Used Band of Gypsys Fuzz Face Mini, no box, manual, or power supply, in excellent condition. Light cosmetic wear, velcro on bottom, fully tested, all working properly.
?Over the course of ’69–’70, Jimi Hendrix appeared at his most noted live appearances—Live at Woodstock, Live at Berkeley, and Live at the Fillmore East—using a mysterious red Fuzz Face Distortion with white knobs. That fuzz box sounded like a completely different animal from any of the other Fuzz Face pedals in Jimi’s arsenal, snarling with a far more aggressive, biting tone.
The pedal itself has been lost to history, but its unmistakably unique tone lives on in the recordings of those three iconic shows, and Hendrix aficionados have tried to cop that sound for years. We are happy to say that their tonal quest can finally come to a glorious end.
Poring tirelessly over all of the different customized circuit designs Jimi used over the years, our engineers narrowed down this elusive fuzz tone to a version of the Octavio® circuit that didn’t have the octave up signal. After making a few tweaks, they nailed it with the Band of Gypsys Fuzz Face Mini Distortion.
Now, you can get the same Fuzz Face tone Jimi used to woo the masses at some of his most famous performances. It comes in a pedalboard-friendly Fuzz Face Mini housing, complete with an AC power jack and an on/off status LED.
? The Atlas III is a medium-gain preamp booster. While staying relatively clean and transparent, the Atlas III adds subtle color and harmonic overtones, which become more apparent as you increase gain.
Specifically created for pushing the front end of tube amps, the Atlas III was designed to do so in a rich, warm way; while adding a touch of sparkle in the highs, and never muddying up the lows. The net result is a very natural sounding gain, without over-emphasizing any specific frequency range. The Atlas III obtains this tasteful organic coloration via its discrete preamp design.
The gain control is completely useable throughout its full rotation. Plenty of gain to overdrive your amp's tubes, without melting anything (probably).
Inside of the Atlas III you will find a mini switch which allows you to select the phase of the pedal's output, in or out of phase with the input source signal. This is extremely helpful when using a multiple amp set up, and for studio situations where phase becomes an extremely important factor.
The Atlas III is completely hand-soldered and handmade in Portland Oregon to the highest degree of quality possible. These are truly artisan-crafted tone devices, sparing no detail within or without. The Atlas III utilizes true-bypass switching via the heaviest duty mechanical footswitch available, while your tone is transferred via quality open-frame Switchcraft jacks. Open one up and you’ll see an unparalleled display of craftsmanship; with immaculate hand-soldered PCB, detailed military-spec wiring, and custom Spaceman heavy-duty battery connector. On top of the USA-cast aluminum enclosure sits a durable, engraved vinyl faceplate and vintage dim-able indicator light. This pedal is truly built to last a lifetime.
The Chrome Edition Atlas III features triple-plated "show chrome", vintage Daka-Ware control knob, and heavy-duty vintage Aerospace dim-able indicator. The Copper Edition features double-plated polished copper, oxblood vintage-reissue control knob, and vintage dim-able indicator. The Light Blue Edition features a sparkle metallic light blue powder-coat, vintage-reissue control knob and vintage dim-able indicator. The Black Edition features a textured black powder-coat, vintage-reissue control knob, and vintage dim-able indicator.
? The Spaceman Orion Reverb has landed.
Orion is a true analog spring reverb, and at only 6 ¼ by 4 ¾ inches, it’s the smallest real spring reverb pedal this solar system has ever seen. Finally, real analog reverb that will fit on your pedal board!
To customize your tone, Orion features four control knobs with wide ranges. Dwell allows you to dial in how hard you push the dual springs, for splashy surf tone or a mellower spring sound. The Tone control sweeps between bright and dark reverb tones, effecting only the reverb signal. Mix your desired dry to wet ratio with the Blend control, while Volume adjusts the overall output level of the pedal.
There is no spring splash when stomping on the Orion; and stage interference from kick drums and bass amps won’t affect your sound. However, if you truly wish to confirm Orion’s springs, a swift kick to the front side of the pedal will give you that classic tank crash.
Powered by a standard 9 volts DC, Orion makes it easy to add to your pedal chain. Sounding both classic and unique, the Orion Reverb offers out of this world inspiration, without digitizing your tone.
The Spaceman Orion is completely hand-soldered and handmade in Portland Oregon to the highest degree of quality possible. These are artisan crafted tone devices, sparing no detail within or without. Orion utilizes true-bypass relay switching, while your tone is transferred via high quality open-frame jacks. The inside hosts an unparalleled display of craftsmanship; with immaculate hand-soldered PCB’s and detailed military-spec wiring. On top of the custom USA-cast aluminum enclosure sits a durable, engraved vinyl faceplate and blue jewel indicator light. This pedal is truly built to last a lifetime.
