0 Effect Pedals, Stompboxes and more @ Rudy's

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Carl Martin Echotone

The Carl Martin Echotone! 1200 milliseconds of vintage echo, foot-switchable Tap or Manual time settings, insert loop and switchable trail function at bypass. Imagine switching from a Manual time setting to a Tap time setting right at your feet, so you can play with your favourite slap-back echo on rhythm to a Tap (tempo) set echo for that massive lead or solo! Combine this with flavouring your echo by installing a chorus, flange or even distortion pedal in the insert loop, and the switchable trail function at bypass, and you have what our test players are calling ‘the best echo they have ever heard’!

As with all the Danish built Carl Martin effects, the Echotone comes in our low-profile housing, coated in our new stunning off-white colour, with the built-in 12v (+-) regulated power supply.

Carl Martin Octa-Switch Selector Pedal

When Carl Martin decided to create a baby-brother for his world famous Combinator, the details of simplifying an already simple effect controller made his head hurt. So Carl enlisted the help of Thomas Guldmann, and the Octa-switch was born. The concept is simple….take your eight favourite effects pedals, plug them into the eight individual loops (all true-bypass gold relays) on the Octa-switch, and then designate what effects you want connected to each of 8 banks via the worlds simplest and smallest DIP switches located over top of each of the eight bank switches. Thomas chose DIP switches because they are just eight individual on-off switches in a tiny tiny package. So if your effects are plugged into Loops 1-8, you simply turn the DIP switch ‘on’ for each of the effects you want in Bank 1, and then Bank 2 etc up to Bank 8. You can use one or all of the effects in each bank, and once you have designated a bank, do us both a favour and cover the DIP with a bit of tape to ensure nothing happens to the DIP switch when you are not looking……like an errant hand, or a flood of beer. The Octa-switch is mono-in and mono/stereo out, with a choice of a buffered signal or not. The unit is powered by dual 9v batteries, or a regulated power supply like the Carl Martin Big John Power Supply, and is housed in an all metal case with heart-stopping (ok, well almost) graphics. So, the same basic options found in the digitally controlled units the famous guys are using, at a fraction of the cost! Carl’s head stopped hurting…..

Carl Martin PlexiTone

The Carl Martin PlexiTone, is as the name might indicate an unusual high gain three step rocket of an overdrive.
The PlexiTone offers two step overdrive, the crunch channel and the high gain channel, on top of that it gives you an up to 20dB clean boost channel.
The crunch channel goes from subtle overdrive to hard rock gain stage, the high gain channel goes from rock gain stages to absolutely meltdown, with loads of gain and low end, and all in a tone that brings the memory back to the early 80’s high gain guitar hero’s.
The PlexiTone has as most Carl Martin pedals a built in regulated (+-12V) power supply, to secure the necessary headroom that gives you the great tone.

Eventide ModFactor

Nothing Sounds Like an Eventide

Through the decades, top players have depended on Eventide: Jimmy Page, Frank Zappa, Brian May, Eddie Van Halen, Steve Vai, Robert Fripp, John Petrucci, and Adrian Belew, to name a few. Now, for the first time these effects are portable AND affordable. Stompbox simple, ModFactor fits on your pedalboard or in your gigbag.

Studio Quality Effects at Your Feet

Premier recording studios worldwide use Eventide on hit after hit. ModFactor features Eventide’s 27 best modulation effects without compromising quality OR flexibility.

Flexibility Built-In

Plug-and-play expression pedal control of wet/dry mix or any combination of parameters. Control program changes and vary parameters continuously via MIDI. Supports instrument or line level inputs and outputs. Plays well with others; adapts seamlessly with a wide variety of amps and other foot pedals.

Obsolescence is so 20th Century

Easy to upgrade; download new software from the Internet and install via USB.

Features

• 27 of Eventide’s signature stereo or mono effects:
  Liquid Chorus / Shimmer Chorus / Organic Chorus / Negative Phaser / Postive Phaser / BiPhase Phaser / Feedback Phaser / WahWah Q-Wah / Voc-Wah Q-Wah / Positive Flanger / Negative Flanger / Jet Flanger / Thru-o Flanger / Lowpass ModFilter / HiPass ModFilter / BandPass ModFilter / Standard Rotary / Giant Rotary / Bias Tremolo / Opto Tremolo / Modern Vibrato / Vintage Vibrato / Retro Vibrato / Pitch Undulator / Feedback Undulator / Ring (DC) Ringmod / String (AC) Ringmod
• Studio quality sound
• Software upgradeable via USB 2.0
• MIDI control via USB or MIDI in, out/thru
• Instant program change
• Real-time control with 10 knobs, MIDI, or expression pedal
• Tap tempo and MIDI clock sync
• 40 factory presets, unlimited through MIDI
• True analog bypass
• Rugged cast metal construction
• Reliable metal footswitches for instant preset access
• Mono or stereo operation
• Guitar or line level inputs and outputs

Eventide PitchFactor

Nothing Sounds Like an Eventide
Through the decades, top players have depended on Eventide: Jimmy Page, Frank Zappa, Brian May, Eddie Van Halen, Steve Vai, Robert Fripp, John Petrucci, and Adrian Belew, to name a few. Now, for the first time these effects are portable AND affordable. Stompbox simple, TimeFactor fits on your pedalboard or in your gigbag.

Studio Quality Effects at Your Feet

Top recording studios worldwide use Eventide effects on hit after hit. TimeFactor includes Eventide’s best delay effects from the past 36 years without compromising quality OR flexibility.

Flexibility Built-In

Plug-and-play expression pedal control of wet/dry mix or any combination of parameters. Control program changes and vary parameters continuously via MIDI. Supports instrument or line level inputs and outputs. Plays well with others; adapts seamlessly with a wide variety of amps and other foot pedals.

Obsolescence is so 20th Century

Easy to upgrade; download new software from the Internet and install via USB.

