Back catalogue: All genres

Notes: Your Dream Tone Starts Here.

Start your signal chain with the best possible version of your guitar tone. Treat your guitar signal to true studio quality analogue compression with two distinct voices for smooth transparency or vintage squeeze. Hit the Boost switch to add clean boost or soft-clipped dirty boost, with the EQ curve of your choice. Mix in some dry signal for natural attack even with extreme compression settings. Feel the perfectly tailored dynamic response, feeding your amp and effects just what they need to sound their best.

Your Everything Upgrade.

From pickups, tubes, capacitors, to speaker cabinets-the aspects of a rig that can be upgraded or changed are nearly endless. Plug in Compadre and you may find you already have everything you need for the tone you've been seeking.

Bring out your amp's character in ways you never thought possible. Compadre's Class A JFET input circuit, studio quality analogue compression, and musically voiced analogue boost circuits all work together to make your amp sound like it was just modified by a world-class boutique amp designer.

Super Flexible, Super Easy.

Compadre gives you everything you need to shape your front end tone, and nothing to slow you down. Auto makeup gain and auto threshold mean that all you have to do is turn up the Compression knob to dial in the desired amount. Compadre's wide variety of tone shaping features are all designed to easily sound great across a wide variety of settings.

Two Distinct Analogue Compression Circuits.

Choose between two compression circuits, each with its own unique character. Studio mode gives you the smooth, beautifully transparent compression typically found in the best vintage studio rack units. For a harder compression effect typical of classic guitar pedals, Compadre's Squeeze mode is designed to deliver heavy compression with maximum sustain.

Boost the Sweet Spot, Clean or Dirty.

Compadre gives you two distinct analogue boost circuits: a clean boost, and a dirty boost that introduces soft clipping, characteristic of an overdrive pedal. The selectable boost EQ ensures the perfect compliment to any guitar and amp combination. Add sparkle and shine with a treble boost, fatten your tone with the midrange boost, or level up the full frequency range with flat mode.

Extended Control.

Connect an expression pedal to add premium VCA-based volume control. Add an optional MiniSwitch or MultiSwitch Plus to store and recall your favourite settings. Integrate Compadre into a MIDI pedalboard using the MIDI EXP Cable and access up to 300 preset locations.

Vintage Inspiration, Modern Execution.

The Compadre design project started with a study of some of the finest analogue compressors ever created, inspiring and guiding the circuit design process. Utilizing a VCA in the compression circuits allowed Strymon to carefully tune the exact response and dynamics that were desired for each voicing.

For Studio mode, the goal was to achieve the musical and transparent sound found within Strymon's favourite studio rack units and the best vintage studio console bus compression. Careful tuning of the detection circuit provided Strymon with exacting control over decay, especially important for Squeeze mode. With ample sustain on tap, Strymon paid special attention to creating a completely smooth decay, with no unwanted pumping artifacts.

Notes: DIG unearths the true soul of digital delay and doubles it; two simultaneous, integrated delays with captivating rack delay voicings from the 1980s and today, for incredible expressive potential. Rack-mount digital delays of the '80s ushered in a new era of audio effects. The innovative electronic designs generated the cleanest delays that had yet been heard, but also created their own special and intriguing sonic characteristics. Thirty-plus years later, these sounds remain as distinctive and inspiring as ever.

Strymon's thorough investigation of digital delay technology reveals the unique personalities that these delays possess. Delve into DIG's three digital delay voicings: the early '80s adaptive delta modulation mode, the mid-'80s 12 bit pulse code modulation mode, and the modern high-resolution 24/96 mode. The second generation DIG keeps the same distinctive rack-mount digital delay tones from Strymon's original and adds significant new features, incorporating technological advancements, hardware improvements and design enhancements to give you additional flexibility, power, and ease of use on stage and in the studio.

Full MIDI implementation means you can control just about every switch, knob, and setting remotely by sending MIDI commands from your controller or DAW via DIG's EXP/MIDI jack or USB-C connection. Delay time can be synchronized via MIDI Clock Sync, and the sync setting can be saved for each preset. 300 MIDI preset locations are available for loading and saving your favorite settings.

A premium analog JFET input circuit ensures superb responsiveness to your playing, and you can select mono or stereo input with the flick of a rear panel switch. All this, plus a new ARM DSP chip provides more processing power for every sonic nuance, with less energy consumption on your pedalboard.

The powerful tone knob control sets the feedback filter response for tailoring the sound of your echoes. Fast and intuitive to use, it is actually two filters on one control: Turn left for high cut and right for low cut, or set at 12 o'clock for a flat response.

Notes: The legendary Strymon deliver quality goods once again with this analogue-inspired stereo delay. Single head sound gives a classic 60s vibe with modulation and subtle imperfections.

