggested by the various combinations of those four playback heads could really come to life!

You’ve heard the rumors: Some of rock ‘n’ roll’s greatest tones were achieved without pedals. Not so fast! While that’s technically true, some of the most venerable guitar gods relied on an old tape echo unit to help achieve their legendary tones. This unit is the Maestro Echoplex EP-3. While some guitarists made great use of its echo effect, others dragged one to every gig just for its magical preamp. This preamp circuit was wired always-on, and so even those using it as an echo effect received significant tonal enhancements from the preamp circuit as well. Everyone from Eddie Van Halen to East Bay Ray of the Dead Kennedys relied on the EP-3 preamp to take their sound to previously unreachable heights. And now you can also, with our Epoch Boost.Around the shop, we refer to the Epoch Boost as a “mastering pedal,” because it sounds like your base tone, but sculpted to perfection by a mastering engineer. This is accomplished  by employing the same internal circuitry as a real EP-3, from the NOS Orange Drop capacitors to the output mixer stage that acts as a rudimentary frequency selector---it’s all there. We’ve taken the liberty of kicking the internal voltage all the way up to 22 volts, just like the original unit, giving you unparalleled headroom and clarity. Inside, we’ve included a switchable hi-Z input buffer if you’d like to use the Epoch Boost as your only pedal (don’t worry, we won’t judge). The Boost control gives you just the EP-3 tone when rolled off, but adds up to 20dB of crystal-clear boost as you crank it. And trust us, you’re gonna want to.

Big and powerful, yet refined, the Formula No. 55 melts into your amp, transforming it into a wide ranging tweed monster!The Formula No. 55 is a Foundation Overdrive that reproduces, in exact detail, the preamp section of the classic Fender™ tweed 5E3 Deluxe using an all-discrete JFET-based signal path. The Volume and Tone controls replicate, part for part, the circuitry of the 5E3, giving you authentic tweed amp response. The output section is designed to give you punch and volume with a low output impedance to drive your amp perfectly. Set the Hi-Lo button to "Lo" for the cleaner response of a vintage tweed. "Hi" is like hot rodding your amp by swapping in higher gain tubes.

Featuring a plethora of useful options, the Giygas gives you everything you’ve ever wanted in a fuzz box, along with some stuff you never knew you wanted (but deep down, you totally knew).  The core of the fuzz circuit is brawny and fierce, yet with plenty of violin-like sustain and articulation on tap, and the entire thing is wrapped in a clean blend circuit. From there, the fuzz gets catapulted into a gyrator-based mids boost, and then into a tilt EQ circuit. With the blend rolled all the way back, you can use just the powerful high-headroom EQ to sculpt your clean tone. A horde of options await you under the hood, ones that will make our four-stringed friends extremely happy. 

 The Naga Viper is a booster that lives in the grand old tradition of the Dallas Rangemaster “Treble-Booster”. The original Rangemaster has been used by many influential British guitarists including Tony Iommi, Brian May, Marc Bolan, and KK Downing and Glen Tipton of Judas Priest. These guitarists, while completely unique in their styles, share the Rangemaster as the secret of boosting their cranked British tube amps into a juicy, harmonic-laden rock tone that always cuts through the mix and is ultimately proto-metal. The Naga Viper is hommage to this famous circuit. Beyond it’s basic tuning, the Naga enhances the classic circuit with the addition of two extra controls – Range and Heat. The original Rangemaster had just one control – Boost which everybody dimed anyway but essentially controlled the output volume. Our RANGE knob is a continuous control which allows you to go from classic treble-boost to a full-range boost and anywhere in-between – as the original could only function as a set frequency “treble-booster”. The HEAT knob gives you control over the gain level saturation, unlike the original which was fixed at maximum gain.

The Catalinbread SFT is an AMPEG® inspired foundation overdrive that bridges the "Get Yer Ya-Ya's Out (Stones) and the Desert Sound (Stoner) eras. We’ve always been smitten by AMPEG®. Early on the company was a Jazz purist company, completely overlooking (possibly looking down on) more popular genres like Country & Western and Rock that FENDER® and MARSHALL® openly embraced. From a design standpoint they took more queues from the hifi world than they did from guitarists as evidenced by their tube complements, gain stages without cathode capacitors, and implementation of the Baxandall tone controls. And they we’re no slouches to innovation either, “Flip-top” combos is a great example. Not to mention there is at least one model of amplifier that had a torsion bar to adjust the tightness of the speaker baffle!

One of the most recognizable pieces of gear in classic rock canon is the old Hornby-Skewes Treble Booster, a version of the classic effect used by too many artists to list. While almost all of them used a Rangemaster, the Hornby-Skewes version came stock with a silicon transistor for a more biting sound that cut through even the densest of mixes. The SKEWER stays true to that circuit, giving the old JHS unit the same treatment as our Naga Viper. This lets you dial in the desired frequency range from rich and full to treble-heavy, as well as control the amount of boost. You can also vary the amount of transistor gain for some extra juice. Some players had their original Treble Booster modded to play nicer with the rest of their gear. We’ve taken the liberty of giving you that mod as well, which is fully adjustable via the trimpot inside. Further enhancements include a noise reduction filter and anti-pop switch circuitry. This one bites just a little harder than our Naga Viper, and sounds fantastic with the DREAMCOAT.

