Give your sound the smooth and warm qualities of analog tape, along with the enhanced touch sensitivity and playing dynamics that are intrinsic to the inner workings of tape machines. Achieve incredible transparency at low levels, with reduced high frequency spikes and a harmonically rich low end. Turn up the Saturation to increase the amount of tape drive, dynamic compression and distortion.
Go back to the early days of recording studios, where a few creative audio engineers discovered a new world of augmented sound by pushing the limits of studio tape machines. By inventing automatic doubletracking, they introduced echo, flanging, and chorus to the world of recorded music.
Julia analog chorus and vibrato from WalrusAudio.com. Julia offers a unique blend knob to blend your dry signal with chorus or blend between chorus and vibrato.
The Julia is a fully analog, feature-rich chorus/vibrato packed with a wide array of tonal landscapes begging to be explored. Updated for 2020, Julia now has top mounted jacks, soft switch bypassing and updated art from Adam Forster.
Julia is able to produce mild smooth chorus, to seasick vibrato and everywhere in between. With controls like Lag, Dry-Chorus-Vibrato Blend, and selectable analog LFO wave shapes, you are able to dial in all types of classic and unique chorus/vibrato sounds; some settings giving a familiar feel while others are not found on traditional chorus pedals.
A special feature of the Julia is the Lag control. The Lag knob lets you set the center delay time that the LFO effect modulates from. From smooth and tight modulation at lower settings, to warbling detune at maximum, the Lag knob adds a new dimension to the traditional Chorus/Vibrato landscape.
While most chorus/vibrato pedals offer a toggle to go between the two effects, we’ve provided a knob to blend between Dry, Chorus, into Vibrato (labeled d-c-v on the pedal). The Dry-Chorus-Vibrato Blend changes the ratio of dry to wet signal sent to the output. At minimum, you will hear no effect. Set it to noon for equal parts dry and wet – the traditional chorus setting. Set it to maximum for 100% wet – the traditional vibrato setting. Explore the ground between minimum and noon for adding slight amounts of movement to your dry signal (also making the Julia great on bass guitar). Explore the ground between noon and maximum for all sorts of unheard chorus/vibrato combinations.
The Monument Tremolo is both a harmonic, and standard tremolo that produces a rich, luscious, warm pulsating modulation capable of peaks and valleys as smooth or as jagged as the real ones that our dear mother nature created long ago.
The Monument returns in a smaller form factor with new features, like assignable expression control and rate ramp up.
Changes to the V2 are as follows:
• Converted to smaller enclosure
• Expanded capability of side jack: now supports external tempo or can function as expression control over Rate, Depth, Shape, or Tap Multiplier and is assignable on the fly. See manual for details.
• Improved tremolo response across all rates.
• Top mounted jacks.
Inspired by the beautifully jagged, red-sand desert landscape of Monument Valley, the Monument Tremolo is both a harmonic, and standard tremolo that produces a rich, luscious, warm pulsating modulation capable of peaks and valleys as smooth or as jagged as the real ones that our dear mother nature created long ago.
With different combinations of the rate, division and shape knobs and tap tempo, everything from traditional tremolo to inspiring unique waveforms will help you carve new paths that you won’t hear anywhere else.
Harken back to vintage tones inspired by Fender Brownface amps in Harmonic mode. A low-pass and high-pass version of your guitar signal is modulated opposite of each other, or 180º out of phase (high and low frequencies rise and fall opposite of each other). The result is a warm, almost “chewy” tremolo.
The Division knob can be set to quarter, triplet, eighth and sixteenth.
Wave shapes can be controlled via the Shape knob. You can move between Sine, Square, Ramp, Lumps and Monument Mode (random).
A special feature on the Monument is the bypass switch also has a momentary function. When the switch is in off position, press and hold to temporarily activate the effect to add a moment of texture. Releasing the switch turns the effect off.
When the pedal is on, press and hold the bypass switch to ramp up the tremolo rate. Release the switch and the rate will ramp down to previously set tempo.
Setting the depth knob at 0 and the volume knob above unity creates a clean boost.
The Fathom is a feature-rich reverb with 4 different customized reverb algorithms to choose from. Easily go from tasteful, small room reverb to long, modulated trails dripping of ambient goodness. The toggle switch adds options for low, medium and high modulation. Use the dampen knob to fine tune the tone of the reverb's decay.
The Fathom features 4 different algorithms.
Hall - Wide, open and vast with decay that ends with high-frequency rolloff. X knob adjusts pre-delay.
Plate - Full Body reverb with a smooth decay. X knob adjusts pre-delay.
Lo-fi - Filtered reverb with decay ranging from warm, to thin AM-sounding radio. X knob adjusts filter width.
Sonar - Reverb fed with both a high and low octave with the ability to blend the octaves with the X knob.
When the pedal is in off position, press and hold the Bypass Switch to temporarily activate the effect to add a moment of reverb. Releasing the switch turns the effect off.
Press and hold the Sustain Switch while the pedal is on, to sustain the reverb decay for a dreamy ambient decrescendo.
To turn trails mode on or off, unplug the pedal and press and hold down the Bypass Switch for two seconds while plugging the pedal back in.
Building off of the lush, tonal landscapes that the Julia created, Walrus Audio is beyond excited to announce the
Julianna Deluxe Chorus/Vibrato. This release packs an all analog, digital LFO, stereo chorus/vibrato with new expanded
features. Julianna is able to produce everything from mild smooth chorus, to seasick vibrato. The familiar controls like
Lag, Dry-Chorus-Vibrato Blend, and selectable LFO wave shapes are all still here but Julianna employs some new tricks:
Secondary LFO speed, modulation drift, tap/expression control, momentary features, and external tap tempo will have you
commanding all new kinds of sounds not found in traditional chorus pedals.