The Black Edition Orion features an industrial textured black powdercoat; Black anodized aluminum knobs; Blue jewel indicator; and is limited to only 99 signed and numbered pieces. The Copper Edition features real copper plating; vintage aerospace indicator; custom engraved knobs; and is limited to only 33 signed and numbered pieces. The Polished Edition Orion features a mirror polished finish; blue jewel indicator; custom engraved knobs; and is limited to only 55 signed and numbered pieces. The Silver standard Edition features a raw aluminum, unpainted enclosure; plastic knobs w/ aluminum caps; blue indicator jewel; and is limited to 199 signed and numbered pieces.
Named after the NASA rocket that launched the Gemini manned space missions, the Titan II has arrived to blast your tone into the stratosphere!
The Titan II Fuzz Machine is a unique discrete circuit using silicon transistors. Despite only having three control parameters, the Titan II packs a wide array of distinct tones within its cast aluminum shell. At full bore, you will get splatty, nasty fuzz tones; but the wide range Gain control also delivers great low gain tones that start to crossover into overdrive territory. In between these extremes, there exists fuzzy distortion tones as well.
To introduce even more tonal variety, the Titan II cleans up nicely with the volume on your instrument, adding additional levels of fuzz textures and expression. The Tone control offers a complex tonal shift, which really allows the Titan II to cover an incredible range of fuzz tone and texture. The Titan II sounds awesome with standard, bass and baritone guitars, as well as most things you plug into it.
While we do not yet have a Titan II video to share, we have included a fan video of the Secret Mission Prototype version of this pedal below, which offers a taste of the tones of the Titan II Fuzz Machine.
The Titan II is completely hand-soldered and handmade in Portland Oregon to the highest degree of quality possible. These are truly artisan-crafted tone devices, sparing no detail within or without. The Titan II utilizes true-bypass switching via the heaviest duty mechanical footswitch available, while your tone is transferred via quality open-frame Switchcraft jacks. Open one up and you’ll see an unparalleled display of craftsmanship; with immaculate hand-soldered PCB, detailed military-spec wiring, and custom Spaceman heavy-duty battery connector. On top of its cast aluminum enclosure sits a durable, engraved vinyl faceplate and vintage dim-able indicator light. This pedal is truly built to last a lifetime.
The Chrome Edition Titan II features triple-plated "show chrome", custom engraved control knobs, and vintage 1959 Aerospace dim-able indicator. The Copper Edition features double-plated polished copper, custom engraved control knobs, and vintage 1959 Aerospace dim-able indicator.
The Black Edition Titan II features heavy-duty textured powdercoat, custom engraved control knobs, and NOS vintage glass indicator. The Blue Edition features gloss blue powdercoating and vintage aerospace dim-able indicator in yellow, with alternate faceplate detail.
Made with love by our very own Caleb Barton, these sound awesome and you should buy one!
From Bridge City Sound:
Do you like beards? So do we. Being from the Pacific NW, we need our beards. We also need fuzz. You can’t have a beard without a fuzz pedal. That might sound ridiculous….but…
We don’t think so….
The FUZZ was born out of our many, many attempts to understand the nature of this wonderful effect that so many enjoy. We started with 4 gain stages, some weird parts from Russia and an IDEA for a unique tone stack that is actually useful. We arrived at the FUZZ, and we love it.
The tone stack gives you the ability to sweep from dark, deep bassy mud to bright, chimey and very articulate tones and everything in between. It is actually VERY similar to the tone stack in our MORRISON amp. With the addition of gain and volume controls, your options are limitless.
Try one, try two. Chain them all together. Turn them on at once. It’s fun, like music should be.
The FLUX-DRIVE™ is the overdrive pedal for those who want more of all the best things from an overdrive! It has more liquid gain and enhanced sustain that easily feeds into rich harmonic overtones making it incredibly addictive and inspiring to play, whether into a clean amp channel or especially to enhance a crunch or higher gain channel! It also offers a more complete tone-shaping network with individual Treble and Bass controls. This architecture makes the FLUX-DRIVE a more complete preamp with added versatility beyond that of most overdrive pedals.
Designed and Handcrafted in Petaluma, California, USA
True Bypass On/Off Switching - Bypasses all circuitry when off to ensure no tonal loss
Gain Control allows you to dial in the perfect amount of vocal-overdrive, dynamic to sustaining
Master Level Control provides a variable range of signal boost up to +20dB
Bass & Treble Controls provide +/- 12dB of EQ boost or cut for exceptional tone shaping
On/Off Status LED
9V Battery Powered or Externally Powered (optional) via External Power Jack Input
Input & Output Jacks (Nominal Input -20dB)
Dimensions (W/D/H): 2.87" x 4.77" x 2.28" (73mm x 122mm x 58mm)
Weight: 0.802 lbs. (364g) with battery, 0.702 lbs. (319g) without battery
True Bypass Switching
Battery Type: 9VDC (one)
Power Consumption (Current Draw): 9VDC/15mA
External Power Supply (Not Included): WARNING!!! To avoid immediate damage and voiding the warranty, the External Power Supply MUST be 9VDC with a NEGATIVE CENTER plug polarity and a jack plug size of 2.1mm x 5.5mm.
