In 2012, I had a crazy idea for a tone shaping device that had never been done before in the world of guitar pedals. I wanted to create an effects pedal that replicated the hard to achieve sounds of "direct-in" electric guitar recordings that I loved. Bands like the Beatles, Spoon, WIlco, and Steely Dan had used this technique for years, but it was nearly impossible to recreate live.
I wanted this pedal to transform my guitar rig into the tonal equivalent of a Neve studio console, and that was no small task. After lots of trial and error, experimentation, and re-works, this concept evolved into something far beyond what we had imagined.
In 2014 as we filmed the first demo videos at Abbey Road Studios in London and this idea had evolved into the most unique product we had ever made. The Colour Box was a full-fledged studio-grade preamplifier, EQ, and distortion generator with multi-instrument compatibility. It did what I had always wanted it to do, but it did so much more!
On its release day, I wasn't quite sure how it would be accepted, but I knew that I loved it. As a few months went by, we saw something amazing begin to happen; this pedal was showing up in all types of environments. Producers, engineers, and artists were emailing us, tagging us on socials and showing how they had put the Colour Box to use. Studio vocals, live vocals, kick drums, acoustic guitars, bass, keys, overhead drums, stereo bus's, room mics, synths, re-amps, and some incredibly large stage setups had it on almost every instrument! This unit can be heard on dozens of recordings from U2, Wilco, The National, Spoon, Collective Soul, Muse, to War on Drugs, and Phantogram amongst others. As proud of this pedal as we were, we wanted to make it better, so we did. – Josh Scott
The Colour Box V2 has all the same functionality of the V1 with many new and improved additions like expanded EQ controls, a Hi/Lo switch for massive clean headroom, and the ability to pass phantom power to your condenser mics.
The most significant improvements are:
Addittion of an Output transformer
Safely Passes 48v Phantom Power
EQ Shift Knobs for precision EQ control
Hi/Lo Switch for ultra clean headroom
100% available clean signal even on acoustic guitar
Silent switching, aka no "switch-pop"
Runs on standard 9V DC Neg power
The Gain section in red has three controls: Master, Pre-Vol, and Step. The Master volume controls the overall volume of the unit. The Pre-Vol controls the amount of gain between the two internal gain stages. This acts as a "drive" or "gain" control, adding more grit, distortion, and even fuzz as you increase the gain.
The Step control increases the gain of each preamp stage in five stages. Rotating the Step knob from left-to-right will increase the gain by the following: 1st is +18 dB, 2nd is +23 dB, 3rd is +28 dB, 4th is +33 dB, 5th is +39 dB.
The Colour Box V2 has a new Hi / Lo switch to control the amount of clean headroom you have available. In the Lo mode, you will easily be able to get ultra clean sounds without breakup. Lo Mode is excellent for tone shaping when distortion is not needed. In the Hi mode, the Colour Box V2 will distort much more readily, giving you a broad spectrum of overdrive, distortion, and fuzz sounds.
In addition to the Hi / Lo gain switch, there is a -20dB pad switch on the right side of the Colour Box V2. This function only works when in XLR input mode and can help tame the volume for high output microphones.
The EQ section in blue has three new Shift controls correlating to its standard Treble, Middle and Bass controls. The Shift knobs adjust the range of frequencies that the Treble, Middle, and Bass knobs control. The center frequencies for the Shift knobs are Treble 10kHz, Middle 1kHz, and Bass 120Hz, while the Treble, Middle, and Bass knobs boost or cut with +/- 17dB of control. If you want to boost high-mid frequencies, turn the Mid Shift knob to 3 o'clock or above and increase the Middle knob above 12 o'clock. If you want to cut upper treble frequencies, turn the Treble Shift knob to 3 o'clock or above and set the Treble knob below 12 o'clock. The Shift knobs give you precision control over the EQ for anything you put through the Colour Box V2.
Frequencies controlled by Shift Knobs:
Treble: 1kHz - 15kHz +/- 15dB
Mid: 160Hz - 2.5kHz +/- 10dB
Bass: 20Hz - 400Hz +/-15dB
HPF 160Hz - 650Hz 3dBper octave filter
The Hi-Pass section is enabled by the toggle switch below the Hi-Pass knob. Just flip it up to engage the Hi-Pass knob, which spans from 60Hz to 800Hz with a 6dB per octave slope.