Supplier's Notes:
Experience the dreamy sound of a classic '60s tape echo complete with the harmonic richness of the accompanying tube preamp. Enjoy organic and ethereal modulation produced by countless subtle mechanical imperfections, and easily dial in anything from warm slapback to expansive echo feedback beds with a strikingly gorgeous stereo image. With beautifully-tuned low frequency response, lush tape saturation and sublime echo decay, EC-1 provides all the best of what a tube driven tape echo can deliver.

EC-1 offers impressive power and flexibility in a small and elegant form factor: Selectable tube-modeled preamp voices. Artifact-free tap tempo. Discrete stereo operation for independent processing of the left and right stereo inputs. Straightforward controls and expression pedal capability. High-impedance, ultra-low noise discrete Class A JFET stereo input preamp for exceptional touch sensitivity, dynamics and feel. MIDI control of tempo, patch save/recall and more. Premium components, rugged construction and a USB jack for performing firmware updates or controlling the pedal from a computer.

Featuring meticulous tube modeling techniques, EC-1 offers a choice of two authentically reproduced preamp circuits that lend a subtle vintage character to your input signal. One is based on the classic EP-2 tube preamp and features an enhanced high-end shelf perfect for brightening up darker humbuckers. The other preamp option (the default setting) produces a warm, balanced response based on the modded preamp circuit in the EP-2 unit that we studied during the development of EC-1. This option adds a pleasing sense of heft, especially to single-coils. Both preamp choices offer an optional boost of up to +6dB, or the preamp can be bypassed for an unprocessed dry signal if desired.

Strymon's unique dTape technology was first developed for El Capistan, and they have expanded on it to reproduce all the inspiring nuances weencountered while studying a recently-acquired tube Echoplex that was in uncommonly superb condition. Our dTape system allows precise replication of every aspect of every tape echo we've studied, and in EC1 this includes the effect of the moving head, the tape condition, the bias setting, the mechanical effects of motors, capstan slippage and all the irregularities that add up to create the unmistakable, inspiring sound of vintage tape echo repeats.

Whether you want the cleanest repeats, subtle fattening or even downright dirty echos, you can instantly dial in the desired amount of tape saturation with the flip of a switch. Providing pleasing tonal shifts from thinner to fatter, EC-1's three-way Record Level toggle switch selects the gain of the signal fed into the virtual record head. Choose the low position for unity gain with optimized bias for the cleanest repeats, medium for a 6dB input signal boost with increased bias for slightly saturated repeats, or high for a 12dB input signal boost with further increased bias for heavily saturated repeats. This control also gives you a fast and easy way to match EC-1's response to your input signal level to obtain the desired sound from any pickup type or pedalboard configuration.

For EC-1, fluctuations from motors and mechanical components were thoroughly studied to accurately capture their imperfections. At the lower end of the Mechanics control's range only slower motor-related wow and flutter are present, but at around one o'clock these fluctuations are reduced in favor of faster disturbances from crinkle, splices, and capstan slippage which accurately replicate the sound of our golden EP-2 unit.This setting can create uniquely reverberant and three-dimensionalechos that spread across the stereo spectrum. The slower fluctuations are mixed back in more prominently as you approach the maximum Mechanics setting, and the unique combination of multiple imperfections create truly gorgeous, organic stereo modulation effects unlike anything you've ever heard.

The frequency characteristics of tape echo repeats are determined in part by the bandwidth of the actual tape stock, so older tapes will have a lower bandwidth with a warmer top end. EC-1 allows you to faithfully reproduce these characteristics by turning up the Tape Age knob for warmer repeats, or turning it toward minimum for the full-bandwidth sound of fresh tape.

EC-1 is designed to allow high levels of repeats that are truly lush but that don't spiral into uncontrollable feedback. That wide sweet spot on the edge of runaway feedback can create intriguing sound beds under your lead or rhythm playing. Of course if you want to crank the Repeats control to maximum and play with the unique pitch effects that only a sliding record head tape echo can produce, those effects are all precisely replicated in sound and response.

Notes: Plug in, play a note or chord, and you feel it: All the warm, saturated, distinctive qualities and subtle nuances of vintage tape echo combine to instantly create an unmistakable atmosphere. Everything from classic slapback echoes to psychedelic space explorations have stunning richness and depth, responding to each note and knob turn in a musically inspiring way.

El Capistan provides three different tape machine types in one pedal, each with three unique modes and extensive control over tape quality, machine health and tone shaping. Styrmon's meticulously handcrafted dTape technology and powerful ARM DSP give you a range of tape experiences that would be unattainable with a single traditional tape machine. Plus you get sound on sound looping, all without the headaches of tape machine maintenance and repair.

