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AC Noises

Hand-built and designed in ItalyTop-mounted jacks. Digital printed graphics.
True bypass switching
Standard 9V DC negative power.
COMBATTI means “fight”.This effect pedal is a very expressive and super versatile distortion that offers three different clipping options selectable by a toggle switch.MIDDLE POSITION: The standard one. Open and very dynamic sound.UPPER POSITION: The sound is way more compressed with a strong mid-scoop. Perfect for cutting solos. LOWER POSITION: Similar to the upper position but a little bit less compressed. It presents more definition on low ends, especially on chords.It has three adjustable parameters: VOLUME, TONE (eq filter) and DISTORTION.The COMBATTI is created for that kind of player who still believes in the power of rock, playing strong rhythmic sessions and cutting solos. Turning back the distortion knob it’s possible to use that as a very warm overdrive – but, if you’ll turn that fully clockwise, you’ll enter in a fuzz territory.

Alternatives:

Op-mounted jacks.Digital printed graphics.Hand-built and designed in Italy.True bypass switching.Standard 9V DC negative power. ESPLORA means “explore” in second person imperative (tu, esplora! = you, explore!). This effect pedal is a powerful fuzz that offers many different tonal possibilities. It has three adjustable parameters: LEVEL, TONE and FUZZ.
The LEVEL knob it controls the volume, TONE it adjusts the the eq filter (which allows to passing through a very dark/fat tone to a very bright and tiny one) and FUZZ it controls the amount of gain/sustain. The extra tonal weapons of the ESPLORA are the two toggle switches:LEFT ONE
At the upper position, allows to bypass the tone control for a true tonal punch, releasing all the frequencies available without any kind of cut and providing a very doomy and groovy tone.RIGHT ONE At the lower position, gives brightness to the gain and boosts the trebles, transforming the sound in a more aggressive/modern one and adding presence to the signal. The ESPLORA can make the difference for any musical genre which needs a real sonic boost, allowing to play the classic silicon fuzz sound or experimenting with the tonal options that this pedal offers.

Alternatives:

Top-mounted jacks. Digital printed graphics. Hand-built and designed in Italy. True bypass switching. Standard 9V DC negative power. VOLA means “fly” in second person imperative (tu, vola! = you, fly!). This effect pedal is a transparent and very dynamic overdrive that works perfectly even as a clean boost or preamp. It offers a huge range of tones: from the lowest setting which allows to revive the signal adding brilliancy to each note you play, to the highest one which transforms the pedal in a dense and perfect overdrive for playing determined chords and clear solos. It has three adjustable parameters: Volume, Tone and Gain. The VOLA is created for that kind of guitar player who just wants to add his personal touch to the clean signal of his guitar and the character of his amp.

Adventure Audio


Alternatives:

Adventure Audio Whateverb

The idea behind the Adventure Audio Whateverb is to provide three usable and unique reverb options.

Firstly, there is Chorus,Flange Reverb with depth and rate controls for the modulation.

Second there is Room Hall Reverb with HIGH and LOW pass filtering and then there is

Shimmer Reverb with dissonance and volume controls

The Whateverb should be taken both literally and figuratively. Its title brings to mind apathy and melancholy but the sounds it creates are quite the contrary. The also ambiguously named modes (This, That, and Otherb) provide a shimmer reverb, a room reverb and a modulated reverb that will leave you with thoughts of both outer space and Tears For Fears.

So, what’s the difference between V1 and V2?

  • Expression Input for the Warp Knob
  • Wider range for the warp
  • 100% Wet
  • True Bypass
  • More Durable IN & OUT Jacks
  • Blend and Decay are pretty standard knobs for reverb pedals, but whats not so standard is the Warp knob. This actually changes the sample rate of the ADAC Chip in the pedal.

What the heck is sample rate? and what in the heck is a ADAC?

The sample rate is how quickly the audio samples are taken in and processed. There are some wacky things that happen when you change the sample rate. i.e. the pitch and the decay of the programs.

ADAC stands for Analog to Digital to Analog Converter. Essentially the work horse chip behind all the digital conversion of your signal.

Controls:

The top two knobs on the pedal change depending on where the toggle is set, which effectively changes between one of three distinct settings.

This:

Chorus/Flange Reverb with depth and rate controls for the modulation

That:

Room Hall Reverb with high and low filtering.

Otherb:

Shimmer Reverb with dissonance and volume controls

Blend – 100% Blend of reverb and your dry input signal.

Decay – Length of the reverb tail.

Toggle Switch – Select between reverb settings

Deep – Depth of Flange/Chorus in This setting

Rate – Speed of Flange/Chorus is This setting

High Tide – Highpass filter roll-off frequency in That setting

Low Tide – Lowpass filter roll-off frequency in That setting

Shimmer – dissonance of shimmer octaves

Volume – the volume of shimmer effect

Audio Adventures have e demo of it on their website

The Whateverb is true bypass and requires 250mA 9VDC only power supply.

** When inserting the expression pedal, please make sure that the power is uplugged from the pedal! This may create huge pops in your amp if you do not unplug the power **

Alexander Pedals

Alternatives

The Outward is a digital sampling device that records audio and plays it back in different ways, depending on the mode.
The Moment Machine at its core, is one of the most advanced pitch shifters available in hardware form. Featuring two independent polyphonic pitch shifting engines, a powerful sixteen step sequencer, and over two hundred user adjustable parameters, there is plenty of room to get lost in the pedal, however it’s easy to use due to a simple and intuitive graphical user interface.

Alternatives:

Controls:

Reverb — Adjusts the size of the virtual reverb chamber.

Delay — Controls the pre-delay of the reverb. Controls the delay time in Echo mode.

Mix — Controls the blend between fully dry (clean) and fully wet (reverb only) echo sound. 12 o’clock is an equal mix of clean and reverb.

Tweak — Tweaks a different parameter in each mode. See the mode descriptions for full details.

Mode Toggle:

Mod — Large chamber reverb with adjustable modulation. Turn the Tweak knob clockwise for slow chorus, counter-clockwise for fast vibrato.

Shimmer — A classic ambient effect that adds an octave to the reverb trails. Turn the Tweak control clockwise to add an octave up, or counter-clockwise to add an octave down.

Echo — A dedicated echo unit where the reverb is fed by the delay repeats for interesting rhythmic effects or longer echo washes. The Delay knob controls 400ms of delay time. Tweak knob adjusts the repeats and the delay tone – counter-clockwise for analog flavored dark repeats, clockwise for bright digital repeats.

Bypass Switching:

The Golden Summer features a buffered bypass with optional “trails.” In Trails mode the reverb and delay will continue to repeat when the pedal is bypassed. To switch between standard bypass and trails, hold the bypass switch while powering on. The LED will blink once for standard bypass or five times for trails. The pedal remembers the last setting. The Golden Summer features an analog dry signal path.

Power Supply:

The Golden Summer requires a 9V DC power supply with a 2.1mm pin, center negative. The Golden Summer is not designed to be powered on supplies higher than 9V and does not use a battery. The Golden Summer should work fine on a multi-pedal “daisy chain” connector, but if you encounter excessive noise or hum try a separate power supply. The Golden Summer requires approx. 60mA.
This is the sound of a never-ending summer. Those nights when it was light out until 10 and your mom called you home from the back door. Skinned knees, fireflies in a jar and the smell of magnolia trees. Just let the nostalgia wash over you.

Controls:

Rate: Controls the rate of the low-frequency oscillator (LFO) for the phase shifter. In Envelope mode, the rate control sets the maximum speed.

Intensity: Controls the maximum LFO sweep and the intensity of the phase shifter.