Input Impedance: 1M Ohm (500k Ohm minimum)
Output Impedance: 10k Ohm
The Jimmy Page 1970 Royal Albert Hall sound
In January 1970 Led Zeppelin hit the stage of London’s historic concert hall, Royal Albert Hall. At this performance Jimmy Page expressed himself masterfully with a broad pallet of tones and GIANT dynamic range. Of course this has a lot to do with Page’s playing technique and Gibson Les Paul. His backline amps, custom Hiwatt heads into Marshall cabinets filled the entire hall with a cornucopia of colors at levels ranging from a mouse whisper to rave ups louder than a jumbo jet taking off only inches over your head.
At Catalinbread we love the RAH performance, but we hadn’t considered the possibility of capturing it to put into a pedal… One day our friend Charlie got ahold of Catalinbread’s chief circuit designer Howard Gee to ask if we could do it. Charlie said that he’d been trying to get this tone for years and told Howard, if anybody could do it would be Catalinbread. Having proven his ability to capture the essence and experience of famous amplifiers, Howard began experimenting with what is now the RAH.
Overdrive inspired by the 1970 Royal Albert Hall performance.
Authentic 3 knob tone stack from the “Jimmy Page” Hiwatt.
Designed to give incredible dynamic response with your pick attack and your guitar’s controls.
Building on the success of the original Karma Suture Germanium, we wanted to make something that was louder, punchier, and more aggressive while still keeping the sweet even-order harmonic character of the original. The result is the new Karma Suture Silicon which employs an all-silicon recipe. Both transistors are silicon but still retaining the PNP/NPN architecture.
Whether you’re using the Karma Suture as your standalone dirt box into your amp or you’re using it to boost, overdrive, and enhance your existing dirt pedals, you’ll be greeted with harmonic distortion laden with even-order harmonics - sweet and musical, even with complex chord voicings. Both models provide you with amazing even-order harmonic distortion with distinct personalities. If you’re familiar with the difference between a germanium and silicon fuzz face, then those qualities apply to the Karma Suture as well - germanium gives you a thick, sweet response with a softer picking attack. Silicon provides a more immediate picking attack with a more aggressive tone. Karma Suture Germanium cleans up amazingly from the guitar’s volume knob, while the Karma Suture Silicon cleans up to a great light crunch - perfect for rock riffing.
The Bows is a Germanium preamp designed around a rare NOS OC139 black glass transistor. For being a little one-knobber the Bows wears many hats. Right out of the box it's got several tone shaping abilities spread between two modes: Full and Treble. Full mode is warm with a lot of body and low end. Treble mode is a resonant, treble booster with a “cocked wah” tone that can drive any tube amp into harmonic rich distortion territory. Each mode has a little bit of grit to start with, but as you get passed 12 o'clock on either setting their subtleties are accented. The vowel-like sound out of the Treble side will be more prevalent as you bring the Level up. Doing the same on Full mode will get you a nice, full bodied crunch tone that retains clarity. Place any drive pedal before the Bows and it's another story. Full mode turns a dirt signal into a crumbling wall of sonic chaos, while Treble mode becomes an ultimate lead tone. Each and every Bows is built one at a time by real life human beans in the temperature controlled bubble of Akron, Ohio.
This device is true bypass and uses relay based “soft touch” switching. Audio will not pass without power.
Level: Adjusts the output level by setting the bias voltage of the transistor. A small amount of noise while dialing this in is perfectly normal.
Tone Toggle: “Treble” for a brighter, more resonant tone and “Full” for a warmer, bass-heavy push.
Power: Please use a standard 9 volt DC power supply intended for musical instruments with
a negative center 2.1mm barrel or a 9v Battery
Current Draw: 9ma
The first thing to keep in mind about the CSIDMAN is that it completely embraces and makes no apologies for the fact that it is digital (though it does have a 100% analog dry path). Digital is the CSIDMAN’s aesthetic: as a delay pedal, it strives to reproduce echoes as true to the input as possible without filtering. When you utilize its scratched disc, stuttery, and glitchy behaviors, it is pseudo-random, yet gives you a certain amount of “control” over the randomness.
TIME Controls the echo delay line’s delay time up to 725mS, as well as the rate of the glitch.
MIX Gives you control over the wet/dry balance from 100% wet to 100% dry.
FEED Controls the amount of feedback going back into the unit.
CUTS (used in conjunction with the LATCH knob) controls the buffer memory length.
LATCH controls the relative time in a cycle that the CSIDMAN is in a latching skipping state. When full counterclockwise, it doesn’t skip, allowing you to use the pedal as a traditional digital delay. When full clockwise, the unit is stuck repeating whatever is in the buffer memory. At noon, this knob is a 50/50 balance (though random) between a skip-playback state and non-skip sample state.