Features

• 10 of Eventide’s signature stereo or mono pitch+delay effects:
  Diatonic / PitchFlex™ / Quadravox™ / Octaver™ / HarModulator™ / Crystals™ / MicroPitch / HarPeggiator™ / H910 / H949 / Synthonizer™
• Up to 4 voices of diatonic pitch shifting and up to 1.5 seconds of stereo delay
• Studio quality sound
• Guitar or bass compatible
• Built-in Tuner
• Software upgradeable via USB 2.0
• MIDI control via USB or MIDI in, out/thru
• Instant program change
• Real-time control with 10 knobs, MIDI, or expression pedal
• Tap tempo and MIDI clock sync
• 100 factory presets, unlimited through MIDI
• True analog bypass
• Rugged cast metal construction
• Reliable metal footswitches for instant preset access
• Mono or stereo operation
• Guitar or line level inputs and outputs

Eventide TimeFactor

Nothing Sounds Like an Eventide
Through the decades, top players have depended on Eventide: Jimmy Page, Frank Zappa, Brian May, Eddie Van Halen, Steve Vai, Robert Fripp, John Petrucci, and Adrian Belew, to name a few. Now, for the first time these effects are portable AND affordable. Stompbox simple, TimeFactor fits on your pedalboard or in your gigbag.

Studio Quality Effects at Your Feet

Top recording studios worldwide use Eventide effects on hit after hit. TimeFactor includes Eventide’s best delay effects from the past 36 years without compromising quality OR flexibility.

Flexibility Built-In

Plug-and-play expression pedal control of wet/dry mix or any combination of parameters. Control program changes and vary parameters continuously via MIDI. Supports instrument or line level inputs and outputs. Plays well with others; adapts seamlessly with a wide variety of amps and other foot pedals.

Obsolescence is so 20th Century

Easy to upgrade; download new software from the Internet and install via USB.

Features

• 10 Stereo or Mono Delay effects:
  Digital Delay / Vintage Delay / Tape Echo / Mod Delay / Ducked Delay / Band Delay / Filter Pong / MultiTap / Reverse / Looper
• Studio Quality Sound
• Instant Program Change
• Real-time control with 10 knobs, MIDI or expression pedal
• Tap Tempo and MIDI Clock Sync
• 40 User Presets, unlimited through MIDI
• True Analog Bypass
• Rugged cast metal construction
• Metal footswitches for instant Preset access
• Mono or Stereo operation
• Guitar or Line Level Inputs and Outputs

Frantone Hep Cat Overdrive

The one that started it all!
If you have only heard about those rare and highly prized 90’s era Hep Cat overdrives, known for their transparent tone and bright grind, then here is your chance to actually own one! Packing all the punch and glimmering tinsle that made those metal-flecked Hep Cat Daddy-O single coil twang players smile more than a decade ago, this reissue Hep Cat overdrive has all you need. Ain’t it pretty too?

All new Frantone effects come with full signal bypass and status light!

Each Hep Cat overdrive is hand-made in
the USA by Frantone and features:

• Tough cast aluminum case
• Baby Blue Epoxy Enamel finish
• True bypass switching
• Amber indicator LED
• Steel LED bezel
• Switchcraft jacks
• White bakelite knobs
• Hard mounted PCB
• External power jack
• All teflon hook-up wire
• Really cute clear feet

Frantone Peachfuzz

The Classic is Back!
This 3-knob Peachfuzz fuzztone has all the great classic sound with 50% more gain than the classic 2-knob model. It has been hot-rodded with super quiet circuitry and the addition of a rockin’ tone control. Truly the finest in lead-guitar tone and second to none in performance, the Peachfuzz is a must for all serious players. Looking for a screaming cranked-to-ten amp-in-a-box, smooth singing fuzztone, and overdrive distortion all in one?
Well, this is for you!

All new Frantone effects come with full signal bypass and status light!

Each Peachfuzz fuzztone is hand-made in
the USA by Frantone and features:

• Tough cast aluminum case
• Peach Epoxy Enamel finish
• True bypass switching
• Green indicator LED
• Steel LED bezel
• Switchcraft jacks
• Blue bakelite knobs
• Hard mounted PCB
• External power jack
• All teflon hook-up wire
• Really cute clear feet

Fulltone Full-Drive 2 Mosfet

Chosen by Guitar Player Magazine as one of the all-time top 50 effects ever! Fulltone is the first to offer a switchable “Boost” Channel in an overdrive and manufacture our own Super-Duty 3PDT footswitch allowing True-Bypass plus LED.

Housed in a beautiful powder coated Blue 16ga.steel enclosure, the first channel is the “Overdrive Mode” capable of Clean Boost or non-compressed overdrive or choose light to medium softer Overdrives all while retaining your guitar’s original tone. The Tone knob is a very effective Presence control that can smooth out or add upper harmonics.. There’s also a footswitchable second channel “Boost Mode” with its own separate Distortion control for medium to higher gains with a more singing violin-like sustain!

Fulltone OCD (Obsessive Compulsive Drive)

The Fulltone Obsessive Compulsive Drive is an overdrive pedal that responds to picking dynamics and touch sensitivity – not to mention enhancing beautiful harmonics. The Obsessive Compulsive Drive reacts beautifully to big fat chords and fares well with leads and solos, as well. Roll back the guitar’s volume and you’ve got a new palette of sounds to play with. The best thing about the Obsessive Compulsive Drive is your guitar still sounds like your guitar – just a bit better

Fulltone Tube Tape Echo

Why a Tape Echo you ask? Because no pedal or rackmount, analog or digital delay can reproduce the warm, natural tones of a tape delay. If you have ever played a healthy Echoplex then you know what we are talking about.

Is it noisy or unreliable? Older tape delays had a history of being unreliable and noisy. However, the Fulltone TTE is dead quiet. Fulltone completely reworked the electronics, the tape path, and the tape cartridge itself. Fulltone is famous for for overdesigning and overbuilding their high quality effects. The Tube Tape Echo will produce less noise that most delay pedals.
How much delay time? The FullTone TTE can produce anything from a quick slapback echo to over two full seconds of delay. Featuring a dual speed toggle switch, the user can choose between his speed and low speed operation.

Is the Fulltone better than the Vintage Tape Delays?
The AC motors found in vintage tape delays were inefficient and noisy. Full Tone used servo-controlled hi-torque DC motors. The result was a quieter and more stable motors that are 1/4 the size.

H.B.E Full Metal Jacket Distortion

The HBE FMJ is a simple, yet fantastic sounding distortion pedal. It adds all the gain, sustain and output you could want without affecting the tone of your guitar or amp. Even order harmonics, jfet based construction, and it produces a distortion similiar to over driven pre-amp tubes.