Mix: Controls the blend between the dry and phased signal. Equal mix is at 12 o’clock. Hint: Vibrato effects are available with 100% wet mix.

Tweak: This controls different parameters depending on the mode the pedal is in. See below for details.

Mode Toggle:

Suave: Smooth sounding ten-stage studio phaser, the Suave mode is wet and deep. The Tweak knob controls the amount of regeneration in the phase signal. This mode has a unique twist – when the Depth control gets high enough the oscillator waveform “folds back” into itself for a super-deep sweep.

Dynámica: This mode puts the control in your hands, literally. The Tweak knob controls the sensitivity of the phaser to your guitar input volume, and the Rate knob sets the maximum phaser speed. Set the Rate below noon to increase speed with higher volumes, set above noon to decrease speed with louder signals.

*Hint: Try Envelope mode mixed fully wet, with low Intensity for a volume sensing vibrato.

Loco: This one is pretty crazy. The Tweak knob controls the feedback of the phase signal, and is linked to a ring modulator for some intense modulation effects. Might sound pretty gnarly, might sound pretty sweet.

Power Supply:

La Calavera requires a 9V DC power supply with a 2.1mm pin, center negative. La Calavera is not designed to be powered on supplies higher than 9V and does not use a battery. La Calavera should work fine on a multi-pedal “daisy chain” connector, but if you encounter excessive noise or hum try a separate power supply
A full-fledged festival of phasing, La Calavera combines an offering to the more traditional effects of days gone by with the essence of rebirth and revolution. Wake the dead with a colorful celebration of vibrant vibes and multiple modes of modulation.

Alternatives:


Alien mojo meets military tech, circa 1958. The F.13 Neo is our take on space junk stolen from Area 51 and put into the service of rock ‘n’ roll. Equal parts science, art, weapon and instrument, the F.13 Neo generates interplanetary flange never heard in this galaxy or any other.

We decided to give our fantastic F.13 Flanger the full Neo treatment, and that means new features! The F.13 Neo adds additional controls in all modes, more patterns in Step mode, and the all-new Echo Flanger effect. Top it off with presets, expression, ramp morph and you’ve got a mean green flanging machine.

Neo Series:

The sonic scientists at Alexander Pedals have been working overtime to cram the most pedal into the smallest box, and we now present the Neo Series! Each Neo Series pedal incorporates an advanced 32-bit microcontroller adding presets, expression, and MIDI capability.

The Neo Series pedals are small but mighty! Imagine having a single pedal on your board that can access up to 4 separate preset tones with a touch of your toe. Connect an expression pedal to “morph” between two distinct settings for each preset for dynamic real-time effects. Or hook up a simple footswitch to trigger a timed “ramp” between those expression settings. Expressive performance technology, right at your feet.

Presets:

All Neo Series pedals feature a simple yet powerful preset functionality. Hold the bypass footswitch to move the pedal to the next available preset, and the pedal will reconfigure itself on the fly. All knob values and the effect mode settings are recalled, allowing you to set up to four unique tones. Want more presets? Simply connect a MIDI controller to the EXP port on the side of the Neo Series pedal and access up to 16 presets total.

To load a preset, hold the bypass footswitch down or send a MIDI program change from 0-15.

To save a preset, hold the Select button down and then hold the bypass footswitch. The pedal will save the current settings to the current preset.

Any changes you make to the pedal settings will be lost when switching to a new preset unless you save the current preset first, so be careful!

Expression and MIDI:

The EXP port on the left side of the pedal can function as an expression pedal, foot switch input, or a MIDI input.

Expression Pedal: Set the expression pedal to the heel down position, then adjust the knobs to your preferred setting. Sweep the pedal to the toe position and set the knobs to a different setting. Now the F.13 Neo will allow you to seamlessly morph between the two settings!

Foot Switch: Connect a momentary foot switch to the port with a standard patch cable. Set the knobs like you want, then tap the foot switch and set them again. Every time you tap the knob the F.13 Neo will sweep between your two knob settings at the speed you set in the configuration mode.

MIDI: The Neo Series pedals can connect to a compatible MIDI controller to control all of the pedal functions plus access 12 extra presets, for a total of 16. The USB port may also be used as a MIDI interface to your computer or mobile device.

Controls:

Controls in parentheses () are accessed by holding down the Select button and turning the indicated knob.

Rate: Controls the rate of the low-frequency oscillator (LFO) for the flanger, from glacial to space invaders. Controls the input sensitivity in Dyna mode.

(ALT1): Controls the sweep offset (manual) in Auto mode, the pattern select in Step mode, the envelope speed in Dyna mode, or the delay time in Echo mode.

Depth: Controls the maximum LFO sweep in Auto, Step, and Echo modes. In Dynamic mode, this controls whether the flanger sweeps down (less than noon) or up (greater than noon) based on the input signal.

(ALT2): Controls the delay repeats in Echo mode

Mix: Controls the blend between the dry and flanged signal. Equal mix is at 12 o’clock.

(Level): Controls the overall output level of the pedal, from -20dB to +10dB. Unity gain is near 1 o’clock.

Regen: Adjusts the amount of flanged signal fed back into the modulation. Zero feedback is at noon, clockwise increases the positive feedback for a standard flanger sound. Twist this knob counter-clockwise for negative feedback and a unique “inside out” flange.

Select Button – tap to choose a new effect mode:

Auto: Traditional flanging is found here. The LFO of the F.13 Neo is actually a “hypertriangular” waveform, so that the flanger spends more time in the interesting portions of the sweep. The ALT1 knob controls the sweep offset, sometimes referred to as “manual.”

Hint: Set the Rate control at zero for “filter matrix” style manual flanging. The Depth knob controls the flange position.

Step: The flanger LFO is forced to “step” to distinct values for transforming robot sounds. The F.13 Neo has eight patterns, selected by the ALT1 control: Up, Down, Up+Down, Square, Whip, Two+Three, UpUpDnDn, and Random.

Dyna: This one is kind of unusual, even for us! The flanger delay time is set by the volume of the input signal. The Rate knob adjusts the sensitivity, to allow for different pickups or effects before the F.13 Neo. The Depth knob controls which direction the flanger will sweep when it hears the input signal. The F.13 Neo now features an envelope speed control on the ALT1 knob. Set this to the fastest speed for a more excentrifugal experienz. Don’t say we didn’t warn you.

Echo: This one is for all you radio friendly unit shifters out there looking to become the genius of love. We couple a fierce flanger with an exceptional echo for a very interesting take on time delay effects. The ALT1 and ALT2 knobs control the delay time and feedback of the echo, while the Rate, Depth, and Regen knobs control the flanger side. You can set either side to a very short delay for maximum comb filtering, or you can create spiraling soundscapes. 

Bypass Switching:

The F.13 Neo features a buffered bypass using a soft-touch footswitch. The dry signal path is digital, to maintain the precise time and phase alignment necessary for ultimate flanging. The bypass signal is 100% analog.

Configuration:

To configure, power on while holding the center Select button and release when the program LEDs start to flash.

Tap the Select button to choose Expression (upper LED green,) Foot Switch (upper LED orange,) or MIDI (upper LED red.)

Turn the Mix knob to select the Foot Switch Ramp speed – Lower LED green slow, lower LED orange medium, lower LED red fast.

Turn the Tweak knob to set the main LED brightness.

If you wish to assign the F.13 Neo’s MIDI channel, simply send a program change message from your controller on the correct channel while the pedal is in configuration mode. Hold the Select button to save the pedal settings.

