The Black Eye clean boost is a Mosfet based booster. It's very transparent but will add a noticeable sparkle and "umph" to your tone. Capable of boosting your signal by almost 30db as well as acting as a cut control. The gain is set by an internal trimmer (so if you own a low-output guitar you may be able to squeeze out even more boost) and the level is controlled with the external control. Simple. In case you are not familiar with clean boosts: This device does not create distortion on it's own. It can be used to drive your amp (or other pedals) into singing overdrive or boost your clean sound unaltered. (Allow 3 week minimum shipping time)
The Dirt Transmitter is dual transistor crumbling fuzz tone. The bias control affects the voltage to the transistors which can create super cool gated velcro fuzz when turned counter clockwise or bring it back to life by turing it clockwise. It's "properly biased" around 2'OClock on the dial. Adjusting the tone with the bias is a must to achieve a wide range of sounds. The fuzz control can produce tones from overdrive like break up to all out thick ripping fuzz tones while never getting flabby. Excessive amounts of volume and virtually no extraneous noise. Works great with both single coils and humbuckers, clean up with the guitar volume is excellent .
Controls:Bias Fuzz Level Tone(Allow 3 week minimum shipping time)
The Disaster Transport is an analog voiced digital delay with 625ms delay time, all analog dry signal path, true bypass and added modulation. It was designed as an anti-modern delay for those who appreciate a nice tape echo with all it’s peculiarities. It’s unique tone control doubles as a noise filter on longer delay settings and really helps the delay shine with a dirty signal. The mix control allows you to boost the effected signal to nearly 4x the original signal level and the modulation can go from subtle pitch shifting warble to ultra fast tremolo speeds while the LED visually shows the rate.
Controls
Mix- Sets the output level of the effected signal. This should be treated as a gain control/ master volume for the delay line. Unity is around noon and everything above noon will boost the delayed signal louder than the original. This is a gain control so, like any pedal with a lot of gain, a hint of noise and distortion at max setting is completely normal.
Tone- Most delay pedals are heavily filtered at the output to remove the clock noise and other unwanted hash that is common from extending the range of the delay time beyond the limit of the circuitry. This usually leaves the delay sounding dark, muddy and disappear when hitting it with dirt. The Disaster Transport has done away with a lot of the heavy filtering and replaced it with a tone control which allows the user to choose their desired sound and results in more natural tape-like repeats. The tone control is at it’s darkest fully counter clockwise and brightens as you turn it clockwise. A good rule of thumb is to leave the tone control between off (fully counter clockwise) and noon at longer delay times. This will remove all the common noise from hyper-extending the circuit.
Time- From about 30ms fully counter clockwise to about 625ms fully clockwise.
Repeats- Sets the regeneration of the delay line. From one single repeat fully counter clock- wise, subtle repeats around 9 O’clock, strong naturally decaying repeats at noon, near infinite repeats around 2 O’clock and full on self oscillation fully clockwise.
Depth- Sets the depth of the modulation to the delay line. The modulation is true pitch-shifting vibrato, higher depth settings will give sea sick pitch bending, lower settings will yield a more natural chorus/leslie/tremolo setting depending on modulation rate and delay time. To achieve a more natural modulation, the depth should be reduced as the delay time is increased.
Rate- Sets the speed of the modulation. Goes from painfully slow to way-to-fast allowing several different modulation styles to reveal themselves.
Bypass- Turns the effect on/off. (Allow 3 week minimum shipping time)
Disaster Transport Jr. Delay Machine
The Disaster Transport Jr. is an analog voiced digital delay with 625ms delay time, all analog dry signal path and true bypass. It was designed as an anti-modern delay for those who appreciate a nice tape echo with all it’s peculiarities. It’s unique tone control doubles as a noise filter on longer delay settings and really helps the delay shine with a dirty signal. The mix control allows you to boost the effected signal to nearly 4x the original signal level and the repeats control goes from one signal repeat to near infinite repeats all the way through to self oscillation.
Controls
Mix- Sets the output level of the effected signal. This should be treated as a gain control/master volume for the delay line. Unity is around noon and everything above noon will boost the delayed signal louder than the original. This is a gain control so, like any pedal with a lot of gain, a hint of noise and distortion at max setting is completely normal.
Tone- Most delay pedals are heavily filtered at the output to remove the clock noise and other unwanted hash that is common from extending the range of the delay time beyond the limit of the circuitry. This usually leaves the delay sounding dark, muddy and disappear when hitting it with dirt. The Disaster Transport has done away with a lot of the heavy filtering and replaced it with a tone control which allows the user to choose their desired sound and results in more natural tape-like repeats. The tone control is at it’s darkest fully counter clockwise and brightens as you turn it clockwise. A good rule of thumb is to leave the tone control between off (fully counter clockwise) and noon at longer delay times. This will remove all the common noise from hyper-extending the circuit.