In addition to the highly requested tap tempo switch and stereo in/out jacks, players will once again find new life in chorus
with Drift and Secondary LFO speed. With Drift mode, the pedal’s LFO rate gently speeds up and down. It’s like having a
little robot in the pedal moving your Rate knob up and down. With the Secondary LFO speed, you can ramp up or slow
down your LFO rate depending on where the Rate knob is set. When you combine these settings with the added random
wave shape and tap multiplier, there is a near infinite amount of sounds to explore.
The Julianna comes in a deep lavender colored enclosure with surf green ink, featuring original artwork of Julia’s big sister
emerging from the depths that her sister once ruled. Illustration by Adam Forster. The die-cast enclosure’s exact size is 4.77”
x 2.9” x 2.3”.
Power requirements are 9VDC, center negative (100mA minimum).
View full product details
The Raster™ is a digital delay with a pitch and frequency shifter integrated into the feedback loop. Forward or reverse delay can be shifted once or have continuously shifted repeats. It delivers a wide range of sounds including modulated and harmonized delays, reverse delays, chorus, arpeggios, infinite descents, chaotic self-oscillation, and continuously evolving soundscapes.
The core of the Raster™ is a clean delay with up to 1600 milliseconds of delay time. Three delay ranges allow you to precisely dial in resonant feedback sounds and instantly change delay time with rhythmic shifts. The feedback control has infinite repeats at 3 o’clock and chaotic, textured feedback loops at higher levels. Knob responses are carefully tuned for exploration of self-oscillation and feedback on the verge of blowing up. A tone control sweeps from dark analog-style repeats to digital clarity and emphasizes the attack at higher settings. The left and right delay times can be set as a ratio, so a single knob changes both in sync. The two delay channels can be arranged in series, parallel or ping pong.
Pitch shifting repeats up or down in semitone steps creates tempo-synced arpeggios and alien organ sounds. The detune setting can dial in micro pitch shifts and chorused repeats. The left and right channels can be shifted by the same amount, a ratio, or opposite directions. At subtle settings, repeats evolve in a way that sounds natural, but different from analog delays.
Beyond pitch shifting, a combination phase/frequency shifter creates subtle evolving repeats, dissonant harmonies, and barber pole flanging. It can be pushed to extremes for ring modulation and inharmonic shifted delays that distort and break apart.
The Raster’s modulation section has seven waveforms that can be assigned to delay time, pitch shift, or effect level (for tremolo). There are two random waveforms for glitchy pitch jumps, wow and flutter, and broken tape deck effects. Envelope and inverse envelope enable dynamic flanging and pitch bent delays. Stereo controls adjust the modulation amount and phase between channels, for subtle shifts or swirling psychedelic washes.
Capable of extreme sonic mayhem, the Raster can also be used with restraint to add unique character to your sound.
The Raster 2 is performance friendly, with 6 knobs and 9 switches. The original Raster was praised for its knob response and immediacy, and the Raster 2 maintains that simplicity while adding flexible modulation and extensive stereo functionality. Alternate knob settings are related to the primary knob function, labeled, and off at the center position. Both footswitches can be latching or momentary, for instant pitch jumps or quick blasts of echo. The bypass switch can also mute the output in bypass while always listening, to catch, repeat, and manipulate what you just played.
While designing the Raster 2, we wanted to enable as many classic rack mount digital delay tricks as possible while keeping the fast and intuitive control that made the original Raster so fun to use. Instead of multiple modes with generic knob names, all of the parameters are always available, so you can mix and match different effects and explore new sounds in between.
Designed and assembled in USA. Requires a 9V 250 mA center negative power supply (not included).View full product details
The 3-Series Phaser is a versatile and easy to use six-stage phaser pedal inspired by the classic phaser circuits of the 1970s. It has all the standard phase tones you would expect, but because of its unique Blend control and Feedback toggle, you can achieve an even wider range of modern and experimental tones.View full product details
The JHS Pedals 3 Series is a collection of pedals designed to give you affordability and simplicity without compromising quality. Each 3 Series pedal is made by us in Kansas City, MO, using high-quality parts, quality control, and attention to every detail. Each pedal has three simple controls and one toggle that offer a wide range of sounds, perfect for beginners and professionals alike. The JHS Pedals 3 Series will inspire your playing and help you explore new sounds at a totally approachable price point.
The 3-Series Hall Reverb is inspired by the sounds of large reverberated spaces, cathedrals and halls where the decay of natural reverb seemingly goes on forever. This pedal is perfect for players who are searching for massive, infinite and even otherworldly reverb.View full product details
The 3-Series Flanger is inspired by the classic (and absurdly expensive) analog flangers of the past like the Electro-Harmonix Electric Mistress, the Tycobrahe Pedalflanger and the MXR M117 Flanger. The best part? Our 3-Series Flanger is $99.View full product details
The sound of an amp, barely holding itself together is something to behold. The tone of a good amp walking the knife edge between clean and drive…there’s something there that just doesn’t exist anywhere else, and when you push it just a bit further, you can truly find bliss. That’s where the Sure Shot Clipping Boost comes in!
The Sure Shot Clipping Boost is a different kind of boost. Is it high headroom? NO! Is it Germanium? Again, NOOOOPE! This boost is designed to get dirty, but it does so in a very special way.
The Sure Shot has one single control on its face. The LOUD control does just that, it makes you loud, but…it does it in a way that is unique amongst boosts. As you increase the LOUD control, the Sure Shot will push your amp into overdrive, while it also pushes a pair of MA856 clipping diodes. This results in a very special tone—a LAYERED drive effect, in which the amp AND the pedal are both beginning to overdrive. Now, this alone is truly special…but wait…there’s more.
If you run this in front of your favorite boost, overdrive, distortion, or even a second Sure Shot, you’ll find that it adds texture and juiciness to those sounds. The audio image of the Sure Shot is purposely rooted in the 1970’s, with some areas slightly peaked out, and some frequencies tamped down just a bit. This audio image presents itself more as the LOUD knob is increased, and it is truly glorious.