The nature of the experience depends almost entirely on set and setting
The Bicycle Delay was something like an “Albert Hoffman moment” (to quote a good friend and guitarist Neal Casal). I sat down with no plan of where I was going but to allow myself the freedom to be open to wherever the journey took me and just document the experience. Really a strange path to travel when it involves something as cerebral as programming software. Or maybe it’s not. Maybe that’s a pure form of creativity, to use the boundaries something so matter of fact as programming as a medium for art? The result was a pedal as autobiographical as any I have been involved in. The Bicycle Delay is a physical manifestation of the experience of consciousness, letting go of the desire to control everything, and maintaining a positive attitude to leave room for a positive experience.
The more time I spent with the Bicycle Delay the more it unfolded its complexities to me. The harder I thought about what it was doing, the more difficult it was to put my finger on it. The more that I surrendered to what it was showing me, the more it set me free to be musically creative. In much the same way it took a computer to visualize a Mandelbrot Set, it took the Bicycle Delay for me to find the organic beauty in disharmony.
The way pedal behaves is also metaphoric to how I’ve been looking at life. Approach it from a negative perspective, go ahead, make it spiral downward. There is beauty in it, like there is enjoyment in picking at a scab. It’ll take you to darker musical places fitting for the vampires at night. It all depends on your mood. Bring it up, it wants to take off. Happiness in a madhouse. The most difficult and interesting stuff begins to happen when you keep it balanced. Edges of notes brighten radiantly to prominence, like the flora and fauna do when I walk Clemma in the early morning sun.
The Bicycle Delay is as organic as a computer growing from a tree. Sonically the pedal is ever changing, even turning the knobs has an amorphous behavior. Go with it.
• Circuit Design/Audio Engineer – Howard Gee
• DSP Engineer/Concept – Nicholas Harris
• Photography/Videography – Jessica Liu
• Artwork – David Medel Weirdbeard72
Vintage Ampeg growl for bass and guitar.
When we originally set out on our quest to make the best Bass overdrive ever, we never imagined that it could also sound so amazing with guitar – but then we got to thinking about some of the classic late ‘60s/early ‘70s ‘Ya-Yas’ era tones and thought we should take a stab at them. And heck while we’re at it, it would be really cool if it worked for the more modern drop tuned heavy stuff too. Made sense since those tones were due in large part to guitars being played through amps designed for bass, right?
Famous Ampeg amp tones in pedal form.
Baxandall EQ controls.
The Angry Charlie has become a staple of the JHS line over the years. In the 3, we set out to keep everything that has made it a star in place while adding some tweaks for even greater flexibility and usability. The V3 is a force to be reckoned with in the high gain pedal territory. It convincingly and accurately breathes JCM800 tones with ease. Let's look at the features.
The Angry Charlie has five controls: Volume, Drive, Bass, Mids and Treble. The Volume control acts as a standard master volume control on an amplifier. Simply turn the control to the right and you are louder, turn it to the left and you are quieter. The Drive control decides the amount of overall dirt/overdrive that enters the signal path. Turn it up for more distortion and down for less. New to the V3 are the Bass, Mids, and Treble controls. To faithfully replicate a Marshall amplifier we felt it was time to incorporate a full Marshall-style tone stack. All three of these controls act as a cut and boost, while at noon they are relatively flat. The right 1/4" jack is the input, and the left is the output.
If you are a glutton for high gain overdrive/distortion that has a British flavor full of rich bass response, thick mids, and a balanced high-end response, the Angry Charlie V3 will change your life. Well, your gear life.
This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.2"x4.3"x1.5".
Are you looking for an overdrive that is not transparent and adds its own character and attitude? The Moonshine is for you. Our Moonshine Overdrive is a highly unique and massively tweaked version of the most famous overdrive ever created and housed in a little green enclosure. Blues, rock, country, jazz, and even hardcore/metal players will find this is an indispensable tool for shaping and creating unique mid heavy tones for almost any need.
You’ll immediately feel at home with our basic Volume, Tone, and Drive knobs, so tweak away! The simple 2-position “Proof” toggle gives you everything from low gain amp-like breakup with powerful colored boost settings to grinding, heavy overdrive that reaches to the very edge of cranked amp distortion.
In the down position, you’ll find the highest gain settings, lots of saturation and sustain and the most mid-range goo available. In the up position are the more open and forceful crunchy tones that will make any amp beg for mercy. The up position also adds more overall volume and more headroom to those searching for cleaner applications. The tone control goes down as smooth as Grandpa’s White Lightning, with none of the harsh ice-pick characteristics that many overdrives have in the brighter settings.
Just like our SuperBolt pedal, the Moonshine uses an internal 9v to 18v charge pump that allows it to run on normal 9v but converting it internally to 18v for an enormous amount of headroom, added low-end and more overall punch.