Time- From about 30ms fully counter clockwise to about 625ms fully clockwise.
Repeats- Sets the regeneration of the delay line. From one single repeat fully counter clockwise, subtle repeats around 9 O’clock, strong naturally decaying repeats at noon, near infinite repeats around 2 O’clock and full on self oscillation fully clock- wise. (Allow 3 week minimum shipping time)
Watch This Pedal
Dream Crusher Fuzz
The Dream Crusher fuzz device has been added to the line for good! This is our take on the classic germanium fuzz face circuit. Made with 2 NOS Mil Spec Germanium transistors, hand selected and tested finest of high gains. Yep, only the finest. Touch sensitive, overdrive-like and great definition from noon back, crushing grinding distortion through blown out and overloaded fuzz at it's extreme. Cleans up well with the volume of the guitar and works great with all pick up configurations and styles. Even though it only has two controls, you'll find a lot of different tones and character inside. We've never played another like it.
Measures4.37" X 2.37" X 1.75" with knobsPower
THIS PEDAL HAS A POSITIVE GROUND. DO NOT USE A DAISY CHAIN STYLE POWER SUPPLY. IT HAS BEEN WIRED TO ACCEPT A STANDARD 9V DC POWER SUPPLY WITH A NEGATIVE CENTER 2.1MM BARREL. DO NOT USE A REVERSE POLARITY POWER SUPPLY. IF YOU HAVE NO IDEA WHAT THAT MEANS, SEND US AN EMAIL BEFORE POWERING UP.
Power by 9v Battery or any standard 9 volt DC power supply with a negative center 2.1mm barrel. Controls:Fuzz- Controls the dirt and character Level- Controls the output (Allow 3 week minimum shipping time)
Ghost Echo Reverb
The Ghost Echo Reverb is designed to emulate a vintage reverb unit. It ‘s capable of providing a little atmosphere all the way through to vast depths. The attack control sets the delay of the initial pick attack on the wet signal only. When playing staccato this registers as a slap back type echo hitting the reverb but when playing fluid lines it adds a massive depth and "fattens" up the sound. The dwell control is a fine tune function that enhances the decay. At first it may seem like it's not there but back it off and you'll miss it. The depth controls the intensity of the reverb. An, yes, it is true bypass!
Measures 4 5/8" x 2 1/2" x 2.25" with knobs Power Any standard 9 volt DC power supply with a negative center 2.1mm barrel. No battery option. Controls:Depth- Sets reverb intensityDwell- Sets the decayAttack- Sets the delay of the pick attack on the wet signal (Allow 3 week minimum shipping time)
Grand Orbiter Phase Machine
4 stage OTA Based phaser ala the Ross Phaser and DOD 490 (Circuit is loosely based on both of these). Two LFO speeds that can go from painfully slow to ridiculously fast. Dry kill switch to get vibe/vibrato effect, depending on where the controls are set. Rate controls the speed of the LFO, extremely wide range in conjunction with the two mode switch. Depth controls the amount of phase shift mixed with the dry signal (not how the LFO shifts the filters) so you can get very subtle pseudo 2 stage through full on. Sweep controls the frequency range and resonance controls the regeneration which makes the effect more or less intense. The sweep and resonance have a large range and you can dial in classic subtle tones through over the top phasing.
* There is no audible difference between the Grand Orbiter pictured and the previous silver box version.
Measures4.7" x 3.7" x 1.75" with knobsControls:Depth- Controls the amount of phase effect mixed with dry signal. When "dry" switch is in the off position, this should remain at max.
Rate- Controls the speed of the LFO
Sweep- Controls the Frequency range
Resonance- Controls the regeneration of the phasing.
Rate 1+2- Changes the range of the speed control. 1 is slower, 2 is faster.
Dry- Cuts the dry signal to create a vibe/vibrato effect depending on the setting of the other controls.Vibrato is created by turning the resonance down low. (Allow 3 week minimum shipping time)
Hummingbird ll Repeat Percussions
The Hummingbird is, at heart, a hard and choppy tremolo. What comes out is more akin to vintage synth style oscillations. It's core is based on the old Vox Repeat Percussion with several updates to reduce noise, enhance the "chop" and add more control. It can create ring mod-like octaves, slow pulses, ping pong delay-like stutters, light blipping through machine gun stutter tremolo and many more wacky sounds!
Power
Any regulated 9-18 volt DC power supply with a negative 2.1mm center barrel. Higher voltages will yield more headroom with a fatter and more focused tone and a wider gain range.
