Viscous echoes smear into a smokey, mysterious fog
We started working on an oil can delay pedal (only later to be named ADINEKO) in the summer of 2012, about the same time we began working on the ECHOREC We identified a number of very cool behaviors of the old units, though the differences could be dramatic from unit to unit and day to day (even hour to hour!). The positive behaviors were a cool, bright, but dark sounding echo with a vibrato modulation that lined up with the echo time and a repeat quality, that had a fog which can hover in a neat way.
You’ll notice that each of the ADINEKO cases have been aged. It seemed fitting for this pedal, which is inspired by the old oil can effects, to physically look weathered and a bit stained.
As we always strive to do when making something old, new again, we want to honor the old experience and expand upon it. Our ADINEKO is no exception: the murky warble of the old units, traditionally only achievable when the oil’s thickness is incorrect, can be conjured a twist of the VISCOSITY knob. The warm echo quality has an expanded range of delay time (TIMING knob), more so than any oil can unit could ever hope to achieve. The dual playback head is continuously balanceable (BALANCE knob) to favor one head over the other for interesting syncopation feels.
To get acquainted with your new ADINEKO, let’s plug it in by itself, without your other pedals. Start off with a clean sound from your amp.
The ADINEKO can achieve the authentic oil can sounds, but is designed to model the mechanical concept well beyond what was possible in original units. Let’s set up your ADINEKO for an authentic oil can sound!
TIMING to 9-10 o’clock
VISCOSITY to 9-10 o’clock
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
Rich chorus, thick vibrato passed down the bucket-brigade
The Catalinbread Callisto is a Chorus/Vibrato pedal, which employs an MN3007 Bucket Brigade chip at its core. It’s interface is simple, intuitive, and provides a multitude of sounds ranging from subtle and shimmer to rotary speaker-like to off-kilter warping/warble sounds.
The Callisto’s small size and elegant, versatile feature set make it a great addition to any pedalboard. The Callisto is powered using a 9v negative tip DC power supply or 9V battery, is true bypass, and integrates various highest quality components to achieve the best tonal response possible. Catalinbread utilizes an old school MN3007 bucket brigade chip, just like early chorus pedals, and uses an audiophile Burr Brown OPA2134 chip in the audio path to give the Callisto a natural feel and dynamic playability.
A twist of the DENSITY knob continuously adjusts the delay line time delivering classic chorus sounds from fat & warm to airy & subtle.
The sweep depth of the chorusing is controlled by the WIDTH control.
MIX knob smoothly dials everything from lush chorusing, to true pitch vibrato, to sea sickening warble, and has the ability to run clean dry to completely wet.
The RATE range can go from slow and syrupy to almost ring-mod intensity.
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 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.
The Catalinbread 5F6 is our take on the classic tweed Bassman-style amplifier from the late 1950s. Utilizing 2-6L6 output tubes into 4-10? speakers, the Bassman quickly became the mainstay of stages everywhere during that era.
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.
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.
Katzenkönig. The Cat King.
We combined the best elements of a Tone Bender MkII fuzz with a Rat distortion to create something that sings like a fuzz but is tight like a distortion. It loves humbuckers and single coils. It loves your cranked amp and your super-clean amp.
Katzenkönig was tuned to offer a huge range of response - from a really beautiful singing tone, to tight, harmonically-rich crunch, all the way to fuzz mayhem.
A simple, four-knob control scheme allows you to dial in your sound quickly and without much fuss:
INPUT - Controls the input sensitivity. Turn it down when using higher output pickups and humbuckers or to dial in your wah sound (more on that later). Turn it up for lower output pickups or for when you want to go over-the-top!
To get familiar with your new Katzenkönig, let’s begin by plugging it straight into your amp set to a clean sound with no other pedals in the chain.
Set the controls as follows: Volume - noon, Filter - noon, Gain - minimum, Input - minimum.
Now play a bit to get a feel for how it responds. Go ahead and mess with the Filter knob to see how it works. You’ll notice that unlike most fuzz and distortion pedals, Katzenkönig sounds great at minimum gain settings.
Now go ahead and start experimenting with the Gain and Input controls. You’ll notice that they both increase gain but in different ways. Leave one at minimum and start turning the other up. Then leave the other at minimum and turn the other one up. And yes, cranking them both up leads to extreme fuzz, sustain, and saturation!
At lower Gain and Input settings, Katzenkönig’s response is tight, like a great distortion pedal. You can play chugging, palm-muted riffs that you wouldn’t be able to get away with on a standard fuzz pedal. But turn up the Gain and Input, and you can get those epic harmonic blooms that you normally associate with a great fuzz pedal!
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 Catalinbread Octapussy is a frisky take on an old classic octave fuzz, huge range and blooming sonic textures!
The Octapussy is essentially, an octave-up fuzz in the tradition of the Octavia. But it’s not a clone of that circuit! Nope, it’s an original circuit utilizing 3 silicon transistors and two diodes that takes the tradition to the next level! The preamp section is custom voiced to give you an extremely dynamic playing response. You’ll get those famous high-octave lead tones up high on the guitar neck but you’ll also get an amazing array of fuzz tones anywhere else on the neck – just by how you play it and how your GUITAR’s volume, tone, and pickup selector is set.