The Colour Box V2 has a combination XLR and 1/4" input jack to use either an instrument or microphone. Select your input with the input selector switch on the right side of the pedal labeled INST/XLR.
The first Automatone.
What happens when you combine the DNA of Benson Amps’ Chimera in a box Preamp with a little fuzz, some of Condor’s resonant parametric mids, and full blown preset control from your friends at Chase Bliss Audio? The Preamp MKII. Built in collaboration with Chris Benson from Benson Amps, and known around here as the first Automatone.
This baby has variable diode clipping control (transistor only, silicon, and asymmetrical germanium), fuzz you can swap from open to gated, three mids resonance settings with variable routing you can place before or after the preamp, and three banks of ten presets each that give you thirty presets to set at your leisure.
But what’s an Automatone, you ask? It’s a pedal built with motorized faders that adjust automatically – and a little magically – as you cycle through presets. Check out the video below to learn more and see it in action.
Expected release May 2020
The Outward is a digital sampling device that records audio and plays it back in different ways, depending on the mode. With freezing, stutter, and time stretching effects, there’s a lot the Outward is capable of.View full product details
Iridium gives you three iconic amplifiers, with a total of nine impulse response speaker cabinets that complement the tonality of the amp. Skip the hassle of lugging around or miking amps. Place Iridium on your pedalboard and send gorgeous stereo amplifier tones, stunningly realistic cabs, and lush room ambience direct to a recording interface or PA system. With Iridium, it’s a snap to dial in a direct tone that will truly inspire and sound great whether you are monitoring through in-ears, floor wedges, reference monitors, or studio headphones.
Our Matrix Modeling™ process captures all the subtleties and unique tonal qualities of each amplifier. We’ve taken three iconic tube amps with distinct characters and mathematically modeled every aspect of their circuitry with absolute precision to deliver the response, feel, and inspiring experience of playing through the original amps at their best. Taking the process a step further, we’ve hot-rodded each amp to provide an extended range of tonal options beyond what was available from the original designs.
Iridium’s speaker cabinets offer a level of realism and responsiveness unprecedented in outboard effects. Iridium delivers full stereo 24bit 96kHz resolution for the entire 500 milliseconds of its speaker cabinet impulse responses. Until now, IRs of this resolution have only been available for use within studio recording software. Iridium’s breakthrough technology means you can use the very best impulse responses available, bringing maximum realism to your pedalboard.
Iridium’s hybrid room reverb combines a 256 millisecond stereo impulse response with Strymon’s reverb tank algorithm for extended decay. This combination places your amp and cab in a natural sounding room (small, medium, or large), creating a space for your amp to open up and breathe.
Iridium comes pre-loaded with a carefully curated collection of premium cabinet IRs from OwnHammer, Celestion, cabIR and Valhallir. You can also load your own IRs using Strymon Impulse Manager software.
Deluxe Reverb® 1×12″ by OwnHammer
Impulse of a vintage Fender® Deluxe Reverb 1×12″ open back combo with a 1978 Fender CTS ceramic 12″ speaker.
Blues Junior® 1×12″ by cabIR
Impulse of a 1×12″ Blues Junior cabinet with a Jensen® C12N speaker.
Vibrolux® 2×10″ by cabIR
Impulse of a 1965 Fender Vibrolux 2×10″ with Jensen C10NS speakers.
AC30 2×12″ AlNiCo by OwnHammer
Impulse of a Vox® AC30/6 open back 2×12″ combo with 2001 Celestion® T0530 Blue AlNiCo speakers.
1×12″ AlNiCo by Celestion
Impulse of a Celestion Blue AlNiCo speaker in a closed back 1×12″ cab.
Mesa® 4×12″ by Valhallir
Impulse of a 4×12″ Mesa Boogie halfback with two Celestion Black Shadow® MC-90 and two ElectroVoice® Black Shadow EVM12-L speakers.
GNR 4×12″ by OwnHammer
Impulse of a 1971 Marshall® 1960B “basketweave” 4×12″ cabinet with 1971 Celestion T1221 G12M-25 speakers.
2×12″ Vintage 30 by Celestion
Impulse of a Celestion Vintage 30 in an open back 2×12″ cab.