The F.13 Neo MIDI port requires the use of either a MIDI converter box such as the Disaster Area / Chase Bliss MIDIBox or a MIDI controller that supports 1/4″ devices such as the Disaster Area Gen3 series. The F.13 Neo defaults to using MIDI Channel 1.

Power Supply:

The F.13 Neo requires a 9V DC power supply with a 2.1mm pin, center negative, 80mA. The F.13 Neo is not designed to be powered on supplies higher than 9V and does not use a battery. The F.13 Neo should work fine on a multi-pedal “daisy chain” connector, but if you encounter excessive noise or hum try a separate power supply.Accordion Content

Alternatives

Journey with us into the Quadrant – four unique effects hailing from a distant delay dimension. We hold a mirror up to your music, and reflect the echoes from a parallel universe.

Magnetic, analog, digital, and lo-fi delays await within, coupled with the power of our Neo Series platform to provide a unique but familiar echo experience.
Neo Series:

The sonic scientists at Alexander Pedals have been working overtime to cram the most pedal into the smallest box, and we now present the Neo Series! Each Neo Series pedal incorporates an advanced 32-bit microcontroller adding presets, expression, and MIDI capability.

The Neo Series pedals are small but mighty! Imagine having a single pedal on your board that can access up to 4 separate preset tones with a touch of your toe. Connect an expression pedal to “morph” between two distinct settings for each preset for dynamic real-time effects. Or connect the Neo Footswitch to enable your choice of preset select, tap tempo, or an automatic ramp “morph!”

Presets:

All Neo Series pedals feature a simple yet powerful preset functionality. Hold the bypass footswitch to move the pedal to the next available preset, and the pedal will reconfigure itself on the fly. All knob values and the effect mode settings are recalled, allowing you to set up to four unique tones. Want more presets? Simply connect a MIDI controller to the EXP port on the side of the Neo Series pedal and access up to 16 presets total.

To load a preset, hold the bypass footswitch down or send a MIDI program change from 0-15.

To save a preset, hold the Select button down and then hold the bypass footswitch. The pedal will save the current settings to the current preset.

Any changes you make to the pedal settings will be lost when switching to a new preset unless you save the current preset first, so be careful!

Expression and MIDI:

The EXP port on the left side of the pedal can function as an expression pedal, foot switch input, or a MIDI input.

Expression Pedal: Set the expression pedal to the heel down position, then adjust the knobs to your preferred setting. Sweep the pedal to the toe position and set the knobs to a different setting. Now the Quadrant will allow you to seamlessly morph between the two settings!

Foot Switch: The Neo Footswitch (sold separately) allows for preset select, tap tempo, or ramp morph control – all with LED indication. The Quadrant will also work with a standard tap tempo footswitch.

MIDI: The Neo Series pedals can connect to a compatible MIDI controller to control all of the pedal functions plus access 12 extra presets, for a total of 16. The USB port may also be used as a MIDI interface to your computer or mobile device.

Controls:

Controls in parentheses () are accessed by holding down the Select button and turning the indicated knob.

Rate: Controls the delay time from 0-915ms. If Glide is disabled, the time will adjust seamlessly. If Glide is enabled, the time will pitch-shift and get all “rubber-bandy” (technical term.)

(Tone): Controls the tone of the delay engine. Controls the grunge and grit of the LOFI mode.

Feedback: Controls the repeat level of the delay. The BBD and LOFI modes will go into infinite / runaway feedback.

(Glide): Controls the delay time change method. If Glide is set to less than 12 o’clock, the delay time will adjust seamlessly when tapped or adjusted with the Time knob. If Glide is set to greater than 12 o’clock, the delay time will pitch shift when adjusted.

Mix: Controls the blend between the dry and delay signal. Equal mix is at 12 o’clock.

(Level): Controls the overall output level of the pedal, from -20dB to +10dB. Unity gain is near 1 o’clock.

Mod: Adjusts the depth of the delay modulation.

(Rate): Adjusts the rate of the delay modulation.

Select Button – tap to choose a new effect mode:

MAG – Magnetic tape echo, warm and rich. The MAG mode captures the frequency response of the tape heads and preamp of a vintage tape delay. The Mod knob controls the “wow” or “flutter” of the tape. Each delay repeat loses both treble and bass, for a warm and compressed sound. The Tone knob controls the age of the tape, making the echo brighter or darker.

BBD – Analog delay, murky and wet. The BBD mode is based on a classic solid-state analog echo. This mode is capable of infinite repeats for the classic analog delay “spaceship” tone. The Mod knob adds analog chorus or vibrato. The Tone knob controls the analog delay filter.

DIG – Digital delay, bright and present. The DIG mode captures the sheen and clarity of the early digital delays. Each repeat sounds just like what you put in, with the classic digital “clang” you will either love or hate. The Mod knob adds wide-ranging pitch modulation, be careful! The Tone control sweeps the delay between low-pass and high-pass filtering for a wide range of delay tones.

LOFI – How can we put this? This mode sounds terrible. Don’t use it. It’s all dirty and grungy and sounds like you’re playing through a payphone or an AM radio. Roll the Tone control down to clean things up a little, or crank it for minimum fidelity.

Bypass Switching and AutoTrails:

The Quadrant features a buffered bypass using a soft-touch footswitch. The dry signal path is analog, to maintain your tone no matter how much delay you add! The bypass signal is 100% analog.

The Quadrant features an innovative new feature – AutoTrails. Some delay pedals cut the delay signal off as soon as you hit the footswitch – that sounds odd and unnatural. Some leave the delay signal on all the time – that’s better but you still get the noise from the delay signal even when you’re not playing. We give you the best of all worlds by letting you choose how long the delay trails persist, from instant-off to always-on. When you bypass the Quadrant, the delay signal persists and then fades out smoothly after a time you set. You want no trails? Trails all the time? No problem. Set it any way that fits your playing style.

Configuration:

To configure, power on while holding the center Select button and release when the program LEDs start to flash.

Tap the Select button to choose Expression (upper LED green,) Foot Switch (upper LED orange,) or MIDI (upper LED red.)

Turn the Delay knob to select the function for the Neo Footswitch – Counterclockwise for ramp, center for preset select, clockwise for tap tempo.

Turn the Feedback knob to set AutoTrails – counterclockwise for no trails, clockwise for longer trails settings. Fully clockwise will leave the trails on at all times.

Turn the Mix knob to select the Foot Switch Ramp speed – Lower LED green slow, lower LED orange medium, lower LED red fast.

Turn the Tweak knob to set the main LED brightness.

If you wish to assign the Quadrant MIDI channel, simply send a program change message from your controller on the correct channel while the pedal is in configuration mode. Hold the Select button to save the pedal settings.

The Quadrant MIDI port requires the use of either a MIDI converter box such as the Disaster Area / Chase Bliss MIDIBox or a MIDI controller that supports 1/4″ devices such as the Disaster Area Gen3 series. The Quadrant defaults to using MIDI Channel 1.

HOLD THE SELECT BUTTON TO SAVE CONFIGURATION

Power Supply:

The Quadrant requires a 9V DC power supply with a 2.1mm pin, center negative, 80mA. The Quadrant is not designed to be powered on supplies higher than 9V and does not use a battery. The Quadrant should work fine on a multi-pedal “daisy chain” connector, but if you encounter excessive noise or hum try a separate power supply.

Alexander Radical VIAlternatives:

Alexander Radical DX Pedal

Version I

Repeat — Controls the feedback of the delay.

Tweak — Tweaks a different parameter in each mode. See the mode descriptions for full details.

Mix — Controls the blend between fully dry (clean) and fully wet (repeat only) echo sound. 12 o’clock is an equal mix of clean and echo.