Controls:Treble- Boosts the HighsBass- Boosts the LowsGain- Controls the overdriveLevel- Output (Allow 3 week minimum shipping time)
Sea Machine Chorus
The Sea Machine is a chorus pedal with ultimate control over parameters rarely, if ever, seen in a chorus before. A hybrid of digital and analog circuitry with a slightly extended delay time allows it to really stand out and shimmer. Subtle warble, classic leslie, sea sick pitch bends, strangled aliens, stunted arpeggiations... there is something for everyone in the Sea Machine. Designed to work well following fuzz, distortion or overdrive without getting muddy, loss of volume or breaking up (the Sea Machine has excellent headroom at both 9 & 12 volts). When engaged, the transparent buffer leaves the all analog dry signal unaltered and crystal clear. It can be powered from 9-12v DC, higher voltage yields a more intense modulation, slightly longer delay time with more chime and dimension. The Sea Machine is true bypass and made by human hands with the highest quality parts in lovely Akron Ohio.
ControlsRate: Speed of the LFO. • Shape: From soft triangle through hard square wave.
Measures
4.7" x 3.7" x 2.25" with controls
w/ (Ghost Echo)
Tone Reaper Fuzz
The Tone Reaper is a vintage style fuzz device based on the “3 knob” bender. It’s a silicon/germanium hybrid capable of producing a wide range of tones from every bender era with careful tweaking of the tone and fuzz controls. From thin and spitty to thick growling sustain, it’s all here.
Measures4.37" X 2.37" X 1.75" with knobsPower9v Battery or any standard 9 volt DC power supply with a negative center 2.1mm barrel.Controls:Tone- Treble to the left, Bass to the rightFuzz- Controls the sustain and natureLevel- Controls the output (Allow 3 week minimum shipping time)
White Light Overdrive
The White Light Overdrive is my take on what an overdrive should be. Based more in the area of vintage overdrives (like the DOD 250 or MXR Distortion+... and no, it's not a clone of anything) with more control over the voice and a lot more "modern" presence to make it more dynamic. Don't let the lack of tone control turn you off, what you put in is what you get out and you can adjust the low end and saturation to your liking w/ the "Weight" control.
Hoof Fuzz
The Hoof is a no-fuss, easy to use device capable of sounds from warm, gritty overdrive to a huge sustaining fuzz. It's a germanium/silicon hybrid muff style fuzz (based on the old green russian muff) with massive amounts of volume on tap and smooth amp-like sustain. It has a tighter, cleaner sound than most muff's which makes it more cutting and discernible in a band setting. The shift control changes the frequency response of the tone control, mainly on the treble side (but takes out the mud on the bass side). Clockwise scoops the mids and counterclockwise enhances the mids. When the shift control is set dead center it has roughly the same frequency response as the original 3 knob hoof (almost flat).
* There is no audible difference between the hoof pictured and the previous gold box version. The circuit is EXACTLY the same.(Allow 3 week minimum shipping time)
Bit Commander Guitar Synthesizer
Featured in the November 2011 issue of Premier Guitar, check it out here!
Like all analog octave effects, there are some basic rules to follow that will get you the most enjoyment from your Bit Commander. Use the neck pickup and play single notes. The best tracking occurs from the 7th fret up on all the strings. Below the 7th will still track but there will be occasional glitches and stutters. The lower the note, the harder it is for the Bit Commander to register. The use of Bass and lower registers on keyboards will yield unexpected, sometimes pleasing, sometimes disgusting results. These are not mistakes or flaws, it is the nature of analog octaves.
Controls:
Sub: Two octaves down level
Down 1: One octave down level
Up 1: One octave up level
Base: Squared input signal level
Level: Master volume
Filter: Tone control, more highs clockwise, more warmth counter clockwise
Analog, true bypass and hand made one at a time in the republic of Akron Ohio.
(Allow 3 week minimum shipping time)
Organizer Polyphonic Organ Emulator
The Organizer is a polyphonic organ emulator designed to mimic the organ tones of yesteryear crossed with the highly unique “Guitorgan”. The organizer has a warm and very analog feel with a hint of Leslie warble that is unlike other modern octave shifters. It tracks all over the neck on both guitar and bass and will transpose single notes as well as chords. The Organizer uses a mix of analog and DSP circuitry with true bypass switching and an all analog direct (dry) signal path. - Up: Level control for the octave up.
- Down: Level control for the octave down.
- Choir: This control takes a mix of the octave up and octave down setting and regenerates it. The end result is an additional 2 octaves up, 2 octaves down and direct signal with a slight delay that adds a “church organ” like feel. This control only works if the octave up and octave down are in use.
- Direct: Level control for the analog dry signal.
- Tone: Low pass filter for the wet signal, counter clockwise rolls off the high end.
- Lag: Delay control for the wet signal. Full counter clockwise is minimal delay, delay time increases as it rotates clockwise.
Power
A standard 9 volt DC power supply with a negative center 2.1mm barrel, current draw is 70ma. No battery option.