The second generation El Capistan keeps the same rich magnetic tape echo tones from our original and adds significant new features, incorporating technological advancements, hardware improvements and design enhancements to give you additional flexibility, power, and ease of use on stage and in the studio. Full MIDI implementation means you can control just about every switch, knob, and setting remotely by sending MIDI commands from your controller or DAW via El Capistan's EXP/MIDI jack or USB-C connection. Delay time can be synchronized via MIDI Clock Sync, and the sync setting can be saved for each preset. 300 MIDI preset locations are available for loading and saving your favorite settings.

A premium analogue JFET input circuit ensures superb responsiveness to your playing, and you can select mono or stereo input with the flick of a rear panel switch. All this, plus a new ARM DSP chip provides more processing power for every sonic nuance, with less energy consumption on your pedalboard.

Some classic tape echo machines included small integrated spring reverb tanks tuned for limited bandwidth. For El Capistan, we captured this vintage vibe while creating a spring reverb algorithm with a gorgeous, gentle character that stands on its own, in addition to enhancing delayed signals.

Notes: The magical combination of tremolo and reverb is the earliest example of a perfect guitar effects marriage. First pioneered within historic amplifiers of the 1960s, this harmonious coexistence has made its way onto countless records and performances i from early surf, swampy bayou blues, spaghetti westerns and film noir soundtracks, to modern day indie rock. As music moves forward, guitarists continue rediscovering the inspiration provided by this perfect pair.

Flint is a studio-class effects pedal that delivers this classic combination. Strymon have carefully studied their favorite classic tremolo and reverb circuits, examined the sonic complexities and faithfully accounted for every detail in our hand-crafted algorithms. Flint is essentially two pedals in one, with tremolo on one half and reverb on the other.

On the tremolo side of the pedal you can choose between the sonically complex '61 Harmonic Tremolo, the swampy and sultry '63 Power Tube Tremolo, and the sharp and balanced '65 Photocell Tremolo. On the reverb side you can select the classic '60s Spring Tank Reverb, the inventive '70s Electronic Plate Reverb, or the nostalgic '80s Hall Rack Reverb. With nine parameters to tweak, you get extensive control over the tremolo and reverb characteristics. Go from splashy, pulsing twang, to throbbing, swampy blues, all the way to ambient, trembling, and serene reverberated pads. Couple that with true bypass, and a premium quality analog front end and output section, and you have the history of tremolo and reverb in a pedalboard friendly format
.
The second generation Flint gives you the same gorgeous tremolo and reverb sounds from the original and adds significant new features, incorporating technological advancements, hardware improvements and design enhancements to give you additional flexibility, power, and ease of use on stage and in the studio. Full MIDI implementation means you can control just about every switch, knob, and setting remotely by sending MIDI commands from your controller or DAW via Flint's EXP/MIDI jack or USB-C connection.Tremolo speed can be synchronized via MIDI Clock Sync, and the sync setting can be saved for each preset. 300 MIDI preset locations are available for loading and saving your favorite settings.

A premium analog JFET input circuit ensures superb responsiveness to your playing, and you can select mono or stereo input with the flick of a rear panel switch. All this, plus a new ARM DSP chip provides more processing power for every sonic nuance, with less energy consumption on your pedalboard.

Love slow tremolo? The Speed knob range has been expanded to slow the tremolo down to nearly 1Hz at its minimum setting. On the reverb side, pre-delay time is now adjustable.

Notes: Mobius gives you twelve legendary, versatile, and inspirational modulation machines, all in an easy-to-use package. Go from lush, mouthwatering, vintage chorus sounds all the way to syrupy psychedelic phasers. Get classic, pulsating tremolos all the way to warbling crushed bits. Mobius opens up the history books of music and provides new sounds and inspiration for all of your musical ideas.

Utilizing an insanely powerful SHARC DSP, every drop of power is harnessed. Top it all off with 200 presets, full MIDI implementation and a unique Pre/Post Mode and you're on your way to modulation ecstasy.

Notes: NightSky is a reverberant synthesis workstation and a powerful, hands on experimental sound design platform. Giving you real time continuous control of reverb pitch/processing rate/core size, harmonics, and even a synth-like resonant filter with multiple modulation waveshapes, plus a step sequencer with variable glide.

Deep and powerful sound manipulation with instant response knob- tweaking and no menu diving set a new standard in experimental reverb sound design. NightSky achieves some of it's most mind bending sounds by using a Variable Process Rate for it's reverb core, allowing you to simultaneously change the size of the reverb as well as the pitch. This pitch change can be completely smooth, or quantized to a variety of musical scales, it can also be sequenced.