Mode Toggle:

Mod — Super-clean digital delay with adjustable modulation. The Tweak knob adds a luscious modulation to the delay. At 12 o’clock there is no modulation. Clockwise adds a slow chorus and counter-clockwise adds a fast vibrato.

Glitch — Pristine digital delay that you can mangle in unusual and interesting ways. With the Tweak knob fully counter-clockwise, the Radical Delay will echo exactly what you play. Turn the Tweak knob clockwise to add some “ghost in the machine” style glitches and odd pitch modulation. And with the Tweak knob fully clockwise, the Radical Delay sounds more like a synthesizer or video game console.

Bend — Delay with pitch shifting that’s based on the earliest technology and spirals up or down with each repeat. Turn the Tweak knob counter clockwise to shift the pitch down or clockwise to shift up.

*Hint: Turn the delay time all the way down and the Radical Delay will take on a whole new vibe. In Mod mode, you’ll find analog-flavored chorus. Glitch mode turns into a “bleep bloop” robot machine. And in Bend mode, try blending the dry signal in for glitchy pitch-shifted harmony lines.

Bypass Switching:

The Radical Delay features true bypass switching using a latching relay and a soft-touch bypass footswitch. The Radical Delay will power on in either bypass mode or effect mode (useful if you are using the pedal with a remote bypass switching system.) Hold the footswitch at boot to toggle between bypass and effect startup modes. The pedal remembers your settings when the power is removed.

Note: certain early Radical Delay pedals have a mechanical 3PDT bypass switch rather than the relay switching. Relay equipped pedals blink the LED twice rapidly at power-on.

Power Supply:

The Radical Delay requires a 9V DC power supply with a 2.1mm pin, center negative. The Radical Delay is not designed to be powered on supplies higher than 9V and does not use a battery. The Radical Delay should work fine on a multi-pedal “daisy chain” connector, but if you encounter excessive noise or hum try a separate power supply.
The Radical Delay is a re-imagining of the crystal-clear digital delay sounds of the 1980’s — with some modern twists. So grab your hover board and pump up your Reeboks, because we’re about to turn back the clock.

 

Version II

We stuck our classic ‘80s flavored delay in the Betamax and fast-forwarded to the good part. But instead of an eyeful of Phoebe Cates, we discovered the Radical Delay II+.

The sound you love with more reasons to love it, like updated cosmetics and built-in tap tempo.
Controls:

Time (8 D. Q) — Changes the delay time from 0-920ms. In Tap mode, this knob sets the tap tempo subdivision. Left for 8th notes, center for dotted 8ths or right for quarters.

Repeat — Controls the feedback of the delay. The Radical Delay II+does not self-oscillate, because that does not compute.

Tweak — Adjusts a different parameter in each mode. See the mode descriptions for full details.

Mix — Controls the blend between fully dry (clean) to fully wet (repeat only).

Mode Toggle:

Mod — Super-clean digital delay with adjustable modulation. The Tweak knob adds a luscious modulation to the delay. At 12 o’clock there is no modulation. Clockwise adds a slow chorus and counter-clockwise adds a fast vibrato.

Glitch — Pristine digital delay that you can mangle in unusual and interesting ways. With the Tweak knob fully counter-clockwise, the Radical Delay will echo exactly what you play. Turn the Tweak knob clockwise to add some “ghost in the machine” style glitches and odd pitch modulation. And with the Tweak knob fully clockwise, the Radical Delay sounds more like a synthesizer or video game console.

Bend — Delay with pitch shifting that’s based on the earliest technology and spirals up or down with each repeat. Turn the Tweak knob counter clockwise to shift the pitch down or clockwise to shift up.

*Hint: Turn the delay time all the way down and the Radical Delay will take on a whole new vibe. In Mod mode, you’ll find analog-flavored chorus. Glitch mode turns into a “bleep bloop” robot machine. And in Bend mode, try blending the dry signal in for glitchy pitch-shifted harmony lines.

Tap Tempo:

Hold the bypass footswitch to enter tap tempo mode. The bypass LED will flash at the current tempo, tap the footswitch two or more times to set a new tempo. Hold the bypass footswitch again to exit tap tempo mode or wait 4 seconds and the pedal will exit on its own. Turn the Time control while in tap tempo mode to change the delay subdivisions – each division is marked by a dot. The available divisions are eighth-note (2x tap speed,) dotted-eighth (1.5x tap speed) and quarter-note (1x tap speed.) The pedal will remember the last tap tempo setting used.

The green jack on the side of the pedal allows you to connect a tap tempo footswitch. The Radical Delay II+ requires the use of a normally-open footswitch, and is compatible with automated tap tempo controllers such as the Disaster Area SMARTClock or Gen3 MultiJack interface. Tapping the remote footswitch will cause the Radical Delay II+ to enter tap tempo mode. We recommend the Alexander Tap II footswitch to control the Radical Delay II+.

If you prefer to get crazy, you can assign the green jack to act as an expression pedal input. Hold the footswitch down at power-on to select between tap tempo (two blinks) or expression (five blinks.) Connect a standard expression pedal (tip 0-3.3V, ring 3.3V, sleeve GND) to the green jack and you’re good to go. To set the expression pedal range, move the expression pedal to the heel-down setting and turn the Time knob. Then move the pedal to the toe-down setting and turn the Time knob again. The Radical Delay II+ will sweep the delay time between these two settings as you move the expression pedal, and the LED will indicate the current expression pedal position.

Bypass Switching:

The Radical Delay II+ features a buffered bypass with “trails.” The delay will continue to repeat when the pedal is bypassed. The Radical Delay II+ features an analog dry signal path.

Power Supply:

The Radical Delay II+ requires a 9V DC / 70mA power supply with a 2.1mm pin, center negative. The Radical Delay II+ is not designed to be powered on supplies higher than 9V and does not use a battery. The Radical Delay II+ should work fine on a multi-pedal “daisy chain” connector, but if you encounter excessive noise or hum try a separate power supply.

 

Alexander Sky fi

Alternatives:

Reverb. Delay. Repeat.

The Sky Fi bathes your signal in a excess of echoes, a deluge of delay, and a surfeit of shimmer. All of the ambience you desire is a footstep away.
Building a great delay pedal was foremost in our minds when we designed the Sky Fi. Development began with a crystal-clear digital delay engine combined with a tone filter to allow tailoring of the response to your liking. We then added a reverb engine that draws inspiration from certain digital rack units of the ’80s and ’90s. These units were designed to be as affordable as possible, and had some unique hardware quirks that caused their reverb effects to build in intensity over time. This “slow-building” artifact is one of the things that made these units so special. We’ve done our best to capture some of the magic of these units with the Sky Fi, while also incorporating some tricks of our own like the ability to freeze or oscillate by holding the bypass switch.

Controls:

Reverb — Adjusts the mix and decay of the reverb engine. Turn this knob while holding the bypass footswitch to change the delay signal mix. The Sky Fi remembers your delay mix setting when powered off.

Delay — Controls the delay time for the delay engine.

Mix — Controls the blend between fully dry (clean) and fully wet (reverb + delay only) sound. 12 o’clock is an equal mix of clean and reverb + delay.

Repeat — Controls the feedback and repeats of the delay engine. Rotate counter-clockwise for dark, filtered repeats. Rotate clockwise for bright repeats.

Mode Toggle:

Wash — Combines an 800ms delay with our slow-building reverb engine. Holding the footswitch initiates reverb sustain.

Gleam — Adds an upper octave partial to the reverb effect, holding the footswitch swells in a pronounced shimmer. Maximum delay time in this mode is approximately 640ms.