The Sure Shot works wonderfully with all genres of music, from spanky country music to heavy chugging metal. I know this all sounds crazy…and maybe it is. It’s a clipping boost…it clips…on purpose…and it sounds amazing when it does!
The Sure Shot is the first pedal from Greer Amps in the mini pedal format. It features true-bypass switching, and runs off of 9 volts only. We built this pedal with top tier components, and we are proud to offer this tiny little wonder to you. The Sure Shot has a 5 year warranty on it, and as always, we stand behind our workmanship…you’re going to love the way you sound with the Sure Shot Clipping Boost.
TURN YOUR AMP INTO A D-STYLE AMP
The Ultraphonix Special Overdrive MKII delivers the blooming midrange and screaming overdrive of the ultra-rare American boutique amplifiers that players have been coveting for decades. This overdrive emulates the the expansive midrange and strident cascading gain stages of the D*lightful amplifier this pedal is based on. When you turn it on, it will unleash your guitar's full-throated potential with an articulate attack and smooth sustain that's reminiscent of players like Robben Ford and Larry Carlton. If you're a tone chaser, the Ultraphonix MKII Specialized Overdrive pedal will help you achieve the D-style tone you've been dreaming of that doesn’t require a mortgage to purchase!
BASED ON "REAL DEAL" DUMBLE ODS AMPS!
The R&D for the Ultraphonix pedal took over four (4) years, and almost a half-dozen Dumble amplifiers! From 2012 to 2016, we got ahold of five (5) Dumble Overdrive Special (ODS) amplifiers to most accurately voice the Ultraphonix pedal, comparing to "real deal" Dumble amplifiers - many of these amps were owned and/or used by world famoud Dumble users. Knowing that these Dumble amps were customized to the player, our goal was to find the "X Factor" among a variety of Dumble ODS amps and distill the "D-Style" essence into the most authentic sounding and feeling "amp in a box" pedal - and we NAILED IT!
Ultraphonix Special Overdrive MKII delivers the blooming midrange and screaming overdrive of the ultra-rare American boutique amplifiers that players have been coveting for decades. This overdrive emulates the the expansive midrange and strident cascading gain stages of the D*lightful amplifier this pedal is based on. When you turn it on, it will unleash your guitar's full-throated potential with an articulate attack and smooth sustain that's reminiscent of players like Robben Ford and Larry Carlton. If you're a tone chaser, the Ultraphonix MKII Specialized Overdrive pedal will help you achieve the D-style tone you've been dreaming of that doesn’t require a mortgage to purchase!
VERSATILE CONTROLS TO SHAPE YOUR TONE
To help you create your ultimate tone, the Ultraphonix has extra gain-shaping controls beyond the original MKI version with Master Volume, Input Gain "Level", and Distortion/Saturation "Ratio". Players can fine tune their pickup outputs with the input gain "LEVEL" control to get the same reaction from the overdrive irrespective of using Single Coil or Humbucking pickups with up to 8dB of level compensation available. Plus, get additional presence and harmonic saturation using the "FILTER" knob for sculpting the upper-mids from 800Hz to 1.6kHz. Once you get the perfect mix of overdrive and EQ, use the "MASTER" volume control to set your final output level. No matter where you set it, this pedal will sound "wide-open" and "amp-like" at all volume levels.
33.3% SMALLER THAN, SAME AMAZING TONE!
Ultraphonix MKII is not only captures the same great tone of the original Ultraphonix, it's also one-third (1/3) smaller than the original with even more features than before with more control over your overdrive tone, EQ, and saturation.View full product details
Constellator is an all-analog delay pedal capable of producing up to 600ms of lush echo with adjustable modulation and a comprehensive sound palette. From percussive slapback and doubler sounds to chorused-out, long delays with endless repeats, the Constellator’s MN3005 bucket brigade chips provide superior overall headroom and tape-like saturation when pushed to the limit. The Feel toggle switch adjusts several parameters simultaneously for an additional coloring of LFO modulation. With the Feedback control maxed out, the Constellator is capable of self-oscillation which can be pitched up or down by turning the Time knob. Runs on standard 9VDC.
Time: Sets your delay time. Clockwise for slower, counter-clockwise for faster.
Mix: Controls your dry/wet balance.
Mod: Controls the modulation depth. Adds color and warp.
Repeats: Sets the amount of feedback in the delay line.
Feel: Selects between two distinct modulation types. When the switch is pushed in, a chorus effect is selected. When the switch is not pushed in, a vibrato effect is selected.
In 1978, the most versatile and influential distortion pedal of all time was invented in Kalamazoo, MI. Scott Burnham and Steve Kiraly first had the idea after playing, repairing and modifying all the available distortion pedals on the market. They wanted something that didn’t exist in the then mainstream throes of MXR, DOD and even BOSS’s product line; they wanted a pedal that could go from overdrive to distortion and then all the way to fuzz. By 1979 Scott had perfected the circuit in his RAT-infested basement workshop, and the rest is history.
The PackRat is the ultimate tribute to the 40+ years of rodent evolution and its impact on the guitar’s sound. Artists from every genre have used the iconic tones in this unassuming black box to create their sounds, including Nirvana, John Schofield, Pink Floyd, Metallica, REM, the Eagles, Jeff Beck and Radiohead.
Building on our Multi-Mode pedal series that includes the Muffuletta and Bonsai, the PackRat uses the same unique digital runway system to direct the paths of 261 components through 40 individual switches. This means that when you choose one of the nine legendary or rare modes, you are playing fully analog circuits that perfectly replicate that mode, even down to the aging components (also known as component drift). If you purchased these nine hard-to-find pedals on the used market right now, you would pay around $4,000.
When you put it that way, $249 sounds pretty reasonable, right?
1. The OG V1 (1979-83)
The OG is a perfect recreation of the first production Version 1 Big Box/tone control RATs ever made. This is the model that started it all.
2. White Face V3 (1984-1986)
The “White Face” is the first Small Box RAT and is recognizable for its white filled block logo across the top of the pedal. This model has the more traditional reverse Filter control instead of Tone.