Marshall 8×12″ AlNiCo by cabIR
Impulse of a 1965 Marshall 8×12″ re-issue full stack cabinet, with Celestion T652 AlNiCo speakers.
Want to play live with the exact same tones that you use at home or in the studio? Or have access to multiple amp and cab setups without having to lug them on stage? Leave your amps at home, and connect Iridium directly to the house PA system.
Going direct eliminates the need to mic an amp, giving sound engineers the option to send your amp and cab tone directly to a wedge or in-ear monitors. Instant adjustments to your tone are right there on your pedalboard, only a footswitch away. With Iridium, there are no menus to wade through—just familiar, responsive amp-style controls for instant, easy adjustment.
With Iridium, it’s easy to dial in a direct guitar tone that will truly inspire and sound great whether you are monitoring through in-ears, floor wedges, reference monitors, or studio headphones. In this video, we take a look at the direct environments where Iridium shines.
Delivering the complete experience of playing into an amp through a miked cab in a room is a research and development project that has been years in the making. The amp development began in the tube emulation and cascading gain stage topography created for Riverside, and then majorly leveled up for the intense degree of real-time calculation Matrix Modeling™ required to create Iridium’s amps. We’re not just talking about the perfectly recreated tone stacks, but also things like the treble bleed on the gain controls, multi-stage power supply sag, and preamp and power amp tube emulation.
Our talented and tireless engineering team covered quite a bit of new ground on the way to recreating these classic amp designs with exact mathematical fidelity, and then expanded the capabilities of each amp in musically useful ways, giving you the full range of original amp sounds, and then some.
A collaboration between Old Blood Noise Endeavors and Datachoir, the Rêver provides reverb, delay, and reverse effects that combine into a unique blend of trailing, bizarre ambience. The delay and reverb sections offer typical controls: the delay offers variable level, time, and feedback while the reverb provides wet/dry mix, decay time, and a control for otherworldly modulation. The reverse section provides an option for latching or momentary operation and wet/dry blend; moreover, the reverse can be placed at the beginning of the signal chain or at the end, providing access to everything from layered, drifting ambience to glitchy washes and beyond. Rêver is far more than the typical delay or reverb: it is a textural space machine unlike anything else available.
An update on the popular modulation noisemaker pedal. Reflector V3 is a densely lush chorus coupled with three modes of modulation. This is a chorus with a bent, an ephemeral voice floating between aural dimensions.
Controls include Rate and Depth for the Chorus/Flanger/Vibrato speed, Mix for a balance between unaffected and affected signal and Modulate to add Pitch selection, Reverb wash amount or Flanger depth, depending on the mode. A three-way toggle switch allows the player to choose between Wrinkle Mode (A Vibrato-esque warble chorus with the added option of pitch selection, meaning the Modulate knob goes from one octave down to one octave up, with noon being close to pitch unity), Washed Mode (a simple lush chorus, Modulate control adds in a wash of Reverb pre Chorus effect) or Mirrors Mode (Detuned Chorus meets Flanger in which the Modulate knob controls the depth of the Flanger, while Rate corresponds to both the Flanger speed and the detuned Chorus speed).
The Reflector V3 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.
- Toggle switch to select between three modes: Wrinkle (pitch shifted signal into
chorus), Washed (reverb into chorus), and Mirrors (resonant filter and chorus
- Mix control to go from fully dry (no affected signal) to fully wet (for true pitch
vibrato), with chorus sounds in between
- Rate and Depth control for the chorus, from slow and subtle to wildly wobbly
- Modulate control for pitch shift amount (octave down to octave up), reverb
blend (no reverb to full reverb), or filter depth
- Expression jack for external control of the Rate or Modulate parameter
- Internal trimpot to control output level
- Relay bypass switching and standard 9VDC center negative powerView full product details
Designed with our friend Brian Hamilton from smallsound/bigsound for OBNE demo boards, we thought it a reasonable idea to offer every bedroom player a way to not annoy those around them. Simply plug in the output of your pedalboard to the headphone amp, plug in headphones and blast your volume. Play whatever you like, you're the only one who can hear. Or a buddy can plug into the additional Headphone output. Headphone output is mono out.
Two 1/4 Headphone Output jacks allow two users to simultaneously listen.
***Not to be used as a normal amplifier pushing cabinets. Outputs are only intended for Headphone use.***