Echo — Slow-build reverb plus delay, holding the footswitch reduces the reverb slightly and forces the delay into oscillation. Warning – extremely loud oscillation and / or total collapse of your signal may occur!

HOLD Function:

The Sky Fi has a unique feature – the bypass footswitch integrates with the reverb and delay engines. Hold the footswitch to shift the reverb or delay engine into a feedback mode. In Wash and Gleam modes, the Hold function increases the Reverb time and mix to an infinite setting. In Echo mode, the Hold function increases the Delay feedback to maximum levels.

The Hold function has two options: Infinite allows new notes to be added to the held signal. Freeze routes the dry signal around the held notes so that you can play over the frozen notes without changing their harmonic content. To switch between the two modes, hold the bypass switch while powering on. The LED will blink once for Freeze or five times for Infinite. The pedal remembers the last setting.

Bypass Switching:

The Sky Fi features a buffered bypass with “trails,” so that the reverb and delay will continue to repeat when the pedal is bypassed. The Sky Fi features an analog dry signal path. If the Sky Fi is set to Infinite mode, you can engage the pedal and the Hold function by holding the footswitch even while in bypass. Release the footswitch to return to bypass mode.

Wet / Dry Output:

The Sky Fi allows the player to separate the wet and dry signals at the output jack. Insert a standard mono patch cable into the jack to use as a traditional guitar pedal – the output will contain both wet and dry signals as determined by the Mix knob. If a stereo / TRS cable is connected, the Sky Fi will place a buffered dry signal on the “ring” of the jack and a mix of wet and dry on the “tip.” Set the Mix control fully clockwise to have complete wet / dry separation. The Sky Fi will send the dry signal to both outputs when bypassed.

Power Supply:

The Sky Fi requires a 9V DC power supply with a 2.1mm pin, center negative. The Sky Fi is not designed to be powered on supplies higher than 9V and does not use a battery. The Sky Fi should work fine on a multi-pedal “daisy chain” connector, but if you encounter excessive noise or hum try a separate power supply. The Sky Fi requires approx. 60mA.

Blackout Effectors

Blackout Effectors CadavernousAlternatives:

The guys at Blackout Effectors didn’t just add expression control and a facelift; we’ve completely revamped the original Cadavernous circuit!

All of the controls have a wider range.

More feedback on the REGEN! A new filter on the DAMPEN! + Expression control over REVERB LEVEL or REGEN.

Blackout Effectors Musket FuzzTrue Bypass
Midrange Control
Focus Control
Pre Control
Sounds great on Bass
The logical progression from then to now, the MUSKET is based
on one of the raunchiest, best selling fuzz circuits of all time
– taken three giant muffy steps further. With the addition of the
PRE, FOCUS & MIDS controls, the MUSKET is able to traverse
the decades, the continents and the many iterations of the
classic 4-stage fuzz circuit – from emulation to beyond. If you
need fuzz and you need it to be massive…

And bass players, look no further. The Musket brings the thunder to perfectly compliment your lightning. You’ll find the Musket on pro bass player boards the world over.

Cooper FX

Alternatives: Red Panda Particle

The Outward is a digital sampling device that records audio and plays it back in different ways, depending on the mode.
The Moment Machine at its core, is one of the most advanced pitch shifters available in hardware form. Featuring two independent polyphonic pitch shifting engines, a powerful sixteen step sequencer, and over two hundred user adjustable parameters, there is plenty of room to get lost in the pedal, however it’s easy to use due to a simple and intuitive graphical user interface.

Lightning Wave

Alternatives

This was an experimental MOSFET phaser version or the Ghost that exists in versions ranging from 4 to 12 stages. No future plans for production. 

Designed for experimentation and performance, Lightning Wave effects provide an entirely unique interface for creating modulation waves.

Traditionally a musician would input a combination of dial settings to get a desired modulation waveform.

The Lightning Wave interface enables users to define a waveform by drawing the shape with the fader. Once recorded the LFO shape will stay stored in one of five preset banks.

Field Effect Transistors drive a swirling analog phaser circuit with undertones of a futuristic civilization run by the noise rocking elite.

Controlling the phase depth with an expression pedal and triggering waveforms can lead to a myriad of interactions that have yet to be heard from a phaser effect.

Preset Storage:
5 memory banks – LED colour = red, blue, green, yellow, magenta
Sequence mode = 255 steps maximum
Wave mode = 255 beats – recorded at 60bpm – 4m15s

Control Voltage:
Output – 0-5V
Input – 0-5V

Trigger / BPM / Tempo Sync:
Input + Output – Selectable to S-trig or V-trig.

Mojo Hand FX

Mojo Hand FX Mirror Ball

Alternatives

Mojo Hand FX Mirrorball Delay Features:

DELAY – sets delay range from 0 – 550ms
REPEAT – dial to taste from single slapback to self oscillation
BLEND – adjusts level of echo effect
2 way toggle – (modulation on/off)
RATE – dials in modulation speed
DEPTH – dials in modulation intensity
550ms of sweet analog-voiced delay fine tuned to sit perfectly in the mix with warm overtones yet still retain clarity. Add in a fully tweakable modulation section at the flick of a switch to accentuate your echoes, whispers and howls with various shades of warble.

Pigtronix

 

Alternatives:

Bob Weir’s Real Deal acoustic preamp by Pigtronix provides crystal-clear, super-loud acoustic guitar tone while faithfully maintaining the organic wooden sound of the instrument like no other pedal has ever done. Bob Weir and long-time Grateful Dead tech guru and Weir’s personal Front of House engineer, Mike McGinn, developed the principle behind the Real Deal in an effort to crank Bob’s acoustic guitar loud enough in the live mix while retaining the natural, unplugged sound of the instrument. The technology they developed to achieve this goal involves using a pair of complimentary filters to split the acoustic guitar signal into low and high frequency bands, with independent preamp gain applied to each signal path. A mastering stage then combines the various inputs into a single mono output, resulting in a powerful world-class acoustic guitar tone. Bob Weir challenged Pigtronix to design a pedal to perform this unique type of processing using a low-noise, all-analog circuit, to deliver the ultimate live acoustic guitar sound. The engineering challenge involved with developing this pedal to create a realistic and amplified acoustic guitar sound in this way is no joke! First, the cutoff points of the two filters would need to be precisely matched and calibrated to avoid undesirable dips or bumps in the frequency response at the pedal’s output. Second, in order to optimize the acoustic sound from venue to venue and for each different guitar, the cutoff point where the two filters overlap also would need to be variable across a huge frequency range. As a solution, Pigtronix created a totally unique tracking filter. It allows the musician to adjust the cutoff point of both filters with a single knob, sweeping over a full decade of frequency range from 300 Hz to 3 kHz. This analog filter array—at the heart of the Bob Weir’s Real Deal acoustic preamp—uses Pigtronix custom-made optical components and 18VDC power to achieve the ultra-low noise and high headroom required when processing acoustic guitar. Bob Weir’s Real Deal acoustic preamp is universally compatible with any type of acoustic guitar pickup—from a simple, passive piezo element to complex active systems that use internal microphones, contact elements and/or magnetic pickups. A source switch determines whether the high and low bands are fed by independent sound elements (such as a mic and piezo installed in one guitar) or a single pickup that is then split and sent through both filters. Single-source mode has the additional benefit of allowing the Real Deal to be used to process the sound of an electric guitar or any other instrument. An additional TRS balanced input, equipped with switchable 48V phantom power, allows external microphones of all types to be incorporated as well. In presenting Bob Weir’s Real Deal acoustic preamp, Pigtronix is honored to make a contribution to Bob’s continuing legacy of sonic innovation. This legacy dates back to the late 1960s, when the Grateful Dead and their associates revolutionized the technology of live sound—re-defining the rock & roll concert experience. Over 50 years later, and in partnership with Pigtronix, Bob Weir is still innovating. • Single (TS) or Dual-Source (TRS) input • Balanced (TRS) Input for External Mic • Low-noise 24db / octave optical filters • Crossover sweeps from 300Hz to 3kHz • 60db Gain on Microphone channel • Phantom Power & Phase Inversion • 18VDC Power Supply Included

 

Alternatives:

The Pigtronix Disnortion Micro packs all the sonic glory and 18V headroom of the original analog Fuzz and Overdrive circuits from the large format Disnortion pedal into a miniature version that runs on 9-volts.