3. Turbo V5 (1989)
The Turbo RAT introduced the world to a different type of distortion by introducing LEDs to the RAT’s clipping section to produce a more powerful distortion sound.
4. BRAT V6 (1997)
In the late nineties, Guitar Center launched an exclusive “budget RAT” with big tone and some unique modifications. The BRAT is the most unique RAT variation ever made by ProCo.
5. Dirty V7 (2004)
What happens when you replace the stock silicon diodes with germanium? It gets even dirtier.
6. LA (1986)
Japanese pedal companies loved the RAT circuit and used it throughout the 1980s disguised as their latest and greatest “original” circuit. The LA Metal is one of the most interesting takes on the circuit from this era.
7. Landgraff MO’D (1999)
Swirl paint jobs and point-to-point wiring made Landgraff a father of the nineties boutique era. The MO’D distortion is one of the greatest RAT-style distortions ever made.
8. Caroline Wave Cannon
When I started the PackRat, I knew immediately what friend I was going to invite to the party. The Wave Canon is Caroline Guitar Company’s stab at making this classic circuit even better. I bought the version 1 back in 2012 and immediately fell in love.
9. JHS Mode
The JHS Mode is the discontinued “PackRAT” modification that I did to RATs for over ten years. It takes everything I love about this circuit and elevates it!View full product details
The new Pop Top Boost from Milkman Sound takes its inspiration from the classic American recording consoles of the 1970s. We designed a discrete Op Amp which fits the standard 2520 footprint and put it into a modern pedal enclosure for use with guitar or any other instrument that uses
1/4” phone connectors.
The Pop Top takes power from a common 9V center negative pedal
power supply and converts it to 36V of internal headroom (that’s more than a tube has!). This unusually large amount of headroom has many practical uses ranging from a 30dB clean signal boost, a unity gain buffer with midrange focusing detail, or a line driver.
We designed the Pop Top to run at “unity gain” with the control set at zero. At unity you can hear the discrete op amp color and find a sweet spot without dropping any signal. There is enough headroom inside to use the Pop Top at the very end of a pedal chain even in tandem with other gain and boost pedals.
As a preamp, the Pop Top can enhance the subtle details of the source in the same way that a microphone preamp in a classic American recording console would. In the 1970s discrete op amps were designed to be used at the input and output stage to both preserve detail and slam magnetic tape with as much signal as was necessary to capture the sound. The Pop Top is designed to inspire some of that same magic and creativity from the world of
classic record production but in a much more guitar friendly package.
Fairfield Circuitry The Accountant Compressor
Every operation needs an accountant, and your signal chain is no exception. This little guy will fit right in, no questions asked. Call upon his services to crunch numbers, cook your books and calculate ratios in all confidence that your shit will remain tight.
We’re talking about a mostly utilitarian relationship here, but one of trust as well. Whether you enjoy slight, nuanced dynamics control or you just want to squeeze your signal into one dimension, you'll find a use for The Accountant.
Featuring all analogue, JFET feedback compression, The Accountant works well with all signal sources; guitars, bass, vocals, synths, even whole mixes. A simple control interface allows you to change the threshold, compression ratio and makeup gain.View full product details
Fairfield Circuitry Shallow Water K-Field Modulator
Poolside conversations while staring at your own reflection. The depths of which shall never be known, at least not for another couple thousand years. So it goes.
Before the reflection, is the experience. Before phenomena, or even noumena, is that which is undefinable. That which has never been heard, that which will never be heard again and that which has always been heard but never listened to.
K-field (Simulation mathematics), an undefined, two-dimensional, non-linear field where past and future forces interact at irregular intervals. Shallow Water generates this k-field by randomly modulating a short time delay to create unexpected shifts in pitch. The result is this non cyclical vibrato/chorus/flanger-type thing favouring old tape flavours.
The water is shallow on this side of the pool. Do not dive and you will not drown.View full product details
Fairfield Circuitry Meet Maude Analogue Delay
Imparting a dark and tape-like quality to your sound, this analogue delay offers a rich and distinct character for you to wallow in luxury, self-righteousness and filth.
Using the tone and feedback controls, you can shape your repeats to be much more than simple reproductions of the input. Play right on the threshold of feedback, which you can mold as a low thundering growl or screeching wail, or let your echo slowly die out as the dynamic output filter gets darker every repeat.
A random delay time modulation adds a true tape feel to the delay, like a reel-to-reel motor spinning not quite perfectly. Full CV capabilities allow you to control delay time and/or feedback with any external source, like an expression pedal.The water is shallow on this side of the pool. Do not dive and you will not drown.View full product details
Eras 5 State Distortion
A new Era of gain is here with the Eras Five-State Distortion. Walrus is pouring on all the gasoline for a new high-gain distortion to create mythical level riffs that’ll leave everyone seeing red.
Eras is a no apologies, high-gain distortion that’s ready to chug, shred, and palm mute with tight response and multiple distortion textures. Use the Blend knob at max for a full distortion onslaught or roll back the Blend knob to creatively stack and mix other dirt pedals placed in front of Eras. Great for bassists that want to blend in their dry signal as well. Anywhere you set it, the Eras is ready to deliver a diverse world of speaker ripping sounds.
The Eras features a five-position rotary knob that offers the following gain states:
I. Tight mode with a slight mid-cut, LED hard clipping, and internal volume control. Fastest response, great for palm muting.
II. Tight mode with a slight mid-cut and silicon hard clipping. Smooth with added compression.
III. Dual clipping mode with a slight mid-cut and both silicon and LED hard clipping. Rich & full with added sustain.
IV. Rhythm mode with a deeper mid-cut, LED hard clipping, and internal volume control. Scooped mids, tight response.
V. Rhythm mode with a deeper mid-cut and silicon hard clipping. Rhythmic, warm and full.
Think of each position as a different “flavor” of the pedal. Blend in dry signal or other pedals in combination with the gain states for a near-infinite amount of distortion sounds.