Listen to any recording from the 70’s and you’ll most likely hear the sound of a plate reverb, a giant mechanical contraption roughly the size of a king size bed. It was ubiquitous in the studio, and was the only reverb used on Pink Floyd’s iconic Dark Side of the Moon album for example. What made plate reverb so cool? It adds lush ambience, dimension, thickness, and depth in an unobtrusive way. When you listen to your favorite albums from the 70s you probably don’t even realize how much plate reverb you are hearing. Go back and listen and hone in on the reverb sound and you’ll probably be surprised how much reverb is actually there. In the studio the plate reverb signal was often processed on the way back to the console where the things like filtering and delays were applied.

This might be our most insane pedal. Showing little-to-no respect for what instruments normally sound like, or even what people want them to sound like, we pushed this thing until it sounded fully unhinged. Want a thick, gnarly fuzz sound? Sure, you can do that, and it'll sound really, really good. You can also push the OVERLOAD slider into blooming, octave nastiness. Push it further and starve the circuit until your signal eats itself. Push it to the maximum and your sound will duck completely into the void before it returns, coming back to life with a relentless vengeance.  CONTROLS Master Volume: Controls the output volume of the effect. Overload: Sets the ceiling at which the pedal overloads. When turned all the way up, the pedal will not overload. As the control slides to the left it pulverizes the sound more rapidly. Gain: Sliding this control to the right increases gain and distortion. Horizontal sliders have been recessed to protect them from bending or any accidental movement while playing.  Harnesses a power amplifier IC to generate its insane sound. Its Gain and Overload sliders interact to create a wide range of unique sounds in various positions. You choose, to your liking, how much to absolutely destroy your sound. The further the Overload control is set to the left, the faster the effect slips into absolute destruction. Blow it out even harder and faster by slamming Gain and Overload opposite one another. Lower one or the other for smoother attack and release. Screaming octaves, thick fuzz, and the sound of your guitar reaching back from the depths of destruction are at your fingertips. Think of it as a psychotic compressor, or maybe more accurately the sound your amp would make if you set fire to it.  SPECIFICATIONS Dimensions: 4.95" x 2.61" x 2.34" (including hardware) Weight: 10 oz. Power: 9V (runs on standard 2.1mm negative center 9V adapter or included 9V battery). Current Draw: 5 mA.

The Apocalypse is our jack-of-all trades fuzz pedal. After being dramatically overdriven, the signal is routed to one of five selectable post-amplifiers for five wild and unique fuzz tones. Toggle through its five signal paths and choose your desired apocalyptic sound. To further refine this beast, control the Sweepable Frequency Equalizer and carve your tone out just the way you like it. Use this pedal as a boost for solos, an amp simulated recording DI, your main fuzz sound, a bass blitzer, or run anything into it you want to beef up, blast out, destroy, or supercharge!!

The DISTURBANCE is an extreme filter, flanger, and phaser with modulation like you've never heard before. DISTURBANCE’s controls allow for a wide range of sounds to be sculpted perfectly to your needs. The ‘Tensity’ knob changes the feedback amount and structure of all effects, with two totally different intensity options to choose from for each disturbing modulation. The Filter allows for deep swells and piercing resonance with highpass and lowpass options. The Flanger creates a classic modulation sound with options for watery, multi-tap delay matrixes or a screaming flange with distorted feedback. Last but certainly not least, the Phazer mode is a psychedelic 8-stage phaser sound with options for mellow filtered scoops on one side and combination phaser/flanger on the other. But that’s not all - the pedal introduces a brand-new way to control an effect: The custom-designed modulation core lets you pause the LFO where it stands and listen to the strange world of frozen modulation. Not only does this new system control its own sounds, the DISTURBANCE includes a CV OUT jack which lets the modulation control signal be sent to whatever device dares let it in. Go forth and DISTURB and bend, break, and twist your sound!

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.  

Designed for vocals, the Echo Master is a lo-fi, analog tape-style delay unit that can transform the delay sound into a chaotic realm of noise and feedback. The effects loop allows additional effects to be routed into the output, making it easy to fuse any of your favorite effects pedals with your vocal sound.  The Echo Master is not just a delay unit, however. It utilizes matched Bourns transformers on the input to create a vibrant-sounding preamp to bring you phenomenal vocal quality before you even hit the PA. Your sound engineer will hate you because you'll sound better than ever without their help. Top it off with high quality Neutrik XLR jacks and the Echo Master is the ultimate tool for taking total control of the sound of your voice. CONTROLS Time: Controls the delay time, with numbers labeled in milliseconds. In the Red Zone, the delay chip is pushed to the extreme. The signal decreases in fidelity as the time increases. F-Back: Controls the number of repeats in the delay circuit, anywhere from one to an infinite to a wall of oscillation. Mix: Controls the level of the delayed channel in comparison to the dry signal, from fully dry to an equal mix. Send/Receive: Plug out of the Send jack into any additional effects, then back into the Return jack to introduce new sounds into your vocals. SPECIFICATIONS Dimensions: 6.09" x 3.45" x 2.75" (including hardware). Weight: 16oz. (w/ Alternate Back Plate 30oz.) Power: 9V (runs on standard 2.1mm negative center 9V adapter). Current Draw: 25 mA. *Alternate Backplate: The Echo Master can also be purchased with a backplate that mounts to your mic stand. Puts the pedal within hands reach to maximize live performance tweak-ability. Recently upgraded with a die cast screw and heavy-duty welded mount. 

Psycho HP/BP/LP filter with LASER ETCHED ENCLOSURE. Can be pushed past the limit to glitch out into octaves up, down, and envelope folds. The EVIL FUZZ is just that total balls to the wall or balls to the wall times 2 with blooming inverted compression. The CV/Expression in enables you to move the filter up and down in sync with an arpeggiating synth or control it with an expression pedal.   Sounds amazing with synth, guitar, and amplified skateboard.