The original, 3-footswitch Disnortion pedal was in production from 2005 to 2015 and remains in constant use with world-class bands such as Queens of the Stone Age, Aerosmith, Living Colour and Muse.

The original Pigtronix Disnortion is loved for its limitless headroom, making it compatible with any instrument, from the weakest 60’s pawnshop single coils to the most belligerent humbuckers, as well as 5-string active basses and modern synth rigs. Pigtronix Disnortion Micro achieves this world-class performance standard using standard 9v power… and fits in your pocket!

Features:
• 6-stage CMOS Overdrive
• Diode-clipping Fuzz
• 6-way passive filter network
• Series / Parallel Switching
• 18v internal headroom
• True Bypass switching
• Size = 3.75” x 1.5” x 1.75”
• Sound design by David Koltai

 

Alternatives:

Pigtronix FAT Drive is an all analog tube sound overdrive. The FAT Drive’s multiple cascaded gain stages enable you to nail sounds ranging from bluesy overdrive to rich saturation, all while retaining musical dynamics and the original character of your instrument.

FAT Drive takes a futuristic analog approach to create complex crunch tones using CMOS clipping and a variable low pass filter for tone shaping. Bringing the tone control all the way clockwise takes this filter completely out of the circuit for total transparency and robust low end. Rolling the tone control back smooths out the highs, leaving ample mid-range bloom and bottom end punch.

A Hi / Lo toggle switch brings additional versatility to the FAT Drive’s wide-ranging palette of overdrive tones, altering the gain structure for enhanced crunch and soaring leads. The FAT Drive features true bypass switching and runs fine on standard 9-volt power but ships with an 18-volt adapter for superior headroom, clarity and overall output.

Features:
• 100% Analog wide range overdrive
• Multi-Stage Tube Emulated Clipping
• Hi / Lo gain mode switch
• Passive LPF Tone Control
• True Bypass Switching
• 18VDC 300mA supply included
• Chassis Size = 2.4” x 4.4” x 1”
• Circuit Design by Howard Davis
• Sound Design by David Koltai
• True bypass
• Voltage: 9-18V DC
• Current Draw: 38mA @ 9V 120mA @ 18V

Alternatives

The Pigtronix Philosopher’s Tone Germanium Gold Micro brings back the original Pigtronix custom shop compressor/sustainer/distortion effect—in micro form. This superlative version of the award-winning and top-selling Pigtronix Philosopher’s Tone compressor takes the original pedal’s optical sustain engine and lets you mix in a layer of germanium-enhanced distortion. The unique diode arrangement found in the Germanium Gold version delivers a smooth top end and rich midrange response, tailored to match the characteristics of the optical sustainer driving it. If you felt that the original circuits in the Philosopher’s Tone were brilliant… wait ‘til you hear how the Germanium distortion adds to the overall character of this compressor/sustainer pedal! The clean side of the Philosopher’s Tone remains the same; dial in your Blend and Volume to get the signal you desire. Use the Sustain knob to dial in the amount of compression you need. Higher settings on this control will provide a noiseless clean sustain previously unheard of in compression pedals, while retaining the original integrity of your tone. What makes the Germanium Gold version unique is the GRIT control. More than a simple gain knob, the Grit knob found on the Philosopher’s Tone Germanium Gold Micro acts as a blend for the germanium-enhanced distortion found in this unit. You can dial in more or less grit, depending on your tastes. Your clean and overdriven tones from the Philosopher’s Tone can be blended perfectly with just the right amount of grit for your playing. This stompbox features true-bypass switching and runs on standard 9VDC power with an internal, voltage-doubling circuit providing the superior clarity and overall output of 18VDC power rails. The Pigtronix Philosopher’s Tone Germanium Gold Micro packs an unprecedented amount of boutique compression and germanium distortion into a micro-sized pedal. • Noiseless clean sustain • Blend control for parallel compression • Grit control mixes in germanium distortion • Runs on standard 9V external power • Internal 18V power for max headroom • True bypass switching • Size = 3.75” x 1.5” x 1.75”

Alternatives:

Pigtronix Philosopher Bass Compressor Micro brings the heralded Philosopher’s Tone compressor circuit to bassists in a micro-sized stompbox format. The SUSTAIN control on this pedal varies the compression threshold to provide everything from subtle peak limiting to infinite clean sustain, all with incredible low-end response. The Philosopher Bass Compressor also sports a BLEND knob, allowing the clean sound of your instrument to be heard in parallel with the optical compression. Blending some clean signal into the mix restores the instrument’s natural string attack, while simultaneously providing the musical benefits of additional punch and sustain. In addition to the wide-range analog compression circuit with unrivaled sustain and parallel blend, the Philosopher Bass Compressor’s GRIT knob blends in a harmonic distortion tuned especially for low-frequency domination. Used with a tube or solid state amp—or even straight into a mixing board, DI or DAW—the Philosopher Bass Compressor Micro delivers a new level of control and power to bass players at an affordable price. The Philosopher Bass Compressor features true-bypass switching and runs on standard 9VDC power with an internal, voltage-doubling circuit providing 18VDC power rails for superior performance with active basses. Never before has so much bass-friendly compression been squeezed into such a small package. • Noiseless Clean Sustain • Blend control for Parallel Compression • Grit control mixes in Bass Distortion • Runs on standard 9V external power • Internal 18V power for max headroom • True Bypass switching • Size = 3.75” x 1.5” x 1.75”

 

Alternatives:

Pigtronix Infinity is the world’s most musical looping pedal. Simple to operate, yet tremendously powerful and flexible, the Infinity Looper from Pigtronix sets a new world standard for latency-free looping. Our state-of-the-art looping platform provides instantaneous record, playback, dub, undo and redo, on two stereo loop pairs that can be configured in several ways. On top of superior speed and a unique, performance friendly feature set, Infinity Looper sounds downright incredible thanks to its discreet analog limiter stages, transparent analog pass-through and 24 bit / 48 kHz HD recording engine.

Infinity’s innovative “SYNC MULTI” mode provides a multiplier function allowing the length of Loop 2 to be 1, 2, 3, 4 or 6 times the length of Loop 1. The two loops can also be run out of sync or even in SERIES, for verse / chorus song structures. Ninja style input split mode assigns Input 1 to Loop 1 and Input 2 to Loop 2, effectively allowing performers to record and overdub separate instruments on separate loops, into isolated amps simultaneously.

The Pigtronix Infinity also provides a long awaited AUX Loop output intended to send looped audio to stage monitors. This is especially helpful for drummers to hear and stay in time. An expression pedal jack for Loop Volume allows hands-free control of the overall audio output. We thought of everything and kept only the F.A.T.

MIDI input for beat clock sync causes loop start and stop points to obey Pro Tools or any other DAW / sequencer that outputs MIDI. The Infinity’s USB access allows you to transfer your music to a computer at full 24bit, 48kHz resolution for further mixing, mastering or immediate publication. We have also implemented audio upload with automatic format conversion, allowing you to upload virtually any digital audio file onto the Infinity Looper.

