KMA Machines Geminus

The KMA Geminus is a compact stereo doubler — but it’s different. It doesn’t just delay one side of your signal and add a bit of modulation, as many (still very good) doublers and ADTs do.

The difference is that it replicates what actually happens when a guitarist records a part twice in the studio — two separate performances, fractionally different in timing, pitch, and feel, spread left and right to create width and depth.

That distinction matters hugely. Standard doublers and ADTs have a characteristic sound that’s immediately recognisable. The slightly too-perfect, mechanical relationship between the two sides is a dead giveaway.

The Geminus avoids that by using KMA’s custom neural network AI with onset detection, which introduces the kind of micro-variations that make a doubled part feel like two real performances rather than one performance delayed and modulated.

The result works particularly well early in the signal chain, before other time-based effects, where it adds fatness and width without colouring the sound. It also works well later in the chain as a final widening stage before a cab sim or direct output.

KMA’s True Double Tracker technology first appeared in the Endgame pedal. It was so well received that KMA released it as a standalone unit — the Geminus.

KMA Geminus vs KMA Endgame — What’s the Difference?

The Endgame was the first pedal to feature KMA’s TDT technology, as one of four functional blocks alongside power amp simulation, IR cab simulation, a stereo FX loop, and professional XLR outputs. The Geminus takes just the TDT engine and puts it in a compact pedal.

If you’re running an ampless rig and need the full end-of-chain solution, the Endgame is the package — at a price. If you already have those functions elsewhere in your rig, the Geminus is the more focused option at a lower price point.

The Geminus also adds a dedicated Pitch control — a three-position toggle not available on the Endgame — giving three levels of additional modulation on top of the base doubling.

Controls

• TDT Width: Sets the stereo spread of the doubled signal, from centred to full hard left/right split.
• Time: Sets the timing range of the AI onset detection — essentially how tight or loose the doubled signal feels relative to the original. Counterclockwise is tighter, clockwise is looser.
• Pitch: A three-position toggle switch that adds modulation to the doubled signal — from subtle modulation through to instability and movement. Useful for thickening tones where pure doubling feels too clinical.
• Level: Sets the balance of the doubled signal against the original dry source, with intelligent panning compensation so overall output volume stays consistent.
• Mode: A three-position toggle that sets the input and output configuration — Stereo In/Stereo Out, Mono In/Stereo Out, or Mono In/Mono Out.
• Footswitch: Activates and deactivates the pedal. LED glows white when active.
• Bypass: Switchable between Buffered Bypass (default and recommended) and True Bypass via an internal DIP switch. Note: in Mono In/Stereo Out mode with True Bypass selected, the bypassed signal is only present on the Left output — see the FAQ below for why.

Power and Connections

Geminus requires a 9V DC centre-negative supply at a maximum of 100mA — a light draw that any outlet on the CIOKS DC7 v2 or CIOKS SOL handles with ease.

Who Is The KMA Geminus This For?

The Geminus suits any player who wants a fatter, more realistic sound. It works well in a traditional guitar rig as a widening stage before stereo effects, in an ampless setup before a cab sim or modeller, or as a recording insert effect.

At under 100mA and in a compact enclosure with top-mounted jacks, it fits on virtually any board. If you’re running the KMA Endgame and want the same doubling technology on a second board or in a different rig, the Geminus is the obvious companion.

Watch It In Action

FAQs