Use Shimmer to shift the harmonic structure by selectable musical intervals. Add Glimmer to dynamically enhance the harmonic spectrum. Turn up Drive to generate saturated overdriven harmonics. Then sculpt the resulting signal with NightSky's synth-like variable-resonance low pass filter.

Features

Three selectable reverb types offer a wide variety of ambient textures

MOD section with various waveforms to modulate the reverb or tone filters

TONE section to sculpt the high and low EQ of the reverb

VOICE section to enhance the aural spectrum of the reverb

Adjustable SHIMMER for adding pitch shifting of up to +/- 1 octave to the reverb

GLIMMER dynamically enhances high or low frequency harmonics for synth-like textures

Pre or Post DRIVE to add saturated overdriven harmonics to the reverb

Adjustable reverb core size to increase or decrease the space for reflections

Independent REVERB and DRY level controls

Step sequencer for programming rhythmic pitch variations of the reverb

Access to 16 presets from the front panel and 300 presets via MIDI

High impedance ultra low-noise discrete Class A JFET preamp stereo inputs

Low impedance stereo outputs

Input Level switch allows for both instrument and line level signals

On, Favorite, and Infinite footswitches

Expression pedal input allows the connection of an expression pedal, MultiSwitch Plus, or 1/4" to MIDI cable

Full featured MIDI in/out supporting MIDI CCs, program changes, MIDI clock sync and more

USB jack for controlling via MIDI from a computer or for performing firmware updates

Analog dry path for a zero latency dry signal that is never converted to digital

Premium JFET analog front end

Ultra low noise, high performance 24-bit 96kHz A/D and D/A converters provide uncompromising audio quality

Super high performance SHARC DSP

32-bit floating point processing

20Hz to 20kHz frequency response

Audio Input Impedance: 1M Ohm

Audio Output Impedance: 100 Ohm

True Bypass (electromechanical relay switching) or selectable transparent Analog Buffered Bypass

Strong and lightweight anodized dark blue aluminum chassis

9V DC power supply included

Power requirements: maximum 9 volts DC center-negative, with a minimum of 300mA of current

Dimensions:

4.5" deep x 7" wide x 1.75" tall

114.3 mm deep x 177.3 mm wide x 44.5 mm tall

Designed and built in the USA

Notes: With the Orbit dBucket Flanger, Strymon have painstakingly recreated every aspect of some of the greatest vintage analog flangers. To go beyond that, they have also added features such as through zero flanging to take you where few have ever ventured before. Their high performance DSP is dedicated entirely to doing one thing and one thing only, delivering the ultimate flanger. Add true bypass, extensive expression pedal control, a favorite preset, super high quality analog front end and output sections, low power consumption and you'll never want to let go of your Orbit.

Features

Hand crafted dBucket algorithm for highly accurate reproduction of every stage of an analog bucket brigade chip. Built on the dBucket building blocks developed for our Brigadier delay.

Super low noise, high performance A/D and D/A converters w/ 110dB signal to noise

High performance DSP stuffed into a compact form factor

3 LFO types (log, lin, through zero)

3 Feedback types (positive, negative, pos/neg)

TRUE BYPASS (electromechanical relay switching)

Stereo output

Expression pedal input with selectable control over any knob parameter

Favorite footswitch for saving your favorite setting

Powered with a standard 9V center negative DC supply. Compatible with all major DC supply brands. Current consumption 200mA - (250mA recommended supply)

Premium analog front end and output section

No-nonsense user interface

Strong and lightweight purple anodized aluminum chassis

Crafted with love in the USA

Notes: Discover your amp's potential

Riverside's cascading gain stages create harmonically rich tones that are immensely musical and natural-from silky clean overdrive to colossal distortion, and all points between. The analogue JFET front-end ensures that Riverside responds to your guitar with uncompromised dynamics and feel. The precision crafted DSP generates dynamic complexity and pleasing harmonics at every stage, letting your amp shine at any gain level. Riverside takes your amp to places you never knew it could go.

Overview

Infinite sweet spot

Riverside's continuously variable circuit tuning dynamically tweaks multiple parameters under the hood so that the sweet spot follows you at any gain setting. As you turn the Drive knob, Riverside makes continuous adjustments, tuning the circuit for optimum tone. This results in an incredibly versatile drive pedal that is equally capable of providing sparking cleans, mild overdrives, high-gain leads, and heavy saturated distortions.

Flexibility to adapt to any amp

Your amp choice has a large influence on the sound of any drive pedal connected to it. Riverside's musical 3-band EQ, with independent Bass, Middle and Treble knobs, is designed to complement your amp's tone with the flexibility needed to dial in your sound effectively and efficiently. The three-position Presence switch tailors the highest frequencies, allowing Riverside to integrate perfectly with any amp or setup, no matter how dark or bright.