Controls: – Input-Instrument in. Unplug when not in use to conserve battery life. – Out-Out to amp – 9VDC jack-for use with -(Negative) center, -9VDC, filtered, and regulated power supply. – Gain control-Varies the amount of distortion. Higher settings may cause noise. – Level control-Varies the amount of output. Capable of driving an amp in to saturation. – Sounds best when ran a little above unity. (Louder with the pedal on) – Tone control-Varies the amount of treble or bass. Output is increased with higher settings. Suggest setting it as flat as possible and using your amp’s tone controls for EQ’ing – Boost-Increases the amount of distortion. Similiar to adding an extra pre-amp tube making the FMJ like a two channel tube amp. (Note: a small pop may occur when the boost is switched) – On/Off-True bypass of effect. (Note: a small pop may occur when effect is switched on/off. This is normal and is a trait associated with true bypass.)

H.B.E Power Screamer Tweed w/Fat Boost

The Home Brew Electronics Power Screamer features the original JRC 4558 IC. Quiet, no mid-hump, transparent, more gain, more output. Features an additional boost switch for solos, selectable diode mode, improved component construction, hard bypass switching, and much much more. The only overdrive that you will ever need! Comes with with Fat Boost Mod.

HAO Rumble MOD Overdrive

Rumble MOD., HAO’s ultimate overdrive unit, creates characteristic overdrive that is unheard of before. When a mini switch is set to “Boost” position, Rumble MOD functions as a booster and amplifies input signal so that a player can vary the signal strength with pick attack from crystal clean to crunchy overdrive. In “Drive” mode, depending upon setting of “Color” control, Rumble MOD generates from fat and silky to edgy and sizzling overdrive. This “Color” control works opposite of regular tone control and acts as a type of filter control on significant frequency ranges.

HAO Rust Ride Bass Driver

HAO’s first and only bass driver unit, Rust Ride was born to give bass players a blistering overdrive without losing low-end and note clarity. With a preset 3-position EQ switch (Normal, Bright, Warm), Rust Ride offers a lot of tonal options. Also, Passive and Active inputs allow you to operate Rust Ride with any type of bass pickups while individual Direct and Effect outputs allow a routing of clean bass tone to a tuner P.A., or a second amplifier for blending dry and effect signals. Using Rust Ride with a guitar reveals the whole new dimension of the pedal with tight low-end and high octane overdrive/distortion.

Jim Dunlop DC Brick DCB10

The DC Brick is the most reliable and consistent way to power your effects board. Forget the collection of unsightly wall warts … the DC Brick will drive ten pedals or stomp boxes from the same source! More than a power supply, this box is a power conditioner as well. Unlike aging batteries, the Brick supplies predictable voltage at all times, keeping your effects consistent from show to show. Its FCLC (Foldback Current Limiting Circuit) provides ultimate protection against power shorts and overloads. Even at full load, you’ll enjoy the quiet and cool operation of a fully regulated power supply. But since battery-powered effects rarely exceed 30 milliamps each, you’re not likely to use anywhere near the Brick‘s capacity of 1000 milliamps output! Power: Included AC power adapter can utilize a wide range of international wall power from 100 to 240 volts, at 47 to 63 Hz. Supplied with U.S. plug. Controls: – Power Input from AC Adapter (Use only the included adapter!) – Seven 9V outputs can handle an average of 55 milliamps each, or a total of 375 milliamps in any configuration Three 18V outputs can handle an average of 208 milliamps each, or a total of 625 milliamps in any configuration All outputs may be used simultaneously for a total power output of up to 1000 milliamp.

Jim Dunlop Original Cry Baby Wah Pedal GCB95

When people talk about wah pedals, they’re talking about the Crybaby. This is the original—the one that created some of the most timeless sounds in rock. Relied on by Jimi Hendrix, Eric Clapton, Buddy Guy, David Gilmour, and many other greats Features: Heavy die cast construction for years of reliability, 100K ohm Hot Potz potentiometer that allows for that quick, abrupt wah sound. Powered by the Dunlop ECB-003 AC Adapter and/or 9 volt battery.

Keeley 2 Knob Compressor

The Keeley Compressor has become an industry standard for stomp box compression. The sound will inspire, your music will flow freely, and you can just let your head, heart, and fingers fly from here.

The Keeley Compressor, Editor’s Pick Award from Guitar Player Magazine! AND, most recently the READERS CHOICE AWARD for Stomp BOX…It is true audiophile and studio grade compressor, exotic rack mount quality in a stomp box for once !

Keeley True Bypass Looper

This is an incredibly small true-bypass looper box from Keeley Electronics! This little wonder is only 1.5 inches wide and 3 2/3 inches long. This will fit in the tightest of pedal boards and offer you a dramatic improvement in tone. Connect any effect to this unit that is “old school” and not true-bypass. In particular Vintage wahs, echoes, phasers, fuzz face type pedals, etc., or even new effects that might have a weak bypass system. These elderly effects rob tone when they are off. Now You can make them truly bypassed when off with this little box. Works with or without power. When you add a DC supply to this unit the two LED let you know if the loop is active or not. BLUE LED indicates your signal is passing through the vintage effect, RED LED indicates true-bypass. STOP TONE DRAIN!

Lehle D.Loop SGoS

The Lehle D.Loop SGoS is a fully programmable Effect Looper/ Switcher with two separate True-Bypass loops routed via gold-plated relays. It includes a switchable high end buffer amp with adjustable gain up to +12 dB. Loops and buffer amp are both all-stereo.
The Lehle D.Loop SGoS can be controlled and synchronized with other Lehle SGoS Switchers via MIDI.

Lehle Dual SGoS

The Lehle Dual SGoS routes the signal via gold-plated relays to outputs A, B or T . Outputs A and B can feed two different amps simultaneously since the signal paths are electrically isolated by the Lehle LTHZ high-end transformer – completely eliminating humming loops. In this case, the potentiometers enable you to lower the output signal for A and B separately. Output T can be used for a tuner or a third amplifier. Both inputs can be routed in stereo to Outputs A and B. In addition, the Lehle Dual SGoS also incorporates gold-plated phase-reverse and ground switches.
The Lehle Dual SGoS can be controlled and synchronized with other Lehle SGoS Switchers via MIDI.