The Eras comes in a translucent red enclosure with yellow, cream, and black ink. Artwork by Adam Forster features an apocalyptical four-horned, winged bull ready to stampede into any mosh pit. The enclosure’s exact size is 4.77 x 2.9 x 2.3 inches. Power requirements are 9VDC, center negative (100mA minimum).View full product details
Playing on the relationship between pedal and player, input and output, OBNE presents Sunlight dynamically held reverb. Sunlight features three new reverb algorithms unique to the OBNE lineup, each with the added ability to freeze the reverb trails when the player stops playing.
Input knob for dynamic sensitivity and Decay knob for reverb feedback to create enveloping infinite reverb
Tape, Comb, and Pass modes to apply wobbling vibrato, stacked resonant delays, or random step filtering to the reverb
Rate and Depth controls specific to each mode
Expression control over Input, Decay, Rate, and Depth parameters
Alt footswitch to quickly snap to a particular knob setting
Soft-touch switching with true relay bypass
Requires at least 80mA 9VDC center negative power
Sunlight art by Jon Carling
View full product details
Enclosure Dimensions (in): 4.77" x 2.6" x 1.39"
Power: 9 volt neg. center pin ONLY.
Current draw: 13mA.
The very idea for the Lamplighter Optical Compressor is rooted in legendary tone and studio lore. The Lamplighter is the result of countless hours of tweaking, listening, and tweaking again. The idea is pretty simple—provide compression that doesn’t “step” on your tone like other compressors do, make it as transparent as possible, with a low noise floor, while allowing the effect to be present, and provide options that musicians the world over have asked for. This is Greer Amps’ answer to the question of wide-ranging, useable compression for all musicians. After listening to studio compressors for years, we’ve often wondered why we couldn’t find something to get the smooth and subtle compression that we hear in the studio, on a pedal board. Now we know that it can be done. Your new favorite compressor is here, and you’re going to love it.
The controls on the Lamplighter provide the user the ability to have subtle or intense compression. The use of both the Compression and Comp Mix controls allow for a multitude of “sweet spots” with different settings. Add the release toggle into the mix, and you suddenly have a compressor with the flexibility of a contortionist. The Treble control can push the tonal range into shimmery, squashed out heaven. Overall, this compressor is hard to beat, and you will not want to turn it off.
The Lamplighter features top jacks, runs off of 9 volts only (do NOT try to run this pedal off of higher voltages than 9 volts).
View full product details
Design complex soundscapes in seconds with the Collider Delay+Reverb. We hand-picked 12 standout delay and reverb effects from our award winning Nemesis Delay and Ventris Dual Reverb, and put them together in one compact housing with massive power and dead simple control. The Collider’s intuitive control surface makes it easy to mix-and-match any two-engine combination of delay and reverb. Dual footswitches provide individual Engage/Bypass control over each effect, making it a perfect choice for live performance.
The Collider offers an exceptional collection of rich, spacious tones, including realistic reproductions of vintage Analog, Tape, and Oil Can Delays, classic models of Spring and Plate Reverb, natural replications of large and small acoustic spaces, and an intriguing and highly musical selection of “unnatural” tones including a tripped-out Reverse Delay and an other-worldly Shimmer Reverb.
Collider takes supremely high-end delay and reverb effects and offers them in a sleek and powerful design with massive processing muscle and clean functionality. The Collider features two completely independent 56-bit signal processors, essentially housing a high-powered reverb AND a high-powered delay pedal in a single box. This means that it is possible to create magnificent tones with any two-effect combination of delay/reverb, delay/delay, or reverb/reverb.
This extremely versatile pedal offers a long list of useful features, including analog dry through, stereo inputs and outputs, the option of true or buffered bypass, 8 user presets (or 128 with MIDI), full MIDI functionality, delay tap tempo, reverb hold (a.k.a. "freeze"), external expression capabilities, external preset switching capabilities and extra editing and signal routing options via the Neuro Desktop and Mobile App Editors.
12 Hand-Picked Delay + Reverb Engines:
Room Reverb: The ROOM engines capture the ambient reverberations of a real acoustic space. The ROOM engine can summon a variety of room sizes from a warm and intimate household room to a larger theatre sized space.
Hall Reverb: Patterned after the lush sounds of studio rack units from the 80s, the HALL L engine is distinguished by its highly diffuse tones and glorious blooming characteristic.
True Spring Reverb: Source Audio’s Chief Scientist, Bob Chidlaw, worked long and hard to perfectly capture the sweet idiosyncrasies of a vintage spring reverb tank. The result is an exceptionally realistic effect with the unmistakable “drip” heard in vintage spring reverb equipped amplifiers.
Plate Reverb: This authentic sounding reverb engine is a spot-on simulation of the highly diffuse effect synonymous with vintage plate reverb units of the 50s and 60s.
Shimmer Reverb: This pitch shifting reverb engine mixes traditional room sounds with octave-up reflections for an angelic reverb effect.
E-Dome Reverb: The cavernous E-DOME (a.k.a. “Enormo-Dome”) produces long, lush reverb trails that linger for days. Invoke the sound of massive, arena settings with the Ventris Reverb’s largest room simulation. This one is huuuuge.
Swell Reverb: Creates smooth, amorphous volume swells. This engine applies a volume swell effect to your instrument’s dry signal, which is then fed into the reverb effect for super-long and ambient clouds of sound. This effect is great for creating soft, atmospheric chord pads.
Digital Delay: A pristine and unfiltered digital repeats.
Analog Delay: This delay engine reproduces the characteristic dark sound of bucket brigade analog delays.
Tape Delay: A detailed re-creation of classic moving-head tape delays. Repeats are bandwidth limited and have artifacts characteristic of tape delay, such as filtering, preamp saturation, noise, wow and flutter.
Reverse Delay: A classic reverse tape sound that became popular in 60s psychedelic rock. The TONE knob can create several overlapping reversed delays that fade in and fade out regularly to create a pulsing tremolo effect.