Digital or analogue? Strymon choose both

The first stage of Riverside's custom multistage drive topology is an all-analogue, ultra low noise, discrete, class-A JFET circuit. This gain stage is digitally controlled to maximize headroom while adding as much as 20dB of pure analogue gain, with tight integration to the subsequent DSP gain stages. With Strymon's hybrid approach you get the best of both analogue and digital worlds: The JFET stage provides exceptional touch sensitivity and dynamic interaction with your guitar, while the incredibly powerful SHARC DSP facilitates the great level of detailed complexity and responsiveness you'll want to hear.

Tone Adjustment and Shaping

Drive adjusts the amount of gain applied to the signal. Employs continuously variable circuit tuning which adjusts many parameters as you turn the knob.

Level controls the output volume level when the effect is engaged.

Gain toggles between low or high gain channels.

Low sets a gain structure allowing for a wide range of low to medium gain sounds. At high Drive settings the sound is heavily overdriven, and slightly 'loose' like a dimed vintage amp.

High increases the gain throughout the signal path and tightens things up. Stays relatively clean at low Drive settings, shifting to heavy saturated distortion at maximum.

Push toggles between flat or enhanced midrange frequencies.

Norm can be used for cleaner, more transparent tones.

Mid adds a mid-band EQ push just after the analogue front-end gain. This pushes the subsequent drive stages harder, tightening up the response. Perfect for fat drive tones, or pushing a distorted or on- the-edge amp into further breakup.

Bass is an active shelving/parametric low frequency control. The control is post-drive, shaping your drive tones before they reach your amp.
Middle is a parametric mid boost/cut control with optimized frequency centre. The control is post-drive, shaping your drive tones before they reach your amp.

Treble is a wide-ranging high frequency active shelf control. The control is post-drive, shaping your drive tones before they reach your amp.

Rear Panel

Presence is a three position switch that tailors the highest frequencies of the output signal.

Minus (-) provides clarity with a controlled top end that works well with many amps that have a brighter voice.

Enhanced (centre) extends the top end to allow for more sizzle on high gain tones. Useful if you want enhanced detail in the uppermost frequencies.

Plus (+) delivers extended high end detail to the darkest amps, and is also useful when plugging directly into a power amp.

In is a high impedance mono input. Plug your instrument in here.

Out is a mono signal output. Connect to your amp, other pedals, mixing board, etc.

Boost allows use of an external switch to toggle up to +6dB of post boost on/off. Or connect to the EXP input of another Strymon pedal and simultaneously engage the Favorite settings on both pedals with Riverside's Favorite switch.

Expression Pedal Input provides continuous expression pedal control over any or all of the knobs, in any direction, with your foot. Or can be used in Volume Mode to control the volume level of the effect.
Power - Plug your power supply in here. Maximum 9 volts DC centre-negative, with a minimum of 250mA of current. Standard 5.5mm x 2.1mm barrel connection.

Secondary Functions

Press and hold ON footswitch to enter Secondary Function mode. Release the footswitch, then turn the desired knob to adjust the parameter.

Optional variable-threshold Noise Reduction tames hum, buzz, and system noise when you're not playing. A downward expander with advanced signal detection techniques creates a seamless transition to noise reduced silence with all types of input signal dynamics.

Boost Level sets up to +6dB of available boost when using an external Boost footswitch.

Ins, Outs, Switches

High impedance mono input
Mono output
Favorite footswitch to save a favorite setting
Favorite Input to connect an external MiniSwitch to recall a Favorite preset
Expression pedal input allows the connection an expression pedal for simultaneous morphing control over multiple parameters (Expression mode), or logarithmic taper for smooth volume control (Volume mode)
MIDI accessible via Expression jack for remote parameter control and access to 300 preset locations
Boost pedal input allows connection of an external footswitch for up to +6dB of analog boost, or to toggle the Favorite preset on other Strymon pedals (Favorite Out mode)

Analogue Quality

Ultra low noise, high performance 24-bit 96kHz A/D and D/A converters provide uncompromising audio quality
Premium analog front end and output section
Super high performance SHARC DSP in a compact form factor
32-bit floating point processing

More

True Bypass (electromechanical relay switching) or selectable transparent Analog Buffered Bypass
Strong and lightweight anodized gold aluminum chassis
9V DC power supply included
Power requirements: maximum 9 volts DC center-negative, with a minimum of 250mA of current
4.5" deep (11.43 cm) x 4" wide (10.16 cm) x 2.4" tall (6.1 cm)
Designed and built in the USA

Notes: Sunset

Classic overdrive sound, x2.