Line 6 DL-4 Delay Stompbox Modeler

This is it, folks; the fabled “green box” that’s been igniting creativity, passion and sheer awe since Line 6 first released its digitally modeled marvels on the world in 2000. Containing 16 models based* on legendary echo and delay boxes from the storied Maestro® EP-1 Echoplex to the awesome T.C. Electronic® 2290, the DL4 has in turn become a classic in its own right, as popular with guitarists as it is with singers, drummers, bassists, keyboardists, and anyone who wants a pure 24-bit true stereo signal path in the service of delays that run the gamut from gritty and psychedelic to pristine and heavenly.

You’d be insane to pack an original Roland® RE-101 Space Echo or Electro-Harmonix® Deluxe Memory Man into the back of your van for a club tour, but the DL4 packs models of those sounds and many more into a rugged, road-tested steel housing that can run for up to 30 hours on four “C” batteries or with the optional PX-2 power adaptor. Models of classic delay boxes—and the sweet choruses and vibratos that accompany many of them—are just the beginning; the DL4 also boasts innovative sounds like its “Auto-Volume Echo,” which combines a volume swell with a tweakable tape-style echo; or the outstanding “Reverse Delay,” which allows you to play stunning backwards guitar solos on the fly.

You also get those U2-style “Rhythmic Delays” in several metric flavors, super-cool “Ping-Pong Delay” effects, and outrageous stereo panned repeats. Look, if it ain’t in the DL4, it probably doesn’t exist . . . until you create it. What’s more, with its onboard 14-second looper, the DL4 is both the perfect practice tool and the ultimate creative canvas for crafting overdubs and creating textures, with its ½ speed and reverse modes ideal for sonic adventurers and arrangement-minded recordists alike.

Line 6 POD 2.0

The classic that started it all.

The industry standard for direct recording in the studio, POD® 2.0 delivers the tones heard on hit records everywhere.

NEED TO PRACTICE?
The ultimate way to get inspiring, stage-perfected tones with headphones.

IN THE STUDIO
Become more productive and creative.

INSTANTLY GET THE SOUNDS YOU NEED!
Classic clean to modern high-gain tones all perfectly dialed in.

POD 2.0 allows you to quickly choose amps and effects without the long set up times and expensive equipment.

1. 32 amp models, 16 effects
2. Professional studio sound

Line 6 POD X3

The most powerful POD ever.

The desktop-friendly POD® X3 represents the exciting evolution of the classic bean-shaped digital guitar amp modeler, with an expanded array of 78 guitar amps, from high-wattage heavyweights to boutique beauties and vintage treasures.

Guitar amp models are just the beginning: With 24 guitar cabs, 98 stompbox and studio effects, 28 bass amps, 22 bass cabs and six vocal preamps – POD X3 comes complete with the all-around sonic firepower of a top-tier major-label studio, ready to tackle guitar, bass vocals and beyond. What’s more, its larger LCD and smart new editing workflow pages make it easier than ever to find, tweak and save tones.

POD X3 also offers powerful new Dual Tone processing and routing options. Split your single-input guitar or bass signal through two different amp and effect chains simultaneously to create gorgeous new hybrids, or use the dual inputs on POD X3 to individually process two instruments—a microphone and a guitar, for example—at the same time. Whether you’re playing through a P.A., amp or recording rig, plug your microphone into the XLR input on the POD X3 to make vocals and acoustic guitars sound their absolute best.

Computer recording enthusiasts will want to exploit POD Farm plug-in, a free download that provides a crucial collection of AU/RTAS®/VST® POD tones, as well as the USB 2.0 connectivity for multi-channel recording and the S/PDIF Stereo Digital Audio Output. While commanding the studio with the classically styled POD X3, you’ll be outfitted with even more of the flexibility and timeless tones that have made POD the global standard for the discriminating guitarist.

Maxon OD-9 Overdrive

The Maxon OD-9 may look just like your old favorite, but that’s where the similarities end. With improved circuitry, the OD-9 stands at the forefront of the Nine Series effects evolution.

The OD-9 uses a signal-distorting diode (Panasonic #MA150) that is located in the amplifier stage’s negative feedback loop (this stage also contains the JRC4558 IC chip). Therefore, the OD-9 distorts signal in the amplifier section itself which yields a smoother, milder, more natural sounding distortion than a separate clipping stage. This is also the reason that the IC type used in the circuit has such a large impact on the unit’s tone. Maxon developed this unique design more than 20 years ago, an industry first that is commonplace today.

The OD-9’s new circuit uses different output resistors than its predecessor. After the unit’s initial release it was discovered to have a high susceptibility to noise due to static electricity buildup. To improve performance, the values of the output resistors on the OD-9 were increased, but their positions kept the same as the original. This circuit change has no audible affect on the sound of the unit, save for reducing unwanted noise levels. In addition, the OD-9 features True Bypass Switching for natural, uncompromised tone in bypass.

Like the OD808, the OD-9 provides the natural, mild overdrive of a tube amp without sacrificing the guitar’s original tone. It can also be used as a clean booster to provide increased gain from an amplifier.

Maxon ROD880 Real Overdrive

The first offering in the Maxon Real Tube Series is the ROD880 Real Overdrive. Based on the vintage TK999 Tube King, The ROD880 overdrive will add warmth and incredible sustain to any guitar rig. The ROD880 works very much like an additional preamp for your amplifier, and you’ll be amazed at how realistic its tube amp tones actually are. When combined with the various Drive settings on your amp the ROD880 becomes a very powerful tone shaping tool.

Powered by a hand-selected 12AY7EH preamp tube, the ROD880 offers an extremely wide variety of tube tones right out of the box. When used in front of a clean amplifier the ROD880 can be used for subtle crunch all the way to full-bore metal distortion, making it perfect for use with Class A amps when they can’t be cranked. When used in front of already overdriven amps the ROD880 really shines, pushing the amp over the top while still retaining note clarity and dynamic responsiveness.

The tones of the ROD880 can be fine tuned via its large, easy-to adjust control panel. Gain and Master Volume controls provide a wide variety of overdrive tones, from clean boost all the way to searing, saturated sag. Bass, Treble, and Mid Boost controls with extended operation ranges offer a limitless array of tonal options, from the classic “808” overdrive tone to beefy, full frequency chunk worthy of the heaviest metal band.

All of the ROD880’s tones are kept clear and noise-free via the rear mounted, switchable Noise Reduction circuitry with variable Threshold control and a 1:2 noise reduction ratio. This tiny tone arsenal is powered via a standard 9-volt DC adaptor, allowing easy integration into your pedalboard or rack setup. When you’re ready for the real thing, the ROD880 Real Overdrive delivers.