Oil Can Delay: This is a dark, jangly, warbling and distorted delay inspired by old oil can designs that previously appeared in the “Extended Delay Engines” on the Nemesis.
Moon Pool is an analog phase shifter and tremolo with independent speed controls featuring the ability to change the rate of one or both of the effects in either direction, corresponding to how hard you play. The 4-stage, VCA-based phaser and variable bias tremolo found in the Moon Pool can each be run as standalone effects or they can be combined in series for a mesmerizing mashup of modulators. A global Depth knob determines overall wetness, while a Sensitivity knob allows you to dial in the responsiveness of these changes to accommodate different playing styles and colors. Runs on standard 9VDC.
Phase Speed: Sets the rate of modulation for the phaser.
Trem Speed: Sets the rate of modulation for the tremolo.
Depth: Sets the intensity of both the phaser and tremolo.
Sens.: Determines how much signal is required to change the speed of both phaser and trem when dynamics processing is turned on.
Trem / Phase (Three-Way Toggle): Up = trem engaged, Center = both engaged, Down = phaser engaged
Phaser Dyn. (Three-Way Toggle): Up = phaser speed increases in response to playing dynamic, Middle = no change, Down = decreases
Trem Dyn. (Three-Way Toggle): Up = trem speed increases in response to playing dynamic, Middle = no change, Down = decreases
Conduit is a premium, easily configurable, ultra-reliable MIDI interface that will work with just about any quarter-inch MIDI equipped effects pedals you have, and it also offers the best USB computer connection available for any TRS MIDI pedal.
Each of Conduit’s four bi-directional TRS jacks are independently configurable to work with most quarter-inch MIDI equipped pedals. Built-in grounding isolation ensures the quiet operation you expect from Strymon. And for pedals that only need to receive MIDI, Dual Mode allows you to connect two pedals to a single TRS output using an optional TRS splitter cable.
Conduit is designed to be a rock solid USB MIDI interface between your computer and your pedals. Send MIDI control change messages from a sequencer for perfectly synced pedal parameter changes. Automate pedal preset changes, load and save presets, or send SYSEX messages—all from your computer.
Out of the box, Conduit’s 1/4″ TRS MIDI jacks are configured to work with Strymon pedals—just plug and go! Other configurations are easily selectable with no DIP switches, no custom cables, and no screwdriver required. Need more TRS MIDI outputs? Just link another Conduit!
The C4 Synth unites all the sound creation tools of a classic Eurorack modular synthesizer and packages them in a compact and easy-to-use effects pedal for guitar or bass. Out of the box the C4 offers six dynamic synth tones that range from vintage analog to the thoroughly modern. It is essentially a modular synth in a small pedal with unprecedented tracking abilities, lightning-fast response, and countless sound options. With the addition of the Neuro Desktop Editor (a free download for Mac and Windows machines) and Mobile App. (for iPhone and Android) it's easy to browse from the ever-growing library of highly-inspired presets created by the Source Audio crew and the expanding community of C4 enthusiasts.
The Neuro Editing Systems
Expression Ramper allows you to pick two expression settings and move between them, either in one motion or as a continuous LFO activated by a footswitch. The mini enclosure size takes up minimal space while creating new sounds out of any pedal with an expression input.
Expression Ramper features:
Triangle, square, and one-shot shapes for movement between A and B expression settings
Rate control to set the speed of movement
Footswitch activated motion to create modulated effects on the fly or ramp between two presets
Configurable output for TRS, TRS reverse polarity, or TS expression inputs
LED to indicate which setting is currently active
Requires 9VDC center negative power
NOTE: Expression Ramper is initially configured for TRS active at Tip for compatibility with Old Blood devices, but can be configured for TRS active at Tip, TRS active at Ring, and TS using the internal jumpers. By default, it ships with a 50K digital potentiometer. This potentiometer is socketed and can be replaced with 10K and 100K values if needed (part code MCP41010-I/P and part code MCP41100-I/P respectively).
People thought this gorgeous April Fool's video we made was for a fake pedal. But this "Expensive Amplifier" is definitely for real.
How does it sound? Check out the settings video! If our critically acclaimed and popular "Hawaiian Pizza" is 30% drive, 70% fuzz, think of "The Blues" as its 80% drive, 20% fuzz cousin. It's a bone simple, elegant transistor circuit that shares common ancestry with some other pedals you might be familiar with (along the lines of the Lovepedal Les Lius, Greer Ghetto Stomp, or Emerson Em-Drive) but with Caroline's particular twist on things, select batches of mojo unobtanium and pixie dust, and abundant heat from the NOS BC108 transistor pushing things.View full product details
Custom Martel Music Four Horsemen Massif is a 1 Knob Savage Fuzz Device. It has one purpose, to level everything in its path.
This is our take on the Colorsound 1 Knob Fuzz, there are many like them, but none like the Massif. Designed after lusting for the Slomatics/Conan/Bongripper tone this pedal is very mid focused with a distortion like Fuzz quality, very smooth and articulate but with punishing lows and an aggressive tone.
Though being one knob it has a bunch of tones just in that knob depending on where it’s set, so don’t think it just has one sound to it.
Upgraded NOS BC109 Germanium chip with Nichion and Kemet film caps.
Volume – Beats you in the face kinda tone
Handmade in Texas.View full product details
GFI System Skylar Reverb
Skylar packs four quintessential GFI System reverb algorithms into a compact pedal that is straightforward and easy to use. Intuitive user interface coupled with an LCD screen make it a breeze to navigate through Skylar’s vast sonic palette and features.
Skylar supports both mono and stereo input/output. Mono connection is made using standard TS patch cables while stereo connection is made via TRS patch cables (a splitter-Y cable may be needed).
A multi-purpose jack provides connection to an expression pedal or tap-tempo pedal.
Expression pedal input enables expressive control of reverb parameters, and the external tap-tempo can be used to control the tremolo speed in the Tremble algorithm.