Sunset gives you the best of the best classic overdrive circuits, custom voiced for instantly gratifying control over a huge range of sought-after tones. Strymon studied six circuit types found in many truly timeless and iconic overdrive pedals, and put their takes on all six of them into a single two-channel unit.

Overview

Two pedals at once.

Sunset is really two customisable overdrive pedals, independently selectable and flexibly routable, designed and voiced for complementary tones when stacked. Six distinct circuits each feel and react differently in your hands, two at once, all in one convenient package. Push your amp any way you want, from transparent "more amp" to heavy saturated fuzz, and all the best places in between.

Holy Grail tone, minus the quest.

We are all familiar with the endless search for the ultimate overdrive pedal and the perfect tone. Strymon did the critical listening and custom voicing to design each side of Sunset with just one tone knob, so you can quickly dial in the sound you want. The knob ranges for each circuit type are custom calibrated to provide maximal usable control. Strymon applied the same design philosophy and care to the stacking options, ensuring each combination interacts optimally and sounds great, so a huge range of classic overdrive tones are instantly achievable.

Optimized stacking.

Since the time when overdrives were created to simply push an amp in order to achieve an overdriven sound even at sane volume levels, players have evolved to want more layered, multistage tonalities. Stacking gives you more flexibility and tone range on the floor. You can find an overdrive that sounds good on its own, then run it through a second drive to add new dimensions to your tone. Sunset allows you to use any of its six overdrive circuits on their own, or route the Channel A drive circuit through Channel B, or Channel B through Channel A, or use two circuits in parallel. When stacking overdrive pedals, some combinations work especially well together. Sunset eliminates the guesswork. Routing options have been chosen deliberately to present the best-sounding combinations of drive circuits.

Digital or analogue? Strymon chose both.

Sunset's input features an ultra low noise, discrete, class-A JFET circuit providing up to 20dB of pure analogue gain. With Strymon's hybrid approach you get the best of both analogue and digital worlds: The JFET stage provides exceptional touch sensitivity and dynamic interaction with your guitar, while the incredibly powerful SHARC DSP facilitates the great level of detailed complexity and responsiveness you'll want to hear.

Channel A overdrive circuits

The Ge overdrive combines the softer response of germanium diodes with a parallel path that blends in the dry signal as the Drive is lowered. At higher gains the lower-midrange frequencies are emphasized to create a tight, thick response. This overdrive really fattens up single coil pickups, and responds with a bold push when paired with humbuckers.

The Texas overdrive employs a single stage soft-clipper configuration that is filtered before and after the gain stage to create a smooth and dynamic overdrive. The original signal dynamics are retained as the gain is increased - perfect for playing the blues or just fattening up your sound with a signature midrange bump.

Channel B overdrive circuits

The 2 stage overdrive combines a soft-clipping stage followed by a hard-clipping stage, creating a complex overdrive with a wide range of gain. Its EQ structure preserves the low end while adding some muscle to push your amp. This overdrive can easily take you from lightly clipped to beefy saturation.

The Hard overdrive uses a single-stage hard- clipping circuit that has a ton of available gain, approaching fuzz territory with the Drive knob maxed. At lower gains, mildly clipped transparent tones are achieved with this versatile drive. The wide-ranging Tone knob lets you shape the top end from smooth to buzzy.

Channel A boost circuit

The Treble type is a treble booster that removes the low frequencies as the Tone knob is turned up - great for tightening up an overdriven amp, or driving another gain pedal that's a bit looser on the low end. Turning the Tone knob down brings in the low end, making for a versatile all- around boost.

Channel B boost circuit

The JFET type is a clean boost that subtly

beefs up your signal with the dynamics and responsiveness created from the JFET front end. As you turn up the drive, the signal gets rounded and warmer. The is a great option when your amp just "needs a little extra."

Ins, Outs, Switches

High impedance mono input
Mono output
Favorite Input to connect an external MiniSwitch to recall a Favorite preset
Expression pedal input allows the connection an expression pedal for simultaneous morphing control over multiple parameters (Expression mode), or logarithmic taper for smooth volume control (Volume mode)
MIDI accessible via Expression jack for remote parameter control and access to 300 preset locations

Audio Quality

Ultra low noise, high performance 24-bit 96kHz A/D and D/A converters provide uncompromising audio quality
Premium analog front end and output section
Super high performance SHARC DSP in a compact form factor
32-bit floating point processing

More

True Bypass (electromechanical relay switching) or selectable transparent Analog Buffered Bypass
Strong and lightweight anodized red aluminum chassis
9V DC power supply included
Power requirements: maximum 9 volts DC center-negative, with a minimum of 250mA of current
4.5" deep (11.43 cm) x 4" wide (10.16 cm) x 2.4" tall (6.1 cm)
Designed and built in the USA

Notes: TimeLine provides you with twelve different delay machines, each with extensive control over sonic character and feel. Tweak to your hearts content and save up to 200 presets of your favorite sounds. Go from crisp and clear, studio-quality digital delays all the way to the saturated and fluctuating sounds of tape delay machines.