We wouldn’t be surprised if this is the most girthy, thick overdrive you have ever plugged into. If you’re a fan of stacking overdrives, you’ll love putting this in front of or behind your favorite drive, booster, or fuzz. The Moonshine delivers on any style amp, easily producing anything from SRV classic Stratocaster/Fender amp tones with class to huge “wall of rock” The Edge-style force through a Vox. On another note, you might find a few Dumble-esque lead settings that will have you feeling like you saved a cool $100,000 in search of that sacred tone. Last but not least, it kills on bass guitar, the reason it was originally designed.
This pedal requires standard 9V DC Negative power, consumes less than 100mA, and measures 2.2"x4.3"x1.5"
In 1967 the legendary Mike Matthews started experimenting with circuits for the electric guitar, and by early 1969 he had created a circuit that has become one of the most legendary, collected and mythical pedals in the history of guitar effects. With 30+ versions made throughout its almost half a century lifetime, the Big Muff Distortion/Fuzz has personally pioneered the sounds of some of the biggest bands and musical movements in history. The Muffuletta is our tribute to the legend and story of one of the greatest pedals ever invented. Let’s take a look at what makes the Muffuletta the ultimate recreation of this circuit in a way that has never been done before.
The heart of the Muffuletta is the fact that it replicates five (yes five) classic Big Muff circuits from years gone by as well as a new and original JHS version for a total of six Muff models. All executed without any digital signal processing or digital emulation. When you choose a model, you are achieving analog tone that uses real components and values found in the original units. We have selected our favorite classic versions from the pages of history and made them available in one small format pedal that is easy to understand, operate and do what it should do… replicate rare, expensive, mythical and sought after versions of this circuit with ease.
Looking at the pedal, there are four controls: Volume, Tone, Sustain and Mode. The “Volume" control works just like any other volume control allowing you to adjust the overall output of the pedal to your taste. The “Tone” control lets you brighten or darken your overall tone. The “Sustain” control is best understood as a gain or distortion control as it gives more distortion to the circuit. The “Mode” control lets you choose from our six different versions of the Big Muff on the fly. Looking at the “Mode” control you will see six icons around the lower 50% of the knob. Let's take a look at each mode and why they made the cut to be in the ultimate Big Muff tribute.
JHS - "2015" The JHS Muff is a JHS original take on the classic circuit. You will find this version more powerful, less compressed with a more haunting mid range. It is also the best for bass guitar.
73 Rams Head - “1973-1977 V2” The 73 Rams Head gets its name for the strange little elfin looking face that appears on the lower right corner of the pedal. Over the years people nicknamed this unit based on the fact that is looks somewhat like a lamb or animal. It is best known for having a scooped mid range, less gain and being overall darker. Famous users include David Gilmour (main Pink Floyd recordings), Ernie Isley (Eisly Brothers), and J. Mascis (Dinosaur Jr.)
The Triangle - “1969-1970 V1” The Triangle Muff gets its name from the triangle arrangement of the knobs on the original unit. It is best known for having more low-end response and being more articulate. Famous users include Santana, David Gilmour's Pete Cornish made pedal boards, John Lennon, Kevin Shields (My Bloody Valentine), and possibly Jimi Hendrix.
The Pi - “1977-1978 V3” The Pi Muff gets its name from the instantly recognizable red Pi symbol on the top. This is not to be confused with the later redesigned NYC version released much later in 2000. It is best known for a more aggressive sound. Famous users include Frank Zappa, Billy Corgan (Smashing Pumpkins), Jack White, The Edge (U2), Beck, and Pete Townsend (The Who).
The Russian - "1999-2009 V8” The Russian Muff gets its name from the “Made in Russia” text found on the back. It is best known for having less clarity and less low end. Famous users include Dan Auerbach (Black Keys), Chris Wolstenholme (Muse), and Robin Finck (Nine Inch Nails).
The Civil War - “1991-1993 V7” The Civil War Muff gets its name from the old style Civil War era font found on the enclosure as well as the navy and grey colors found on many. It is best known for having more mid range, brighter overall tone and less gain. Famous users include Thurston Moore (Sonic Youth), John Fogerty, Jeff Tweedy (Wilco), Mike Mills and Peter Buck (REM).
The Big Muff has an amazing history and has been used by some of the most influential guitarists ever. Never before has there been a single pedal that gives you all these different eras of it’s tone. We are convinced that the Muffuletta can fit in anyone's rig who loves dirt, distortion and fuzz, and we think it will be hard for you to disagree once you plug it in and play.
The MF Delay is a 100% analog delay providing 35mS-700mS of rich, blooming analog repeats. At shorter settings, the MF Delay is fast and articulate. This is perfect for creating classic slap-back sounds with expressive swells, and even plate-verbs. At medium and long settings, the repeats become darker, naturally trailing into a beautiful warmth and character not found in any other delay pedal. Connect an expression pedal and dynamically control feedback swells, or switch to delay time to create chorus/flange and tape delay effects. The MF Delay was designed with over 300 carefully selected components including 4 Bucket Brigade Delay chips, a discrete JFET input stage, and a vintage compander circuit for superior tone and feel.