Moog Etherwave® Theremin

The theremin is one of the oldest electronic instruments, and the only one known that you play without touching. Moving your hands in the space around its antennas controls pitch and volume. The Etherwave is an authentic adaptation of inventor Lev Termen’s original design.

The Etherwave is a quality musical instrument designed for ruggedness and portability. It has a five-octave pitch range and reliable spacing between notes for sophisticated playability. Antennas are nickel-plated 3/8” brass tube and cabinets are furniture-grade hardwood, finished with a custom Moog stain. The Etherwave is fitted with an adapter for mounting on a standard microphone stand and works best with Moog’s TB-15 instrument amplifier.

Moogerfooger 104Z ANALOG DELAY 110v

The 104Z from Moog Music is a 1000 msec totally analog delay. One Full Second of analog delay time makes the MF-104Z the longest standalone analog delay module on the market. That’s exciting but the reason many of you have been clamoring for Moog to build a delay (again) is the unmistakable sound, quality, and flexibility of this newest Moogerfooger.

Moogerfooger MF-102 RING MODULATOR 100v

The MF-102 Ring Modulator is an award winning effect designed by Bob Moog. It contains an analog Ring Modulator with a built in Carrier Oscillator and LFO.

This is the 110 V model.

Moogerfooger MF-105 MuRF 110v

The MF-105 MuRF is a very unique effect designed by Bob Moog. MuRF is short for Multiple Resonance Filter Array. The MuRF provides sequenced filter effects that have not been heard before!

Moogerfooger MF-107 FREQBOX 110v

The MF-107 FreqBox is different from other effects – the effected sound is not a processed version of your input signal, but the sound of the input signal modulating an internal oscillator. It contains a VCO with continuously variable waveshape, and the capacity to modulate that Oscillator in the following ways:

- the VCO can be hard synced by the input signal – The VCO can be frequency modulated (FM) by the input signal – The VCO frequency can be modulated by an envelope follower which tracks the dynamics of the input signal – The Amplitude of the VCO also tracks the dynamics of the input signal

Moogerfooger MF101 LOWPASS FILTER 110v

The MF-101 Lowpass Filter is an award-winning effect designed by Bob Moog. It contains the legendary Moog filter as well as an envelope follower for dynamic-controlled filter sweeps. Used with Bass, Guitar, Keys, Samples, or recorded tracks, the MF-101 is ready to be tweaked for classic Moog filter effects.

Uncontaminated by the digital world!

MXR Carbon Copy Analog Delay

The MXR Carbon Copy Analog Delay features a completely analog audio path for the ultimate in rich, warm delay—made possible only by old-school bucket brigade technology. This design boasts an amazing 600ms of delay time with optional modulation via a top-mounted switch and a simple, three-knob layout that controls Delay time, Mix (dry/wet blend), and Regen (delay repeats)—all in a pedal no bigger than a Phase 90. In addition, two internal trim pots offer user-adjustable width and rate control of the modulation for even more tonal options. The Carbon Copy will take you from crisp “bathroom” slap echoes to epic, Gilmour-esque delays with a twist of a knob. True hardwire bypass, single 9-volt operation, and stage-ready blue LEDs round out the package. Available only from Dunlop Manufacturing, the world’s leader in analog pedal technology.

MXR Custom Shop Script Phase 90 w/LED

Often imitated but never duplicated, the elusive vintage “script“ Phase 90 is at the top of the list for pedal collectors world-wide. The original version–available from the company’s inception to the late 70’s–practically defined the classic phase shifter sound, and was heard on everything from hard rock, jazz-fusion, to funk hits. The new MXR Custom Shop Script Phase 90 brings back the headroom and clarity of the original, along with its ultra warm and smooth phasing and reduced midrange swell. And it comes dressed in the original smooth orange paint job and script logo, with or without an LED direct from the MXR Custom Shop.

Pigrtonix Mothership

Pigtronix Mothership is an analog synthesizer featuring VCO, Sub-Octave and the world’s first Intelligent Ring Modulator. Incredibly fast note recognition and enormous analog sound make this unique synthesizer ideal for use with guitar, bass, horns, vocals or any other musical instrument. No special pickup or interface is required.

At the heart of the Mothership is a newly designed note detection circuit that achieves high-speed and accurate pitch to voltage translation. The Mothership is a true analog mono-synth with a limitless array of tuning options between its voices. This pedal is capable of otherworldly tones that have never before been available in such a compact and easy to use format as well as some new sounds that reach into bizarre and uncharted musical territory. Are you ready to go there?

VCO – The main voice of the Pigtronix Mothership is a VCO (voltage controlled oscillator) that outputs either triangle or square waves. The VCO can be tuned anywhere from two octaves above the input signal to two octaves below the input signal and functions over the entire range of both 5 string bass and 6 string electric guitar. An adjustable portamento (glide) effect can be added to produce subtle slides from note to note or outrageous multi-octave glissando maneuvers. An expression pedal jack for Whammy control provides tunable pitch bending up to one octave using a standard TRS 20K Expression pedal. That’s right… ANALOG WHAMMY!

Sub-Octave – The Pigtronix octave down is massive; it will shake your house. The Sub Octave is always locked to the input signal, providing a warm and solid fundamental for whatever harmony you create with the other voices. A dedicated SUB Out jacks allows low frequencies from the Sub Octave and Ring Modulator to be sent to a separate bass amp for maximum booty.

Intelligent Ring Modulator – In designing the Mothership, Pigtronix has created something never before heard by mankind: the pitch tracking ring modulator. Tune this ring modulator to the sound you desire and it will follow every note you play, retaining the exact harmonic intervals between its output and the signal it is tracking. A “ring mod source,” switch lets the ring modulator follow either the input signal or the VCO signal, providing an immense array of analog textures and interactive harmony. The glide and whammy functions also apply to the intelligent ring modulator, letting the musician morph one harmony into another and then back again.

Welcome to the future of analog pedals.

Pigtronix Echolution

The Analog Delay with a Digital brain

The Echolution is a dual delay, with independent Tap Tempo and Modulation delay modes. This arrangement allows the musician to switch between different delay sounds on the fly.