Get warm and fuzzy analogue style repeats all the way to shimmery, sparkling, and crystalline ice delays. Top it all off with full MIDI implementation and a routable, 30-second stereo looper and you're on your way to delay bliss.

12 Different Delay Machines. TimeLine provides twelve studio-class, fully tweakable, and completely adjustable delay machines

Features

Hand crafted rotary algorithms faithfully deliver the signature, three-dimensional rotating speaker experience

Extensive control over rotating speaker mechanics and configuration

Four rotary adjustment and tone shaping knobs:

Fast Rotor Speed, Preamp Drive, Mic Distance, Horn Level.

Four "hidden" knobs for extensive tone tweaking:

Slow Rotor Speed, Cab Direction, Acceleration Time, +/- 6dB Boost/Cut.

Instantly alternate between a fast and slow rotor speed with the Fast/Slow footswitch

Selectable Cab Filter allows for an optimal experience in front of guitar amplifiers and full range systems

Stereo output, high impedance mono input

Expression pedal input with selectable control over any knob parameter

Connect our optional Favorite switch to save a favorite preset or use as an external speed switch

Fast/Slow and Bypass footswitches

Press and hold Fast/Slow footswitch for Rotary Brake

Selectable Bi-Amp mode splits bass rotor and treble horn signals to separate outputs

Ultra low noise, high performance 24-bit 96kHz A/D and D/A converters

110dB typical signal to noise

Premium analogue front end and output section

Super high performance DSP in a compact form factor

32-bit floating point processing

True Bypass (electromechanical relay switching)

Powered with a standard 9V center negative DC supply. 250mA minimum

Strong and lightweight mahogany anodized aluminum chassis

Crafted with love in the USA

Notes: A warm grittiness to the warble, a rippling, wooshing, bubbling irregularity to the modulation and a dynamic response to your picking are all hallmarks of the true vibe experience. Thicker and chewier than any chorus, earthier than any phaser and uniquely magical in front of a driven amp, the perfect vibe pedal moves you to dig in and play without inhibition. This feeling has been difficult to find outside of large and expensive fully-analog boutique units, but the search for that elusive experience is now over.

UltraViolet's simple and responsive controls provide a wider range of sounds than traditional vibe pedals. In addition to the familiar Chorus (50% wet) and Vibrato (100% wet) settings, there is a new Blend setting (30% wet) for an inspiring variety of more subtle effects. A Bias switch gives you three distinct flavors of sweep shape and tone emphasis, allowing for tons of sonic variation. At slow speeds, the intensity range has been expanded beyond that of traditional vibe circuits to push even further into warmly undulating sonic territory.

For UltraViolet's new vibe algorithm, all the elements of the classic optical vibe circuit (and their interdependencies) have been meticulously recreated for a dynamic playing response. From the effects of bias, speed and LFO waveshape on the pulsing of the lamp, to the response of the light-dependent resistors that set the center frequencies of the staggered phasing filters, the entire system has been duplicated and carefully tuned to produce the very best sounds a vibe pedal can offer.

TRS stereo input and output in a dual mono configuration means you can place UltraViolet at any point in your pedal chain with no impact on your stereo image.

Full MIDI implementation with 300 available preset locations ensures that UltraViolet is ready for your MIDI rig. In addition to TRS MIDI, there is a USB-C jack for controlling the pedal via MIDI from a computer or for performing firmware updates. For hands-free control without MIDI you can connect an expression pedal for control over any combination of knobs in any direction (Expression pedal controls Speed by default.) Or attach an optional external switch for tap tempo or favorite recall.

Finally, a high-impedance, ultra-low noise discrete Class A JFET stereo input preamp provides exceptional touch sensitivity, dynamics and feeliall in a rugged and elegantly compact form factor.

Notes: Volante

Sounds From The Expanse.

Create instant retrofuture atmosphere with evocative vintage delay tones. Activate your imagination with evolving ambient echoes and warm, organic feedback with just the right amount of grit. Sculpt your soundscape in real time as Volante becomes an extension and expansion of your musical instrument. Infuse your pedalboard with stunning vintage vibes that resonate and inspire.

Overview

Delays For Days.

Three Magnetic Delay Types, Spring Reverb, Looper, and More.