TIME- Adjustable from 35mS - 700mS. At shorter settings, delay repeats are brighter and more articulate - perfect for slap-back and plate-style reverb/delay. As you increase the Time, the delay trails become warmer causing sounds to move and decay naturally under each new note or chord.
FEEDBACK- Adjustable from a single repeat with no decay, to extended trails that dissipate into a reverb-like state. When pushed past 2 o’clock feedback trails swell into infinity. This is an excellent creative tool for making sonic beds and trails where notes decay into a wash of musical noise. Pushed to maximum, the MF Delay will self oscillate.
MIX-Allows you to determine the blend between dry and effected signals. At minimum, delay trails are nearly inaudible. This is useful for ghost delays and creating natural room-verb sounds. At maximum, your dry signal is removed completely, which allows the MF Delay to work perfectly in an amplifier effects loop.
DRIVE- A pre-delay circuit that provides greater than 22dB of gain to both input and delayed signal. At low ranges it is excellent for creating subtle boost and mild tonal coloration. At middle position the sound becomes more mid-forward and punchy. At itsmaximum position, you have an incredibly natural boost/overdrive in your delay pedal that is great by itself or paired with an MF Drive.
EXPRESSION PEDAL INPUT: When assigned to Time, this input allows you to create everything from chorus/flange effects and tape delay to monstrous pitch shifting. When assigned to Feedback, this input allows you to swell in and out of infinite feedback loops and subtle delay trails.
• True Bypass
• 700ms of Bucket Brigade based analog delay
• >22dB of classic drive for boost and color
• Feedback range from zero to infinite
• Expression pedal input provides control of Time or Feedback
• Mix control allows dry signal to be completely eliminated
• Over 300 carefully selected components
• Vintage compander circuit.
• Designed to perform with any Guitar, Amp, or Bass guitar configuration
The MF Boost is an Expression enhanced, twin topology boost pedal that allows you to select between an articulate VCA signal path and a colored OTA signal path. This completely unique boost design works with your guitar and amplifier to conjure boutique sound and responsiveness from any guitar/amplifier combination. Its natural compression and sound enhancement also bring out the best tone and performance in other effects pedals. When paired with an expression pedal, the MF Boost can be used as a tone enhancing volume pedal or sweepable-gain boost pedal. The expression pedal input also provides access to higher gain values not available on the panel.
GAIN- Sets the input gain from off to maximum. With the Boost switch in the down position (VCA mode), this knob should be set to maximum. In this setting you will notice tighter bottom, focused midrange, and a more open top end. With Boost in the up position (clipped OTA mode), the sound is creamy and lightly compressed with a slightly more forward midrange.
BOOST - In the down position, signal is sent through the VCA signal path providing clean, articulate tonal enhancement with a subtle 6dB boost (12dB+ w/ expression). This setting feels and sounds like a boutique amp in a pedal. With the switch in the up position, signal is sent through the clipped OTA path providing 12dB of boost (18dB+ w/ expression). This path has a creamy, classic tone that bonds guitar and amplifier for everything from subtle bite and drive to singing leads. Both settings have a naturally occurring musical compression.
TONE- At higher settings this control adds openness, note articulation and picking detail. In this setting the top-end in your amplifier is sweetened while remaining smooth, the mids become focused, and the bottom end appears more robust and tight. At lower settings the Tone control can be used to fatten up an amp or tame harsh top-end.
LEVEL- Level allows you to trim the output of the Boost while maintaining input gain coloration. This control does not go completely off.
EXPRESSION PEDAL INPUT - This input is assigned to Gain. With Gain set to minimum, an expression pedal can be used as a volume pedal. At the mid setting in clipped OTA mode, the expression pedal allows you to swell in and out boost levels musically. At maximum, use an expression pedal to add input Gain not available on the panel of your MF Boost and overdrive your amp.
• Articulate tone enhancement tool that you leave engaged
• Two selectable signal paths with natural compression
• Transparent tone circuit adds articulation, Nashville cluck, or removes harshness
• Can be used as a clean boost pedal, a dirty boost pedal AND a volume pedal
• Expression pedal adds gain past the panel setting
• True Bypass
• Designed to perform with any Guitar, Amp, or Bass guitar configuration
Classic gnarly garage fuzz.
From The Ventures' "2,000 Pound Bee", and Iron Butterfly's “In-A-Gada-Da-Vida”, to the Black Keys, the Fuzzrite has a rich history of taking guitar tones to new levels. We've brought the classic silicon circuit back, and added a 9v power supply.
The Catalinbread Fuzzrite is a faithful reproduction of the classic circuit of the 60s. It's splatty, raw, and unapologetic. The Depth control adds brightness and gain, while the Volume knob controls your overall output volume. Just add acid.
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.