GFI System Orca Delay
Orca packs four quintessential GFI System delay algorithms into a compact pedal that is straightforward and easy to use. Intuitive user interface coupled with an LCD screen make it a breeze to navigate through Orca’s vast sonic palette and features.
Orca supports both mono and stereo input/output. Mono connection is made using standard TS patch cables while stereo connection is made via TRS patch cables (a splitter-Y cable may be needed).
A multi-purpose jack provides connection to an expression pedal or tap-tempo pedal.
Expression pedal input enables expressive control over delay parameters while external tap-tempo can be used for remote tempo control.
View full product details
V4 The Kraken partners a V4 Series all-valve preamp with a solid-state, 180-watt Class D power amp. It’s ultra-compact size and negligible weight gives you the portability of the VX Kraken, while the huge tones and power bring the features loved by Super Kraken fans. It’s perfect for home and studio players looking for an elegant solution on a small cab or desktop, and also for touring musicians who need a great sounding, dependable amp.
Victory chief designer, Martin Kidd: “After the success of the V4 Duchess Guitar amp, the Victory amps community kept asking ‘Where is a Kraken version?’ So here it is! With the V4 Kraken Guitar amp we wanted it to have all the best bits of the range, in a package that you could take with you everywhere!”
“So not only does the V4 Kraken Guitar amp have a V4 all-valve preamp front end, a 180 Watt Class D power section, digital reverb, an effects loop and three band EQ. But we are excited to announce we have teamed up with our friends at Two Notes Audio Engineering, so you can carry your Virtual Cabinets with you and recall your six favourites from the preset switch. Victory artist Rabea Massaad has created these presets, so straight out of the box you have six great cabinet sounds. We think this makes the V4 Kraken Guitar amp the perfect all-in-one guitar amp, you can take it anywhere!”
Features: Aluminium chassis, reverb, remote switching for channels, series FX loop, balanced DI out, Two Notes embedded technology, 6 virtual cabinet presets.
Power requirements: Mains IEC
Size: 258mm x 174mm x 105mm (inc feel & handle)
1. TWO CHANNELS - FOOTSWITCHABLE
Two independent channels with controllable gain and master knobs make dialing in your gain simple and easy. Gain 1 has less gain compared with the monster high gain of Gain 2.
2. THREE-BAND EQ
Powerful bass, middle and treble controls to shape your tone. These also have an effect on the gain character and drive levels – just like in any valve guitar amp.
3. REVERB ON BOARD
Lush sounding digital reverb to add ambience.
4. SIM PRESETS
The V4 Kraken comes with access to ten Victory Virtual cabinets. There are 6 programmable presets created by Rabea Massaad that are switchable from the V4 Kraken. These can be edited and changed via Torpedo Remote (USB).
5. SERIES EFFECTS LOOP
Sits between the preamp and power amp. Run your time-based effects here for maximum clarity.
6. BALANCED LINE OUT & CAB SIM OUT
Send a direct feed to front of house or wherever you like. Can be used with or without a speaker connected. Cab Sim output works with Two Notes virtual cabinets.
7. 180 WATTS @ 4 OHMS
You want power? Here it is! 180W @ 4 ohms. (Approx 90W @ 8-ohms / 45W @ 16 ohms.)
Shown on V212 2x12 speaker cabinet
Preamp valves: 1 x EC900, 3 x CV4014
Power output: 180W @ 4 ohms (approx 90W @ 8 ohms, 45W @ 16 ohms)
Features: Aluminium chassis, reverb, remote switching for channels, series FX loop, balanced DI out, Two Notes embedded technology, 6 virtual cabinet presets.
Power requirements: Mains IEC
Size: 258mm x 174mm x 105mm (inc feel & handle)
View full product details
The Aurora is an analog bucket-brigade flanger that gives you a powerful 5-mode modulation bus with 2 LFOs, 2 tape emulations, and a static comb filter. This provides several shades of flange, vibatro, chorus, phase, and filtery spatial effects with the lush sound of an analog signal path. The inclusion of a dedicated wet/dry MIX control gives you acute tonal control, while manually actuated TAPE modulation, and interruptible LFOs open up new avenues of in-the-moment expressiveness. Let your imagination coast across the neon sky.
The modulation bus of the Aurora consists of three types of modulation: Two LFO modes, two tape modes, and one unswept comb filtering mode. Add shimmer and movement with shallower WIDTH and MIX settings. Crank up the REGEN, WIDTH, and RANGE and careen into deep rhythmic sweeps.
The LFO 1 mode produces a triangle waveshape ideal for a traditional flanger effect at lower speeds and lush chorus and phasing sounds at moderate speeds. At higher LFO speeds, set your MIX to fully wet and spin up bizarre seasick pitch-shifting vibrato. The LFO 2 mode offers discrete control over the rise and fall times, allowing you to craft ramp up, triangle, and ramp down waveforms. The ability to control the LFO slopes independently makes for very interesting asymmetrical modulation especially useful for flange and pitch-shifting settings. A quick tap of the TRIG footswitch resets the LFO to the bottom, and holding the TRIG switch holds the LFO low.
The TAPE modes of the Aurora give you the ability to mimic the tape deck manipulation of early flange effects. Just like placing your finger on the flange of a tape deck, holding the TRIG footswitch down begins the upward sweep, and releasing the TRIG footswitch begins the downward sweep. Careful use of the REGEN, WIDTH and MIX controls can tame or exaggerate the effect to suit any application.
Lastly, the COMB mode freezes the modulation, and uses the RATE & RANGE controls to set two different static delay times that can be switched between by using the TRIG footswitch. The comb filtering effect can be used in a variety of ways, from simple thickening, to exotic, chaotic, robotic clang.
VOLUME - Unity gain is roughly at noon, and a moderate boost of 6dB is possible at maximum.
MIX - Full control over wet/dry blend. This dramatically increases the utility of the Aurora by opening up subtler and more extreme tones.
