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Dark Matter is the kind of pedal that you wanna go play for half an hour and end up spending half a day with. It's musical, covers a super-wide range of sounds but stays true to its base, an all analog-drive circuit that reminisces plexi sounds with both a classic and modern edge. Dark Matter delivers in spades thanks to a very low compression and a lively response that reacts to your playing at every turn.
$165.00 In Stock - Add To Cart
The Terminal is our take on the elusive vintage JAX fuzz. These units are increasingly hard to come by, and are better known by most of us as the Shin-Ei Companion Fuzz. We love the Companion Fuzz’s unique buzzy sound, but the lack of output volume and EQ controls really got us down. So, we’ve taken the Companion Fuzz design three steps further, adding “Voice” and “Treble” controls, along with twenty stories’ worth of output volume to erect the Terminal. The “Voice” control adjusts the Terminal’s midrange focus and overall frequency response. Clockwise you’ll hear vertigo-inducing upper mids with an almost nasal, cocked-wah quality. Counter-clockwise you’ll find enough low-mid thickness to make even your wildest Siamese Dreams come true.The “Treble” knob controls the Terminal’s biting top end. This control is especially interactive with the “Voice” knob, so it’s anything but “set and forget.” At the low end of the dial, you’ll find muted, subdued fuzz tones that sit back in the mix and play nice. Crank it up, and you’ll hear searing blown-out buzzsaw treble sharp enough to cut glass. “Fuzz.” That’s why we’re here today, isn’t it? The Terminal’s “Fuzz” control has a wide sweep for causing all sorts of mayhem. Keep the “Fuzz” low and you’ll find “separated, ”spitty garage tones, and plenty of “satisfaction,” as the Terminal just wants to be your dog. Take the “Fuzz” all the way to the top floor, and you’ll hear a thick, searing grind with a unique attack envelope and loads of sustain. Between these three interactive controls, you’ll find a wide range of fuzz tones at your disposal.
$196.00 In Stock - Add To Cart
The Deep Blue Delay is a natural sounding digital/analog delay, with analog direct signal path. The Deep Blue Delay has about the same bandwidth as the classic tape echo units, and it can be used in front of an amplifier or in amplifier effects loops. There are no noise reduction circuits, which keeps decay of echo as natural as possible. The direct signal path is short and made with analog amplifiers with no filtering. You can use the pedal before or after distortion. As such, it will work exceptionally well on clean sounds where requirements are less stringent, especially in terms of echo bandwidth and repeat formation.
$74.00 In Stock - Add To Cart
EHX has resurrected the legendary Bad Stone Phase Shifter. With prices of 1970s’ vintage Bad Stones soaring, now is your chance to get a reissue that is faithful to the original circuit design and three-knob control layout, but features up-to-date enhancements for the modern player. The Bad Stone delivers an incredible six stages of phase shifting plus a manual mode that lets the player freeze the phase. Its Rate knob controls the phase shifting speed which goes from a very slow swoosh to a rapid, oscillating warble. Feedback determines the depth of the phase effect and a toggle switch lets the user select Auto or Manual modes.
$195.00 In Stock - Add To Cart
The Sea Machine is a chorus pedal with ultimate control over parameters rarely seen in a chorus. A hybrid of digital and analog circuitry with a slightly extended delay time allows it to really stand out and shimmer. The heart of the Sea Machine is a short digital delay line, which features controls for Animation, Dimension and Depth. The Animation allows control over the delay time, Dimension adjusts the amount of spatial regeneration and the Depth adjust the mix of the modulated wet signal against the dry analog signal. The LFO section of the Sea Machine is comprised of Rate, Intensity and Shape. The Rate adjusts the speed of the oscillator, the Intensity adjusts how much the LFO modulates the delayed signal and the Shape transforms the wave from a soft triangle to a hard square wave. We also included a small LED, which shows the speed and shape of the LFO, even in bypass. With this mix of standard and unique controls, everything from subtle warble, classic Leslie, seasick pitch bends to strangled alien sounds, stunted arpeggiations and many more far out sounds are on tap. The Sea Machine also was designed to work well following fuzz, distortion or overdrive without getting muddy, reducing volume or breaking up. When engaged, the transparent buffer leaves the all-analog dry signal unaltered and crystal clear.