The Pigtronix Class A Boost will fatten up and boost anything you feed it. Our deceptively simple design uses discreet transistors in a single-ended “Class A” configuration to achieve the warmest possible tone. This remarkable preamp can deliver up to 20db of clean boost and remains effective with both instrument and line level signals.
Superior signal to noise performance allows you to put the Class A Boost anywhere in your pedal chain. It can add punch and extra output to a classic overdrive sound and is able to push distortion pedals into extremely aggressive crunch land. Class A Boost is also ideal for hitting the front end of a tube amp to achieve an added layer of sweetness and fat tone.
This pedal runs fine on 9 volts but ships with an 18 volt adapter for superior headroom and maximum punch. Make your sound 1 louder with this handsomely dressed, J-FET masterpiece from Pigtronix
Next up in the MXR Custom Badass line is the Modified Overdrive—a classic overdrive circuit with modern modifications for improved performance and versatility.
For added flexibility, we’ve added a 100HZ cut and boost control that allows for a more focused EQ when cut, or a beefier tone when boosted. The Bump switch engages an alternate EQ voicing that boosts the lows and mids. Put it in front of the '78 Custom Badass Distortion for a slew of amp-like gain structures that won't mask your tone.
Experience overdrive nirvana courtesy of the MXR Custom Badass team.
“My tone has never been better, and I ain't just sayin that. That Badass Overdrive is THE BEST distortion tone I’ve ever had. Its amazing!”
- Nashville session ace Chuck Ward.
The tone control delivers a wide spectrum of midrange and bass timbres, everything from an extreme gain scooped tone through a raucous, bluesy, prominent mid voicing. The resonance control is a sub-harmonic booster that lets you add an aggressive bottom end not typically found on fuzz pedals. Attack varies the gain from rich and creamy to outrageous.
Micro Vibe includes the same sinewave oscillator, incandescent lamp, and photocells, which give the original Uni-Vibe its groovy swagger. Thanks to Voodoo Lab’s dedicated, guitar playing engineers, our Micro Vibe gives you the same lush, psychedelic colors of the original, but in an ultra-compact, pedalboard friendly 9V stompbox!
This is a Malekko Omicron Envelope Filter, brand new with original box.
Malekko E.Filter features the defining component in the most desired analog envelope filter pedals, the VTL5C2/4 vactrol for super rich sound in an unprecedented tiny enclosure at an affordable price. Read more below!
This is an Ibanez Tube Screamer Mini, brand new, with original box.
Ibanez knows your pedalboard real estate is valuable. Here’s a Tube Screamer made to help you manage that hallowed ground. Same legendary pedal. Same legendary tone.
• Controls: Overdrive, Tone and Level
•100% Analog Circuitry
•True Bypass Switching
•Made in Japan
•Dimensions: 1.375"W x 3.5"L x 1.625"H
Full analog circuit, warm, deep, rich phasing tone
2 Working Modes: Vintage/Modern
Vintage: 1974 vintage phasing tone, warm and psychedelic
Modern: Modern feeling phaser, rich and deep
Full metal shell
Very small and exquisite
Input: 1/4” monaural jack (impedance: 470k Ohms)
Output: 1/4” monaural jack (impedance: 10k Ohms)
Power Requirements: AC adapter 9V DC (center minus plug)
Current Draw: 5 mA
Dimensions: 93.5mm (D) × 42mm (W) × 52mm (H)?Weight: 160g
?From TC Electronics:
The original Shin-Ei Uni-Vibe is a highly unique, complex and gorgeous-sounding analog unit, so when we set out to recreate it digitally we knew it wasn't going to be easy. Through countless hours of meticulous side-by-side testing with the real thing and by pushing our insanely powerful DSP to its very limits, we've been able to recreate this legendary effect to a tee. You'll get all the lush, syrupy vibe tones heard on countless tracks by Pink Floyd, Robin Trower and Jimi Hendrix and when you dive into that opening Machine Gun riff, we just know you'll be convinced that we nailed it.
We've poured our heart and soul into Viscous Vibe and there's no hiding that we're extremely proud of what we've achieved. Its dead-on recreations of the legendary gooey phasey goodness and thick dramatic swirls of the original Shin-Ei Uni-Vibe* unit already makes it epic, but then transferring it all to a high-quality compact design that won't break the bank - that just makes it epic beyond belief.
With Viscous Vibe you get the best of both worlds in a pedal that perfectly combines old analog warmth with modern-day functionality. With True Bypass for uncompromised tonal quality and stereo I/O for an ultra-wide sonic perspective, you get the perfect pedal for everybody who wants to implement classic-rock tones into their contemporary setup.
We're a U.S. Mesa Boogie Authorized Dealer. This product is available for purchase to U.S. customers only
From Mesa Boogie:
The THROTTLE BOX EQ™ combines the enhanced tone shaping power of our popular Boogie® Five-Band Graphic Equalizer with footswitchable HI/LO performance Modes and easy “Top Panel” access to the previously internal BOOST feature of the original THROTTLE BOX™.