When set to Tap Tempo mode, the Echolution has a maximum delay time of 20 seconds and a minimum delay time of 10ms. An on-board momentary switch lets the musician easily set the tempo of the delay. The Modulation Delay mode operates over three distinct time ranges, providing easy access to a huge array of delay based effects.

The short setting (10ms-120ms) provides stereo chorus, reverb and slapback sounds. The medium setting (100ms-1.2sec) covers classic BBD and tape echo territory with lush modulation and rich analog sound. The long setting (1sec-12sec) allows for sound on sound, looping and reverse playback as well as rhythmic multi-tap patterns and pitch bending madness.

What truly sets Echolution apart are the Multi-Tap toggle switches which introduce any combination of five additional echoes at musical fractions of the master delay time. Normally, the values of these fractions are based on quarter notes and triplets but using the PHI switch realigns all of these fractions to values based on the Golden Ratio. The Golden Ratio is a naturally occurring spiral rhythm that is found throughout the universe. It is observed in the shapes of galaxies, sea shells, DNA, the Egyptian Pyramids as well as in the work of many great musicians.

Chorus (pitch) and Tremolo (amplitude) modulation of the delay signal are controlled by a single analog LFO. Independent depth controls allow both types of modulation to be blended for rotary speaker sounds and other warped effects. An Expression pedal input for changing the delay time gives the musician even further physical control over the Echolution’s time and pitch bending capabilities.

Other thoughtful features include a stereo blend control that mixes the pure analog input signal with the echo signal, a Trails switch that allows echoes to fade gradually after the effect is bypassed and an input Drive control, which can push the echoes into massive saturation.

True stereo outputs provide breathtaking 3D sound when used with two amps or direct into a mixer. The Echolution contains a Loop feature that freezes the content of the delay line and repeats the captured audio. When the loop function is engaged, all of the modulation and multi-tap functions remain active, allowing you to warp and manipulate the sample beyond all recognition and then back again to its original sonic form. The Echolution can also operate its delay line in Reverse for backward sounds that are truly psychedelic. Reverse and Loop Functions are both switchable via a two button TRS remote switch.

Echolution is a musical instrument that will expand your mind and your music.

T-REX Replica Delay

It is hard to believe, that this delay pedal is digital. It gives the warmth of all-tube echo and also cool digital delay in studio quality. All with the convenience of one pedal.

TIME, REPEAT, MIX and LEVEL knobs allow for quick, precise control. A Hi-cut button cuts high frequencies on repeats – perfectly simulating the tone of a 60s era tape echo.

With a simple flick of a switch you can alter the delay’s subdivision parameter from 1/4 to 1/8 triplets, and to make the delay fit your purpose we even added a Tap-Tempo switch to get you right in time with your tune.

Play it and youll buy it!

TC Electronics G System

More than Meets the Eye
G-System is the world’s first complete high quality floor based Guitar System. Delivering a complete and uncompromised package of effects, control and integration, no other product will match the flexibility or the quality of the G-System.

With its unique combination of two DSP sections providing the very highest quality effects on the market, analog loops, amp switching, floor control, and even 9VDC power outputs for your pedals, the G-System offers the highest level of integration attainable.

Choose between a rack or a floor based setup, decide how the effects are routed, tailor the foot switch layout, and choose from more than 25 different on-board effects.

TC Electronics Nova Delay

Nova – Your tone is everything
With 6 different stereo delay types and the option to store up to 9 presets customizable by an array of style parameters ranging from vintage tape to digital delay this pedal easily serves all delay requirements of modern guitar players who wanna create unique sounds.

Built upon the legacy and knowledge of TC’s world-renowned TC 2290 Dynamic Digital Delay the ND-1 Nova Delay raises the bar for guitar effect pedals and redefines what it means to be “state-of-the-art”. ND-1 Nova Delay offers uncompromised studio quality digital effects in a compact floor-based design.

The ND-1 Nova Delay pedal features 6 different delay types:
• Delay line
• Dynamic
• Reverse
• Ping-pong
• Pan
• Slap-back

Each of these types can be modified with a delay style – a unique feature of ND-1 Nova Delay that allows you to mix and match your delay type and style infinitely.

Both single delay and dual delay lines can be applied to any type and style using the tap tempo switch or delay time knob to determine the delay time that ranges from 1 to 2290 ms.

Three different types of modulation (light, medium and heavy) can be applied to any of the delay types – a feature originating from the legendary TC 2290 Dynamic Digital Delay processor.

The all-new Audio Tapping™ technology enables you to set the tempo of the delay by playing a rhythm into the pedal while holding down the tap tempo switch. You can now set the tempo of the delay using your most important asset: Your playing.

Other great ND-1 Nova Delay features include the ability to choose between ms (milliseconds) and bpm (beats per minute) readout, decide if you want spillover on individual settings and turn global tempo – where tap tempo determines delay time on user presets – on and off.

ND-1 Nova Delay Features:
• 6 studio quality digital delay types
• Two switchable settings:
» manual and preset
• 9 user programmable presets
• Up to 2290 ms delay time
• Audio Tapping™ – audio-generated tap tempo
• Modulated delay
• Delay spillover

TC Electronics Nova Modulator

Nova Modulator – Creativity Enhanced
Never before have all of TC’s acclaimed modulation effects been packed into a single stompbox. With seven stellar effects including the brand new tri-chorus and through-zero-flanger, Nova Modulator gives you all the modulation effects you’ll ever need – and then some.

This is an effects pedal for the guitarist who has come to terms with the basics of guitar effects and is now on the lookout for icing on the cake. With its dual engine design Nova Modulator allows you to combine chorus, flanger, phaser, tremolo and vibrato effects, sync the tempo between them and even trigger the LFO to start right on the beat.

Nova Modulator gives you unlimited sound shaping possibilities and with nine presets there’s plenty of room to store your favorite settings.

THD Electronics Hot Plate Power Attenuator

The award-winning Hot Plate® is the world’s most popular power attenuator. It lets you get your amp’s full of distortion at any volume.

What is a power attenuator?
A power attenuator is a device placed between the speaker output and the speaker cabinet. It acts like a huge master volume control and permits the amp to be turned up most or all the way while absorbing most of the power generated by the amplifier and turning this power into heat. It passes a small part of the power to the speaker.

Why do I want one?
THD customers use attenuators because their amps sound good at high volumes, especially with full distortion, but in rehearsal, small clubs, or at home, they can’t turn the amp up. They are also used in recording studios for better separation between the instruments, and for use when the speaker sounds best at low levels, or if it can’t handle the power output. The Hot Plate® also makes a perfect dummy load.