First, an experiment! Crank the Gain and Body all the way up. Yes, all the way. You might want to attenuate a bit since by now you’re freakin’ loud! Turn your guitar up and riff out…. Gnarly! Intense! OK, now back your guitar’s volume waaay down. You’re back to a completely pure and sweet octave-up generator
Sub-octave fuzz so massive and thundering, you’ll regret turning it off
We believe the Perseus is the coolest analog octave-down fuzz out there! The Perseus is an octave-down fuzz that allows you to select either one or two octaves down mixed with a fuzz sound that you can blend to any mix of the two you want, including just the fuzz or just the sub-octave. The Perseus can track the sub-octave note accurately no matter where on the neck you are playing!
The Perseus features three knobs and an octave switch. While the controls on the Perseus may seem simple, it’s important to know that your guitar’s tone, volume and pickup selection makes a big difference in the Perseus’ behaviour. Download the manual and watch the videos to learn more about how to get the most out of this amazing pedal.
The Octave switch allows you to choose whether the sub-octave is one or two octaves down. • The Volume has PLENTY of output so you can pummel your amp to your heart’s desire! Unity volume is around 10:00.
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.
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.
Catalinbread SFT, used, in excellent condition, with its original box, anti-static bag, sticker, and multi-colored pick. Some light cosmetic wear (a few scratches, scuffs). Tested, all working and sounds sweet!
Our new SFT is the Catalinbread AMPEG flavored foundation overdrive of your dreams. Fans of those classic amps will recognize the signature AMPEG tonal character and playing feel that made them famous. Our new SFT provides classic late ’60s and early ’70s Stones-inspired tones with the addition of modern Stoner influenced sounds via the new STONES/STONER switch. We also took the opportunity to expand the gain range and improve the dynamic sensitivity of the original circuit, providing the player with a more expansive big amp feel at the pick.
In STONES mode the new SFT has increased touch sensitivity and wider gain range, from sparkling clean to warm and wooly AMPEG grind, making the “big amp” playing experience feel even more authentic.
In STONER mode, there is a torrent of gain, saturation and gobs of output, essentially turning the SFT into a thick, beefy sounding fuzz. Engaging this switch unleashes each of the three gain stages, creating raw, ripping leads, and sludgy riffs that sound massive!
Now you can have your Street Fighting Tones and eat your Stone Age cake too
New SFT Features:
Authentic studio through-zero flanging the way it was originally done
The next best thing to having two tape machines and a thumb
It’s uncertain what exactly the origin of flanging was. It could have been the result of trying to push the boundaries of multitrack recording, probably due to running a couple tape machines in parallel but not quite in sync… Maybe a guy messing around in the studio brushed up against a take-up reel flange accidentally? Maybe that guy was Les Paul, maybe it was John Lennon and George Martin? It is unclear. But, what is clear is that the mechanical studio method of achieving the effect became, within a decade, commonplace enough for companies to simulate the effect electronically. The electronic approaches were pretty cool and groundbreaking, but by the 80s became tired and worn out. At Catalinbread we attribute this to the fact that these units controlled the flange effect using an LFO that went up and down at a predictable rate taking the life and freshness out of the effect. When we decided to design a flanger, we knew we would approach it the way they originally did it…
The Zero Point Flanger is the most direct analogy to studio tape flanging that anybody has come up with. It is a REAL TIME effect not a typical modulation effect. That is to say, unlike all other pedal flangers, there is no LFO that presents a predictable up and down swooshing sound, the trite flanger effect that died in the 80s. Thus there is no need for extraneous knobs or switches. It is a straight-foward pedal that has only one powerful control that behaves like pressing and holding your thumb on tape flange.
When the Zero Point is engaged two delay lines are turned on, subtly modulating against the other simulating the comb filtering effect akin to the playback of two tape machines. Pressing and holding the “Flange Push-Button” causes one of the delay lines to slowly shift time toward the other delay line, up to the point that your signal begins to cancel out, THE ZERO POINT! Release the Flange Push-Button and the delay line begins to automatically fall again. The result is the whispy subtractive ‘thru-zero’ sound that creates a sense of space and mystery. An effect that up until now we’ve only heard on records. It behaves just like manually advancing the take up reel and pressing your thumb on the supply reel to slow the program down.
The Zero Point Flanger automatically powers up in the inverted phase mode, resulting in a more dramatic subtractive flange effect. If you press and hold the Flange Push-Button while powering up the Zero Point you enter the positive phase mode which because it sums the two delay lines, never cancels out. This mode is a bit less dramatic than the subtractive mode but still a very tape like analogy. There are merits to both modes, ultimately it is best left up to personal preference.
Start out by first plugging your Zero Point in toward the end of your pedal chain, after your favorite dirt box. When you turn it on for the first time you will be struck by how it adds a nice tape compression and gritty tape-like harmonics to your sound as well as adding very subtle modulation simulating the tape machine tension arm’s effect on the inertia of the moving tape… Within a short time of interacting with the Flange Push-Button and playing you will find your mind free of thought, while music effortlessly flows from your fingers. This pedal is a complete paradigm shift that makes you play differently. It is certainly NOT a pedal for everybody. It is for the player who tires easily from the predictable and knows that you cannot think your way to creativity. If after playing through the Zero Point for awhile, you find yourself wanting to dig a bit deeper into it, by all means, download and read the manual!