With the worldwide success of the THROTTLE BOX™ overdrive, we saw potential for an even more powerful version that included our classic Five-Band Graphic Equalizer. With the added shaping power the on-board Five Band EQ creates the THROTTLE BOX EQ can go anywhere you want to take it stylistically. The middle range of the GAIN control delivers tight, stinging overdrive that–depending on whether you choose LO or HI GAIN Modes–can cover everything from Blues to Modern Metal with plenty of attitude and an urgent percussive nature. Cranking things up into the upper one-third of the GAIN control in HI unleashes a hot-rod that’s blistering with searing top-end harmonics.
For Hard Rock and Metal our Graphic EQ set to the popular mid-scooped “V-Curve” has over a four decade track record of creating the heaviest sounds around. With limitless curve possibilities, the Graphic expands the potential for sonic diversity across all styles as well as being able to unleash Mayhem.
Like the original, this expanded THROTTLE BOX includes two Modes but here they are controlled by a HI/LO footswitch that enables you to have two gain regions to choose from during live performance. There are also dedicated HI LEVEL and LO LEVEL Output controls, allowing you to set the desired volume level for each Gain Mode individually. The EQ can be assigned to either or both of these Gain Mode choices so that it becomes active with the desired Gain Mode selection. In addition, we’ve fitted a MID CUT control that allows global scooping of the mids in addition to whatever you might do with the Graphic sliders. And finally, the internally selectable BOOST switch hidden under the Bottom Plate on the original THROTTLE BOX appears on this EQ version as an easily accessible Top Panel BOOST switch for extra girth and a bit of gain enhancement. We’re confident this pedal will exceed your expectations and provide an inspiring tool for expression.
» What do the tones of renowned guitarist such as Page, EVH and Johnson have in common? They all used the legendary echo machine EP-3 as a pre-amp. We've captured that magic in a new Xotic Effects pedal, the EP Booster. We've used the highest quality parts available with a discrete FET design and low impedance output, the EP Booster provides up to +20dB of unadulterated boost with multi-dimensional, shimmering highs and lows, and no ear fatigue. The internal DIP switches let you choose the boost frequencies, and EQ settings.
» A simple pure boost that pays reverence to the magical EP-3 and captures the celebrated tones of the world's most famous players. The EP-Booster,great tone starts here!
» True bypass for eliminating any signal interference when switched off. Can be used with AC adaptor at 9v or 18v or 9V Battery.
» The BB Preamp offers a wide variety of sounds. It's capable of a 30dB+ clean boost with an adjustable ±15dB two band active EQ which adds a wide range of harmonic content to your ideal sound.
» The BB also utilizes a pre-gain stage which allows the Pedal to go from a very
pristine clean to a very smooth,compressed, overdriven sound.
»True bypass for eliminating any signal interference when switched off. Can be
used with AC adaptor (optional) or 9V Battery.
The Fuzz Master General is our take on the vintage Ace Tone Fuzz Master FM-2 Professional fuzz machine, an octave fuzz that was very similar to the wildly popular Super Fuzz. We have taken the basic circuit and re-imagineered it to be more useful for the modern player. The Fuzz Master General features a more accurate Fuzz control that delivers a much broader spectrum of dirt tones ranging from nearly clean through full buzz saw assault. We added a “Voice” toggle to further enhance your dirt desires and wrangle a more variable tone out of the classic circuit. This toggle selects between germanium, silicon and no diode clipping. This has a huge impact on the characteristics of fuzz tone, upper octave clarity and output level. Germanium diodes offer more output and an open, looser fuzz tone while the silicon diodes compress the signal and yield a tighter fuzz tone. When the voice is set to no diode clipping (center position) you can attain a nearly clean upper octave that boarders on ring modulation! While the original Fuzz Master had a foot switch to select between two different tone settings, The Fuzz Master General has a variable tone control that allows you to dial in anything from a wide open treble assault to a super-scooped, bass heavy blast. It also has significantly more output volume and a much lower noise floor than the original, vintage unit. With all these added features, the Fuzz Master General delivers a more versatile version of the original while still retaining the same swelling octave grind we all know and love. Each Fuzz Master General is made by human hands in mostly tropical Akron, Ohio.
Fuzz: Turning this control clockwise creates more dirt.
Tone: Darker and scooped tones clockwise. Brighter and more open tones counter-clockwise
Level: Adjusts the output volume.
Voice: Three way toggle switch which selects the clipping style:
CAUTION! Mode 3 is very loud; turn down the level when using this mode.To get the best octave effect, use the neck pickup and play above the 12th fret. This is an analog octave so single notes work best but full chords produce an awesome, destructive sound!
4 5/8? x 2 1/2? x 2.25? with knobs
Our pedals take a standard 9 volt DC power supply with a 2.1mm negative center barrel. We always recommend pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. Do not run at higher voltages! Current draw is 10 mA.