REGEN - The staple jet sound maker. This control feeds a portion of the output signal back into the input for exaggerated resonant, robotic, or swooshy effects.
MODE - Five modulation modes are available: LFO 1, TAPE 1, LFO 2, TAPE 2, and COMB; each with their own unique attributes. See the tables for a more in depth coverage of each mode.
WIDTH - This is the main depth control of the modulation. It sets how wide the sweep is by controlling how much of the total delay time is modulated.
RATE • ↑ - Controls the speed of the modulation in LFO 1 & TAPE 1 modes. In LFO 2 & TAPE 2 modes it controls the RISE time. Sets the static delay time in COMB filter mode.
RANGE • ↓ - Controls which portion of the delay time is modulated in LFO 1 & TAPE 1 modes. In LFO 2 & TAPE 2 modes it controls the FALL time of the modulation. Sets a secondary static delay time in COMB filter mode.
TRIG Footswitch - Multi-function footswitch for use with the modulation bus. See the tables for a more in depth coverage of its usage in each mode.
BYPASS Footswitch - True-bypass soft-touch relay switching to engage and disengage the effect.
Hand-wired and built in Portland, Oregon, the Aurora features true-bypass relay switching with soft-touch footswitches. 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.
Space Rip is an analog synth pedal featuring pulse width modulated (PWM) sawtooth and square wave voices in multiple octaves. A state-of-the-art tracking engine allows the Space Rip to keep up with your fastest single note lines, replicating both pitch and dynamics. Sounds like tearing the fabric of spacetime in half. Pulse width of the square and sawtooth waveforms produced by the onboard VCO is kept in a state of flux, generating constant harmonic motion controlled by the Rate knob. The Sub knob adds an additional voice one octave down from the input signal, while the Octave switch drops the entire synth down an additional octave, producing a devastating amount of pure analog synth bass. Runs on standard 9VDC.
Rate: Controls the speed of the waveform’s motion. The pulse width of these waveforms is produced by the onboard VCO being kept in a state of flux.
Tune: Sets the fine tuning of the synth voices.
Mix: Sets the blend between clean and synth sounds.
Sub: Adds an additional voice one octave down from the input signal.
Octave: Drops the entire synth sound down an additional octave. Can be devastating.
Shape: Changes the waveform from a sawtooth to a square wave, or vice versa.
The Space Rip outputs a choice of sawtooth or square waves that constantly undulate in and out like an accordion. This is accomplished through a type of synthesis called Pulse Width Modulation (PWM). The Rate knob controls the speed of an onboard LFO which continuously alters the waveshape of both oscillators to create an ultra-thick analog sound inspired by high-end, vintage synthesizers.
Choose your analogy—ripping open the night sky, a zipper the size of a galaxy, the cosmos tearing itself in half like its telophasing in mitosis—point is, it sounds wild.
Split | Meld Is a passive, non-summing, non-destructive way to manage parallel dual-mono and stereo signal paths.
Split | Meld is an audio routing solution.
Split | Meld consists of 2 pairs of a TRS (or Stereo) Jack & 2 TS Mono jacks.
The TIP & RING of each TRS jack is routed to a corresponding Mono jack.
Use SPLIT | MELD to route your parallel signal path in a myriad of ways—Especially useful with devices that have TRS input & dual-mono output.
Stereo-TRS-to-dual-mono TS jacks x2
Rugged design for easy pedalboard integration
Two years since its initial release, Alpha Haunt Fuzz gets a makeover. The pedal explores the vast variety of sounds you can coax from one fuzz circuit, from open overdrives to squashed sputters. Now in a more pedalboard-friendly package, the Alpha Haunt continues to offer users its uniquely versatile control set.
The Alpha Haunt features:
Variable control over fuzz gain, compression, and tone to set the base fuzz sound
Switchable fuzz range, bias, and tone control voices for further options
A parallel Enhance circuit with independent volume to bring in body and clarity
Active three band master EQ to shape the output
Master volume to control the overall output level
Soft touch relay bypass switching and standard 9VDC center negative power
There's a gentle hum, a soft light somewhere in the darkness. And it grows. A little hope that you're not the only one in a vast universe. Isolated, alone and dying. When there's truly nothing making noise, what do you hear? Is it nothing? Or is it the softness, the growing of a voice that resides below the normal hum and frequency of the universe. The voice of the Dark Star.
The Dark Star is what we would use to create long reverberated pads. The noises underneath the lead. The mood setter. That's the Dark Star. The way a song feels. That's because of the Dark Star.
At its heart, the Dark Star is a Reverb. Then the Reverb signal passes through three possible modes: Pitch, Delay and Crush. CTRL 1 and CTRL 2 correspond with the selected mode. In Pitch, you've got two independent pitch controls for + and - an octave. In Delay, you've got the Delay Time and Delay Feedback. In Crush, you've got a pitch control for +/- an octave and then a control for Bit Crush. The Mix and Reverb knobs control the mix of dry/wet signal and the decay of the reverb, respectively.
The Dark Star 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.
The Dark Star 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.
9VDC - 2.1mm negative center pin adapter.
60 mA draw.
The art of the Dark Star comes from the magical mind of Jon Carling. Check out more of his excellent work here: joncarling.com
Buffer, booster, and rich overdrive all in one, with a mix of Russian germanium sweetness.
It’s 1972. A Soviet surveillance microphone preamp has made its way west thanks to a courageous defector. The nascent, nefarious, and invisible Caroline Corporation obtains it and converts it into devices for military psychoacoustic special operations, then covertly delivers them to legendary users with fame and influence for evaluation.
Decades later, the Corporation’s hilariously neglected “Guitar Company” satellite office, blissfully unaware that their parent company has dissolved decades earlier, discovers the schematic and parts specifications. They source some discontinued Russian “unobtanium” diodes and recreate its special flavor.
There is no evidence that any of the above has or has not happened. So anyway, here’s ICARUS™. It is “sonic awesomeness” based on our PARABOLA and MÉTÉORE preamps.