THE MUST-HAVE PIGTRONIX pedal for any musician. The Infinity Looper will inspire compositional depth and engaging performances; it is the ultimate practice and performance tool for every style of music.

Features:
• 2 Stereo Loops with Sync
• Loop 2 Multiplier x1, x2, x3, x4, x6
• Series or Parallel Looping Modes
• 50 presets (100 loops)
• 24bit / 48kHz recording
• Latency Free Looping
• Analog pass through of clean tone
• USB access to saved loops
• Supports upload of virtually ANY audio format via USB
• Input Split for recording separate instruments on each loop
• Remote switch for UNDO/REDO, REVERSE, Rec>Overdub>Play, Instant Clear and Varispeed control
• Supports 256 (or more) overdubs per loop
• Aux Loop Out for Drum Monitor
• Expression Pedal for Loop audio volume, Loop Aging and Varispeed control
• Active MIDI Beat Clock Sync
• Complete MIDI control of all functions
• Varispeed (pitch up & down) via MIDI or remote control
• REVERSE Playback
• Rec –> Play –> Overdub
• Rec –> Overdub –> Play
• Variable Feedback Decay (aka Loop aging)
• All commands are instantaneous
• Stutter Mode
• 5 Stop Modes for flexible performance options
• 18VDC power supply included
• USB-A to microUSB cable included
• Chassis Size = 7.4” x 4.6” x 1.5”
• Voltage: 18V DC
• Current Draw: 200mA @ 18V

Alternatives:

Turn Lead to Gold with the Pigtronix Philosopher’s Tone Micro. Famous for its noiseless clean sustain, the Philosopher’s Tone stands out as a uniquely powerful guitar effect in the crowded world of compressor pedals. The Philosopher’s Tone Micro packs all of the optical compression and unrivaled sustain of the original award winning Pigtronix pedal into a micro size chassis that runs on standard 9V external power.

In addition to VOLUME and SUSTAIN controls, the Philosopher’s Tone Micro features a parallel BLEND knob that allows the musician to mix their instrument’s original tone with the compressed sound effect. This technique restores natural pick-attack and allows more extreme sustain settings to remain musical. The TREBLE control provides up to 6db cut or boost at 2KHz for fine tuning the frequency response of the effect. The Philosopher’s Tone Micro features True-bypass switching and internal 18V power rails for maximum clean headroom, even when used with hot pickups and line level signals.

Practitioners of the mystical and ancient art of alchemy long sought an element called the Philosopher’s Stone, believing that, if found, it could turn lead into gold and bestow immortality upon the person who wielded it. The Philosopher’s Tone Micro represents an analog musical equivalent to this mythical substance in the world of guitar.

“People have been trying to get clean sustain from a pedal for decades, and the alchemists at Pigtronix seems to have found the secret to make it happen.” – Art Thompson, Guitar Player Magazine.

Features:
• Noiseless Clean Sustain
• Blend control for Parallel Compression
• Treble EQ for Boost or Cut at 2kHz
• Runs on standard 9V external power
• Internal 18V power for max headroom
• True Bypass switching
• Size = 3.75” x 1.5” x 1.75”

 

Alternatives:

Pigtronix Resotron is an analog filter that brings the sound of 70’s keyboard synthesizers to the world of envelope pedals for guitar, bass and beyond. The filter at the heart of the Resotron is based on the SSM2040 chip found in the legendary Prophet 5 and Octave CAT synthesizers. This 24db/octave, state-variable filter provides the full gamut of familiar envelope filter sounds with UP and DOWN sweeping modes, and a sensitivity control to dial in the response of the effect based on how hard you play.

n addition to these vintage-correct filter tones, the Resotron pushes the envelope pedal concept to a whole new level by using an analog pitch-tracking system to move the cutoff frequency of the filter up and down. The pitch-following filter effect found in the Resotron moves around based on the notes you play instead of how hard you play. The attack time and rate of filter motion can be adjusted—using the GLIDE knob—to dial in how long it takes for the cutoff to travel between pitches.

“The pitch-following effect found in the Resotron is analogous to the “key-follow” function found on the original Minimoog and many other classic analog keyboards,” says Pigtronix president David Koltai. “Using our all-analog pitch-tracking circuit to control cutoff frequency, the Resotron delivers mind-blowing filter motion for guitar players. I’ve dreamt of making this pedal for years, and it’s finally here.”

The Resotron has the ability to operate in Low Pass, Band Pass or High Pass modes. Each of these filter voices has a distinctive character that can be manipulated by adjusting the PEAK knob, progressively feeding the filter back upon itself to increase the resonance (or “Q”) of the filter, right up to the point of self-oscillation. A push-button OSCILLATE function allows you to go even further—turning the Resotron into an analog synthesizer pedal that follows both the pitch and dynamics of your playing. The synthesizer sounds created by the Resotron can be radically altered by switching between the LPF, BPF and HPF modes. This allows users to access waveforms that range from subtle voice emulations to bombastic, aggressive lead sounds, as well as ultra-smooth sub bass tones.

Before the pedal’s input signal hits the Resotron’s filter, it passes through an optical compression stage derived from the Pigtronix Philosopher’s Tone pedal. The increased volume and punch from this compressor can then be mixed into the audio signal using the BLEND control—without affecting the SENSITIVITY of the envelope. Resotron accepts active CV and passive TRS expression pedal inputs for foot-controlled filter sweeps and outboard modulation, which is mixed in parallel with the on-board pitch-following and amplitude tracking systems.

Features:
• 24db/oct Filter based on the SSM2040 chip
• Low Pass, Band Pass & High Pass Filter options
• Velocity controlled UP & DOWN envelope modes
• Pitch Following envelope function with variable GLIDE
• BLEND control mixes in Philosopher’s Tone compression
• Expression pedal / 0-5V CV input modulates CUTOFF
• OSCILLATE mode for monophonic synth sounds
• Sidechain TRIGGER input for external audio
• Hardwired True Bypass Switching
• 18VDC Power Supply Included
• 100% Analog Design
• Circuit Design by Nick Cote
• Sound Design by David Koltai

Alternatives: 