Measures
4 5/8" x 2 1/2" x 2.25" with knobs
Notes:
The Organizer has an output gain stage with no master control. When it's idle, even with all knobs at zero, the will be about as much "white noise" as an average overdrive pedal with it's gain at zero and the level set to unity. A minimal amount while idle is normal but it will not be noticeable during play. The sound will be more apparent in front of a gained up amp or other dirt/gain/boost pedals. (Allow 3 week minimum shipping time)
Speaker Cranker Overdrive
SPEAKER CRANKER IS NOT A BOOSTER, IT'S AN OVERDRIVE.
The Speaker Cranker is an all discrete dirt enhancement device designed to give your amp some grit and a slight boost without drastically changing the character or tone of your set up. It’s perfect for those that don’t like to fiddle with pesky controls yet want to add a little tube-like breakup or enhance an already over driven amp (or pedal) to give it some extra crunch without over loading the preamp. The single “More” control allows you choose the amount of break up you desire. Just like you would with a tube amp, back it off to thin out the sound and clean it up or crank it up for a fuller sound with a bit of compression.
Measures4.37" X 2.37" X 1.5" with knobs
Rainbow Machine Polyphonic Pitch Shifting/Harmonizing/Alien Aliasing Modulation Generator
Welcome to the Rainbow Machine, in all it’s synthetic glory! This one is for experimenters, adventurists and noisemakers. Totally not for purists and/or tone hounds, there are no “natural sounds” that will come from this box. It takes modern DSP and uses it as a tool of future past to create real time pitch shifting using digital oscillators. The sound is much different than most modern day pitch shifting devices. It was imagineered to be wild and out of control and slightly imperfect while still tracking up and down the guitar neck without glitching out. A cold digital beast made to pretend it has feelings. It will do basic polyphonic harmonies from a 4th down through a 3rd up and every atonal pitch in between. You may add in an accompanying
octave to the harmony by bringing up the Secondary function control. You can take it way beyond and open up your third eye by bringing in the Magic. The Magic is the heart of the Rainbow Machine. In conjunction with the Tracking control, the Magic creates wild pitch take offs and descend’s, chaos chorusing, shrieks, pixie trails and wealth of other general mayhem inducing noises. The pitch can be controled by an external expression pedal for extra fun! The Rainbow Machine can be used on bass, keys, vocals or anything else you can dream up!
Power
A standard 9 volt DC power supply with a negative center 2.1mm barrel, no battery option.
Expression Pedal
We recommend the Moog Expression pedal for the Rainbow Machine and can not gaurantee that any others will work. (Allow 3 week minimum shipping time)
Tone Job EQ and Boost
The Tone Job is a complete tone enhancement tool designed around a stereo preamp to cover as much frequency range as possible. What does this mean for you, the user? It means it can handle a wide variety of frequencies from electrical guitars, bass guitar, synthesizer machines and just about anything else you can plug in. The treble, bass and middle controls will cut or boost up to 20db. In addition to that, the level control will boost the signal (post EQ) up to 5 times the input depending on where the dial is set.
Controls:Level: Post EQ volume control. Can boost the signal up to 5x the input. Unity is around 10 O’Clock.
Analog, true bypass and hand made one at a time in good old Akron Ohio.
The Talons is an ultra flexible dirt machine that can go from clean to crunch and everything in between with a swift turn of the gain control. Add to that a powerful active 3 band equalization sector and some top end contour via the presence control and you’ve got one versatile little buddy at your disposal. Unlike all our other overdrives, the Talons was not designed to emulate any specific sound or era. It can be glassy and open, scooped and chunky, gritty and wild, light and airy, drunk and unhinged… it will not disappoint you.
True Bypass and Handmade with sweet loving care in Akron, Ohio.
Measures
4 5/8″ x 2 1/2″ x 2.25″ with knobs
Power
A standard 9-18 volt DC power supply intended for musical instruments with a negative center 2.1mm barrel. 18v will yield higher headroom with a slightly brighter, stronger tone and more volume. We strongly recommend a high quality power supply with isolated outputs and good filtering to avoid unwanted noise. Will also run off a 9v battery for you olde tymee types.
Controls
Treble: Noon is flat, boost is clockwise from noon, cut is counter clockwise from noon.
Middle: Noon is flat, boost is clockwise from noon, cut is counter clockwise from noon.
Bass: Noon is flat, boost is clockwise from noon, cut is counter clockwise from noon.
Presence: Adjusts the top end and upper mids to control the amount of “sizzle” in the dirt. Turn clockwise for a brighter tone, counter clockwise to mellow it out.
Gain: Preamp volume control. Controls the amount of dirt available, from clean to heavy crunch.
Level: Master volume control. There is a lot of level on tap, please adjust accordingly.
Demos not featured will be available soon
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