Limited to a run of 200 in Burnt Ash!
We've once again teamed up with our neighbors at Toast, here in beautiful, soggy Portland, OR. This time we've burned our Sabbras into ash wood and adhered to the top of a raw aluminum enclosure. The black knobs that are typically on Sabbras are replaced with grey knobs that compliments the various tones in the organic ash and aluminum materials.
“Transform any guitar rig into a rig of doom with the Sabbra Cadabra.”
Tony Iommi arguably had the most influential tone in the history of electric guitar. Really, when you think Black Sabbath you immediately think “Electric Guitar”. His early signature sound was the result of an always on treble-booster plugged into cranked Laney Supergroup amps. This approach to guitar is extremely rewarding and fun, but lost in this day and age because honestly who can really get away with the stage volume anymore? Far and few between! We designed the Sabbra Cadabra to give players that sonic experience, re-contextualized for today’s approach where players tend to use amps solely within their clean range at more mortal volume levels.
The Sabbra Cadabra is a custom-tuned Rangemaster-based booster combined with the pre-amp section of a Laney Supergroup. The two circuits are carefully voiced together to achieve the riffs of doom tone that Tony Iommi is so well known for. Four controls (RANGE, GAIN, PRESENCE, and VOL 4) allow you to fine-tune the response to your guitar and rig. If you’re familiar with Sabbath’s live album, ‘Past Lives’, then you’ll understand where we were going with this pedal - huge, raw, responsive!
The Sabbra Cadabra’s circuit is optimized for drop-tuning but works equally well for standard tuning thanks to the RANGE control, which allows you to “customize” the treble-booster section of the circuit and adjust it anywhere from treble-boost to full-range boost.
According to Mr. Iommi, someone modded his Dallas Rangemaster. “I don't know what he did to it, but it was really good. I used that treble booster on all the early Sabbath albums and put it into the Laney because it boosted the input and gave it the overdrive I was looking for, which amps in the early days didn't have.” Then in 1979 another tech threw it into the garbage, thinking it was crap. Can you believe that?! So no one really knows what was done to it. But based on our experience, it was most likely changing it to be more of a full-range boost and possibly re-biasing it. That’s what we mean when we say you can “customize” the treble-boost section with the RANGE knob - you can continuously adjust it to any input frequency response and feel that you want.
The resurrection of the legendary Binson Echorec multi-head drum echo
“Driving force behind Pink Floyd’s Pompeii performance.”
The Binson Echorec was so cool we had no choice but to bring it back. And we wanted to bring it back right. We wanted to take all the goodness of that huge Binson Echorec and squeeze it down into a standard sized stompbox without losing anything. In fact, in addition to not losing any of the qualities that made it such a compelling musical device, we wanted to EXTEND its capabilities because the original Binson hinted at possibilities that it couldn’t realize. We’re talking about variable delay time! We thought, “What if we had the same four playback head concept but could stretch the delay time out beyond the 300mS of the original Binson?” Then the rhythmic patterns suggested by the various combinations of those four playback heads could really come to life!
The Swell knob controls the number of repeats regenerated - from a single repeat of each playback head to infinite repeats.
The Tone control tilts the EQ of the repeats from dark and fat to bright and thin. Dark settings makes the repeats sit in the background. Bright settings emphasizes the attack, great for playing off the syncopated rhythms of the multi-head arrangement.
The original Echorec had a maximum delay time of 300ms. The delay time on the Catalinbread Echorec goes from about 40ms -1000ms. And the cool thing is you can twist the Delay Time knob in real-time to get speeding-up / slowing-down, spaceship warp landing sounds!
Mix knob goes from full dry to full wet giving a lot of flexibility to use the Echorec in a variety of situations, even wet/dry rigs by setting the Mix full wet.
The original Echorec had a 12 position switch which controlled the various playback head configurations. Since the original was mechanical with the disc only able to go one speed, not all combinations were available for use. The Catalinbread Echorec changes all that. With the ability to vary the delay time on the single playback head, we were able to include all combinations, which include rhythmic patterns not available before.