We needed a good attenuator for our in-house testing of THD amplifiers. The amps have to be tested at all volumes, clean and pure to wild distortion, and we were tired of our ears hurting. We tried all the attenuators on the market, but they muffled the sound and made even THD amps sound dull. Now our design engineers don’t have to worry as much about hearing loss, and neither do you.

How does a Hot Plate® work?
A THD Hot Plate® is a tuned network of capacitors, resistors and inductors which adjusts the overall EQ as the volume is turned down to compensate for the human ear’s frequency response. Your ear perceives sounds differently at different volumes: the louder the sound, the more sensitive your ears are to highs and lows. As the volume drops, your ear becomes more sensitive to the mid-range, and less so for highs and lows. The Hot Plate® compensates for this, working like the “Loudness” switch on a hi-fi. The THD Hot Plate® is the first, and for now, the only attenuator that is frequency compensated.

How do I use it?
The THD Hot Plate® is designed for use strictly with vacuum tube guitar amplifiers, and each version is optimized for a specific impedance (2, 2.7, 4, 8, or 16 ohms.) These inductive loads are frequency compensated, which means it will give you the best possible sound for that impedance speaker and amplifier combination.

To use one: connect the speaker output of the amp into the input of the Hot Plate®, then connect the speaker cabinet to one of the two speaker outputs of the Hot Plate® (doesn’t matter which one). The amp thinks the Hot Plate® is a speaker, so the sound stays true even when you turn the volume down.

What else does it do?

Built-in Noise Reduction
The THD Hot Plate® is the only attenuator on the market with built-in noise reduction to reduce the hiss and hum between notes. We’ve designed a passive, single-ended noise reduction system which provides approximately 10 dB of broad band noise reduction without gating or pumping, and without affecting the tone of the amp. A by-product of the noise reduction circuit is that it generates light as you play. The harder you play, the brighter it glows.

Tone Controls
The Hot Plate® is also the only attenuator offering a Bright switch and a Deep switch for tailoring your sound. The Bright switch gives you two different high frequency levels so you can compensate for an overly bright, or dull speaker cabinet. The Deep switch offers two distinct bass settings to help you fill out the bottom end, or reduce the bass in a cabinet with too much low end.

Adjustable Line Out
THD Hot Plates® also feature a Line Out, which is adjustable by its own volume control giving it a wide range of applications. At higher settings, it can provide enough signal to drive the input of a separate power amp for slaving. The middle range of settings is useful for most rack mount effects. And turned most of the way down, the Hot Plate’s® Line Out will drive the instrument input of another guitar amplifier for extra power and volume.

Will it hurt my amp?
The THD Hot Plate® will not damage your amplifier. When you play continuously at full output, you cause your tubes to age more quickly than they would at lower volumes. Using a Hot Plate® will maintain the life of your tubes at exactly the same rate, no more or less, as when you play straight through the speaker.

Using a Hot Plate® will also not hurt your transformer any more than playing through a speaker, as long as the impedances are matched (i.e. 8 ohm setting on the amp, 8 ohm speakers and an 8 ohm attenuator). If you are using a well-made amp, then the transformer should last indefinitely, regardless of whether you are driving a speaker or attenuator. If you are using an inferior amp and the transformer blows, it would have done this whether you play through a speaker or an attenuator. The Hot Plate® puts the same load on the transformer as a speaker (which is why it makes such a good dummy load).

Tonebone Classic Tube Distortion

The Tonebone Classic is a 12AX7 tube equipped true-bypass distortion that has been optimized for flexibility and tonal range.

Following the vision set by Leo Fender in the 1950’s, the Classic is based on vintage overdrive sounds that started in the ’60s and ’70s and today remain some of the most sought after tones. With three drive settings, variable drive control and powerful EQ, the Classic lets you dial in the slight overdrive to high-gain saturation and everything in between.

And like a real tube amp, when you turn your guitar volume down, the Classic cleans up naturally – without the noise, hum or buzz that is common with most other pedals. At higher settings, every note remains distinct. The Classic is so responsive and dynamic your playing style shines through!

The Radial Tonebone Classic – the most dynamic and responsive distortion pedal ever!

Tonebone Hot British Tube Distortion

The Tonebone Hot British is tube distortion at its best! Fashioned from a modified Marshall double-stack plexy, the Hot British delivers five decades of brute power for everything from scooped-out chunky rhythm to screaming sizzling hot lead tones.

Based on high-gain amplifier designs, the Hot British employs a triple hybrid gain stage that combines the control and dynamics of solid-state with the warmth and harmonic generation only possible from a real 12AX7 tube. This unique design produces ultra-rich harmonic textures and full-on saturated tube settings without the mud or noise that is typical with other pedals. Listen and you will hear how each note retains its distinctiveness and clarity, right down to the lowest notes.

Switch on the Contour, dial in the interactive EQ and wham! Enter a world where huge, musically rich tones that you never thought possible magically come alive. No other pedal delivers more – no other pedal even comes close!

God save the Queen!

ZVex (2000) Super Duper (Gold Sparkle)

Very early, original Super-Duper!!! Kept away, brand new in a box for 10 years!!

Gentlemen/women, start your engines. This pedal is so dangerous that I’m sure I’ll be getting a lot of complaint emails that people have blown up their amps using it. So let’s just start this off by saying I WARNED YOU TO BE CAREFUL. When using this pedal, start off slow, and monitor your amp for potential damage. Don’t have too much fun! OK, have too much fun, but don’t blow up your amp in the process. Unless that’s what you want, of course, and well, gosh darn it, it’s your right. Good ol’ Pete Townsend did it. Well, at least he poked his speakers out. All right, I’ll try to stay on track here.

Ahem. The SUPER-DUPER 2-IN-1 ™ has two of my infamous but rather delightful Super Hard-On™ pedals in one small box, with two switches and LED indicators. HEY! I responded to your multitude of complaints that I don’t put in LED’s! Also, in this SUPER-DUPER 2-IN-1 ™ (gosh I love saying that) is a Master volume control that lets you use it as an overdrive/distortion with any output volume. My my! How conventional, you say! Well, suffice to say, if it weren’t there, you’d go deaf with both of those channels cranked up. This pedal is dangerously loud. Don’t do what I did, and lean over in front of your speaker cabinet while turning it up. Ouch. Dang.