Pigtronix Ringmaster is a ring modulator synth designed to create analog harmonizer and tremolo effects that can be made to follow the notes you play. Expanding on the “Intelligent Ring Mod” found in the original Mothership pedal, Ringmaster adds LFO and Sample + Hold modulation sources, pitch following tremolo and well as wave shaping for both inputs to the analog multiplier circuit at the heart of this uniquely musical ring modulator. The effect known as ring modulation is created by merging the audio signal from your instrument with an internally generated waveform called the carrier signal. A ring modulator multiplies the notes you play by the value of the carrier signal—and outputs the sum and difference of the frequencies present in each waveform. In the Ringmaster, Pigtronix real-time pitch-tracking technology is used to make the carrier signal follow the notes you play, to produce musical harmonizer effects unlike any other pedal. The Follow function in the Ringmaster can also be switched off to achieve a comprehensive range of atonal, metallic and bell-like tones found in vintage ring modulators. Ringmaster opens the door to a wide array of unique synthesizer tones by allowing the musician to modify both the input signal and the carrier signal, before they are multiplied together. The Source control blends between clean instrument signal and a pitch-following square wave feeding the multiplier, to increase harmonic content. The Gain control pushes the carrier signal into saturation—producing aggressive, non-linear slewing effects and brass sounds. Further warping and manipulation of the carrier signal is achieved with independent, on-board LFO and Sample + Hold function generators. These dual modulation sources can be used to add several layers of motion to the Ringmaster’s unique selection of harmony, ring-mod and tremolo effects. In addition to tonal harmonizer and atonal ring modulator sounds, the Ringmaster features a Trem function, which divides the rate of the carrier oscillator down into the LFO range to create tremolo. When combined with the Follow function, the tremolo will speed up as the pitch of the input signal goes up, tracking the notes you play and automatically adjusting the rate of the tremolo instantly. This function works extremely well with monophonic (one note at a time) playing but can also produce dramatic and unconventional amplitude modulation effects when chords are played, essentially confusing the pitch-tracking circuit, which will jump to whatever note is loudest at any given moment. The control voltage coming from the pitch-tracking system, as well as the CV signals coming from the LFO and Sample + Hold function generators can be used to modulate outboard gear via the Ringmaster’s CV output jack. This ¼” CV output can be used as an expression controller for other pedals such as the Pigtronix Mothership 2 pedal, or any synthesizer that allows for external CV control. The Ringmaster also allows for an external carrier to be injected into the multiplier, enabling cross-modulation of multiple instruments within a single pedal. Ringmaster is an ideal companion to the Mothership 2, delivering new modulation effects for guitar, bass, and anyone brave enough to plug in to the analog future of Pigtronix! • Tunable Analog Harmonizer • Pitch-tracking “Follow” ͟function • Ring Mod and Tremolo modes • Wide-range LFO • Sample + Hold modulator • Modulation CV output (0-5 VDC) • External Carrier input • Internal Carrier output • 18DVC included • True bypass

Alternatives: 

Tremvelope puts a new spin on a classic effect. This tremolo pedal allows the dynamics of your playing to change the speed and depth of the effect. The result brings traditional sound to a whole new level that is intuitive, engaging and totally addictive.

Tremvelope is a versatile, high fidelity optical tremolo with stereo panning outputs. The Tremvelope’s fat sounding audio path is modulated by SPEED, DEPTH and WAVEFORM controls. When the envelope is switched on, the tremolo effect is influenced by what you play. The SPEED and DEPTH knobs can each be assigned to increase or decrease in response to the strength of the signal coming from your instrument. These changes start from where the knobs are set and independently move in the assigned direction.

The ACCELERATION switch adjusts the response time of the tremolo to changes in your playing and the SENSITIVITY knob provides control over the amount of increase it takes to create changes in the tremolo settings. Expression pedal inputs for speed, and vol / pan add external foot control to this animated beast of a pedal. There is also a TRIGGER input for running the Tremvelope late in an effects chain but still allowing your clean signal (or even a different instrument entirely) to control the envelope directly.

Features:
• Sine and Sawtooth Wave Options
• Mono or Stereo with Panning Output
• Switchable Envelope Control for LFO
• Variable Envelope Sensitivity and Acceleration
• Speed and Depth increase or decrease independently
• Trigger input for clean signal direct to Envelope and Beat Sync
• Expression Pedal inputs for Speed and Vol / Pan
• Pigtronix 18VDC power supply included
• High Fidelity Analog Optical circuit
• Circuit Design by Howard Davis
• Sound Design by David Koltai
• Chassis Size = 5.7” x 4.7” x 1.5”
• Voltage: 18V DC
• Current Draw: 40mA @ 18V

Wampler


Wampler Ace Thirty OverdriveAlternatives:

Hand made in the U.S.A.

• High grade film capacitors and resistors picked for their superior sound and response

• Completely true bypass

• 2 separate pedals in one box, each with their own gain structure – volume|tone|gain (each with two voicing options)

• Switchable stacking order (1 into 2, 2 into 1 or you can completely separate them).

• Battery connection and 9v power jack (barrel plug like Boss)

• Power draw: 16mA

• Stack perfectly
The Dual Fusion pedal from Wampler Pedals is, we think, the first overdrive pedal specifically voiced to the new breed of fusion guitarists.

Fusion in its current form is a fairly new concept, with roots not only in theoretical jazz but rock; not classic blues based rock, but the more technically advanced “shredders” that first became popular in the mid to late 80’s.

The new fusion players have spent years honing their craft. With the advent of internet guitar lessons, people all over the world are looking towards fusion as the new style of musical expression, the modern era of soloists that are taking the instrument another stage further.

One of the forerunners of this genre is Tom Quayle. Tom is the UK’s finest and most in demand exponent of modern fusion. With a rich theoretical knowledge, a student base that contains not only “regular” players but also some absolute stellar names in the industry, and a pair of ears that are completely unforgiving he has never been able to locate a pedal he can use that allows him to be the guitarist he truly is.

When we first met Tom in early 2012, he was already using our Euphoria and Paisley Drive stacked together to give him the tones he required. But something wasn’t quite right; those pedals are voiced for other genres of music altogether so we set about honing the tones to match his style of playing. He needed more transparency, a tighter and controlled response on the bass end and when stacked up they needed to sound and feel like an amp running at high levels and give each string complete clarity and response.

Over a year later, we have the Dual Fusion. With two independent circuits that are based, but are completely modified, on the Euphoria and Paisley Drive, Tom finally has a tone that can be used when he is in full flow as a musician.

The Wampler Pedals Dual Fusion, the first pedal to be specifically voiced for the fastest growing breed of musicians around. With the most versatile stacking/signal path options available on an analog pedal, it is the foundation of modern Fusion… Add into the the versatility you expect from Wampler Pedals, the Dual Fusion will appeal to guitarists from all genre’s at all levels.
Hand made in the U.S.A.

• High grade film capacitors and resistors picked for their superior sound and response

• Completely true bypass

• 2 separate pedals in one box, each with their own gain structure – volume|tone|gain (each with two voicing options)

• Switchable stacking order (1 into 2, 2 into 1 or you can completely separate them).

• Battery connection and 9v power jack (barrel plug like Boss)

• Power draw: 16mA

• Stack perfectly
The Dual Fusion pedal from Wampler Pedals is, we think, the first overdrive pedal specifically voiced to the new breed of fusion guitarists.

Fusion in its current form is a fairly new concept, with roots not only in theoretical jazz but rock; not classic blues based rock, but the more technically advanced “shredders” that first became popular in the mid to late 80’s.

The new fusion players have spent years honing their craft. With the advent of internet guitar lessons, people all over the world are looking towards fusion as the new style of musical expression, the modern era of soloists that are taking the instrument another stage further.

One of the forerunners of this genre is Tom Quayle. Tom is the UK’s finest and most in demand exponent of modern fusion. With a rich theoretical knowledge, a student base that contains not only “regular” players but also some absolute stellar names in the industry, and a pair of ears that are completely unforgiving he has never been able to locate a pedal he can use that allows him to be the guitarist he truly is.

When we first met Tom in early 2012, he was already using our Euphoria and Paisley Drive stacked together to give him the tones he required. But something wasn’t quite right; those pedals are voiced for other genres of music altogether so we set about honing the tones to match his style of playing. He needed more transparency, a tighter and controlled response on the bass end and when stacked up they needed to sound and feel like an amp running at high levels and give each string complete clarity and response.

Over a year later, we have the Dual Fusion. With two independent circuits that are based, but are completely modified, on the Euphoria and Paisley Drive, Tom finally has a tone that can be used when he is in full flow as a musician.

The Wampler Pedals Dual Fusion, the first pedal to be specifically voiced for the fastest growing breed of musicians around. With the most versatile stacking/signal path options available on an analog pedal, it is the foundation of modern Fusion… Add into the the versatility you expect from Wampler Pedals, the Dual Fusion will appeal to guitarists from all genre’s at all levels.

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