ZVex (2000) Super Duper (Silver Sparkle)

Very early, original Super-Duper!!! Kept away, brand new in a box for 10 years!!

Gentlemen/women, start your engines. This pedal is so dangerous that I’m sure I’ll be getting a lot of complaint emails that people have blown up their amps using it. So let’s just start this off by saying I WARNED YOU TO BE CAREFUL. When using this pedal, start off slow, and monitor your amp for potential damage. Don’t have too much fun! OK, have too much fun, but don’t blow up your amp in the process. Unless that’s what you want, of course, and well, gosh darn it, it’s your right. Good ol’ Pete Townsend did it. Well, at least he poked his speakers out. All right, I’ll try to stay on track here.

Ahem. The SUPER-DUPER 2-IN-1 ™ has two of my infamous but rather delightful Super Hard-On™ pedals in one small box, with two switches and LED indicators. HEY! I responded to your multitude of complaints that I don’t put in LED’s! Also, in this SUPER-DUPER 2-IN-1 ™ (gosh I love saying that) is a Master volume control that lets you use it as an overdrive/distortion with any output volume. My my! How conventional, you say! Well, suffice to say, if it weren’t there, you’d go deaf with both of those channels cranked up. This pedal is dangerously loud. Don’t do what I did, and lean over in front of your speaker cabinet while turning it up. Ouch. Dang.

ZVEX Distortron Vextron Series

The ZVex Distortron guitar pedal is the gifted little sister of ZVex’s “Box of Rock” stompbox. ZVex designed the Distortron distortion effect to simulate the “everything on 10” sound of a classic Marshall JTM45 non-master-volume amplifier. With the Distortron pedal your guitar’s volume control adjusts for the exact amount of distortion needed—all the way down to the clean and clear sounds you can get with most drive settings when the gain switch is set to low.

The Distortron effect pedal’s controls function as follows:

•Drive: sets distortion amount—begin at around the 1 o’clock position. Based on the original “Super Hard-On” gain control, it may crackle when turned, which is normal.
•Tone: Adjusts for treble content—begin at around the 2 o’clock position
•Volume: Adjusts output volume level—begin at around the 9 o’clock position
•Gain switch: “Lo/Hi” switch lets you choose the standard “Box of Rock” gain level or a slightly boosted level
•Subs switch: “2-1-3” switch lets you choose the standard “Box of Rock” sub amount (on option 3) or two different lower levels of subs, depending on your amp’s needs

ZVEX Fuzz Factory

This is a five-knob fuzz using two new old-stock sixties germanium transistors. The circuit is not modeled after any classic fuzz design, but should have been around when Leary was still lucid.
Although the five knobs are named for the parameters over which they seem to have the most control, please don’t hold me to it. They are controls for various operating levels and biases, and basically shape you a personalized fuzz.

ZVEX Lo-Fi Loop Junky

What it does and features it has:

1] Records up to 20 seconds of your performance.
2] Allows you to initiate and finish a recording at any moment with a stomp switch, when activated.
3] Begins looping a few thousandths of a second after the record process is finished.
4] Remembers your loop even when unplugged or with the battery removed, for up to 100 years.
5] Has true bypass.
6] The true-bypass switch initiates loop playback from the sample’s beginning at any time.
7] Has vibrato with speed and depth controls, allowing a vibrato/chorus/Leslie-like shimmer.
8] Has very slow vibrato speed for warped-record effects, to very fast for jiggly playback.
9] Has real clocked-analog recording with no analog-to-digital conversion.
10] Records using velvety compression for a smooth organ-like sound.
11] Allows overdriven recording of storage cells using ‘record level’ control.
12] Has a tone control that rolls off hiss and other annoying artifacts for burbling, mellow samples.
13] Has hiss! Lots of it! It’s analog, remember, with no noise-reduction, and it’s lo-fi. 8^)
14] Has very limited frequency response. Nothing above 2.6 kHz. Brick-wall filtering.
15] Has a safety-switch to protect a favorite sample from being recorded over accidentally.
16] Plays back at any volume, louder than your direct guitar if you wish.
17] Has a gorgeously transparent guitar preamp built-in to give your direct guitar a glistening finish.
18] Really small footprint, like a fuzz factory.
19] Draws as little as 2 mA from the battery when in bypass mode, and about 12 mA when activated.
20] Smells great.
21] Features aliasing artifacts, distortion, hiss, out-of-tune effects, strange behavior, and long battery life.
22] Allows loop erasure during bypass, resulting in a looping hiss sample.
23] Never sounds like what you played into it. Always alters the original tone and dynamics.
24] No learning curve! Five simple knobs, two stomp-switches for bypass and record, and a safety switch.
25] Has simple LED status indicator. Lights up solid while recording, blinks once at the end of every loop. Stops in bypass mode.

ZVEX Mastotron Vextron Series

The Mastotron is a sub-heavy silicon fuzz with some new twists: An input impedance control that adjusts for weaker passive pickups (turn all the way to “push’) or for active pickup basses and guitars (turn down a bit), or to line level for re-amping (“relax”). It works very well for re-amping bass tracks that need to be fuzzed up after tracking, and keyboards, which usually overload fuzzes. There’s also a three-position sub control switch, a treble tone control, flexible pulse width control for square to narrow pulses, and a wide fuzz depth control. More flexible than any silicon fuzz to date, the Mastotron is part of the new Vextron series with heavy paint, a single silkscreen layer, and the new black 3PDT switch. Rock!

ZVEX Ringtone

This is a sequencing ring mod with a “Tap Tempo” function. The Ringtone TT by Z.Vex Effects is the world’s first dedicated tap-tempo sequenced ring modulator for guitar use.

ZVEX Super Hard On

This is the perfect preamp pedal. The “Crackle Okay” volume knob is a negative-feedback control styled after classic 60’s recording console inputs. (They crackled when adjusted too.)
Most vintage guitars suffer from steadily deteriorating magnets in their pickups, since permanent magnets aren’t really forever. The Super Hard-On’s input impedance is so high (>5 Meg) that it refuses any current flow from your pickup… maintaining the most magnetic field around each string, so you can hear exactly what your pickup sounded like the day it came off the winder.
The ouput level can exceed 8 volts peak, and when it finally distorts, the wave is shaped like triode overload, not fuzz.