Delivering truly exceptional sound quality and intuitive playability, Volante is designed to radically enhance the sonic expressiveness of your pedalboard. Featuring magnetic drum echo, tape echo, and reel-to-reel studio echo, Volante is a stereo multi-head delay that also offers a looper and vintage spring reverb, with powerful sound-sculpting controls for limitless sonic possibilities.

Vintage Vibe.

To capture the nuance and complexity of classic tape and drum echo machines, every last magnetic delay system attribute was relentlessly studied and faithfully recreated. From the sought-after natural saturation and soft clipping of magnetic media when driven hard, to hands-on real-time controls for mechanics, wear, head-spacing, and low cut, Volante instantly adds tons of vibe to your sound.

Multi-Head Maven.
Volante provides the full experience and sonic attributes of iconic multi-head echo machines. At the centre of Volante's control surface are four delay playback heads with individual feedback, panning, and level controls-delivering unlimited creative options right at your fingertips. All of this range allows the creation of complex rhythmic patterns as well as reverb-like atmospheric textures.

Drum Delay With Unprecedented Control.

Magnetic drum echoes are famous for their warmth and for their harmonically rich and saturated sounds. This is due in large part to the many tube stages present in the most sought-after units. There were tubes in the input buffer, the signal mixer, the record and playback amplifiers, the tone shaping circuit, and the output mixing circuit.

Every sonic aspect of Strymon's favourite drum echoes has been meticulously reproduced within Volante. Dial in any possible sound from the full range of the best vintage drum echo units in conditions ranging from fresh-from-factory to road-worn classic.

Classic Tape Echo Experience.

Volante gives you superbly crafted multi-head tape echoes, including the smooth tape saturation and the characteristic imperfections and nonlinearities inherent to the sound of those vintage machines.

Mechanical alignment, head wear, and tape crinkles, splices, and contaminants are all accounted for in Volante, giving you all the richness and complexity of a classic tape echo, with modern control and stability. Volante also allows you to recreate the irregular head spacing of some of the classic tape echo machines.

True Studio Tape Sound.

The professional reel-to-reel machines of the 50s and 60s were high-fidelity units built to accurately reproduce full-range audio signals. In the hands of creative engineers, these machines also doubled as some of the earliest studio effects, producing some of the fattest sounds imaginable.

Of Volante's three magnetic echo types, the Studio Echo provides the cleanest sound, able to sustain the highest number of repeats with minimal degradation. Volante gives you a pristine studio delay with the full-bodied warmth and fidelity of reel-to-reel tape.

Completely Analogue Dry Path.

In a typical digital effect the dry signal gets converted to digital, causing conversion noise and latency. Signals are often attenuated before combining digital dry and wet, with makeup gain amplifying the conversion noise. To avoid this, Strymon have equipped Volante with a completely analogue dry path, featuring all-analogue, ultra low noise, discrete, class-A stereo JFET preamps. Volante is truly a studio-quality effect.

Insanely Powerful DSP.

Strymon have outfitted Volante with the incredibly powerful Analog Devices SHARC ADSP-21375 processor, which provides a 266 MHz core instruction rate, and an incredible 1.596 Gigaflops of peak performance. Thanks to this high-powered technology platform within Volante, Strymon had the freedom to craft this processor-intense echo algorithms without compromise.

Notes: Mar Karit is a tube pedal preamplifier.

It contains 2 tubes, one NOS EF86 for the preamp section and one 6J1P (6ak5) for the buffer output. It is an all tube Preamp.

It runs on a 9V power supply (center positive) - and operate internally at 35volts. Furthermore, it produces a warm, rich, and full-bodied sound, and can capture both the softest and loudest sounds with great accuracy and clarity.

Pushed a little too far, it can produce pleasing harmonic distortions and warm saturations. The two volume knobs control the level of each stage.

All tube preamp
EF86 and 6J1P
High end components (Nichicon, Panasonic caps, Alpha pots and Switch, Rean Jacks...)
Made in France
True Bypass
9V DC / input power supply positive tip

Notes: How It Works

Chaining up an EQ, compressor and overdrive pedal will never give you the same result as SkarBassOne achieves, not by a long shot! The precise filters in SkarBassOne is what gives you the extremely surgical tone and the wide range of possibilities without breaking a sweat!

No matter the settings you will always keep the clean powerful low end with this multiband overdrive and that is a must for bass. Controlling the mids of a bass sound has never been easier! You will get out of the way from other instruments masking frequencies and take up all the space that is ment for you and ONLY you!

It might look simple on the outside, but I assure you the inside is a matrix of years with development. The flexible multiband drive is smooth all the way thru it's range and I promise you it will never ever mess with your low end!

Details

Compression:

One knob FET compressor with fast attack and release. It handles dynamics with ease and creates a solid wall of tone.

Compression LED:

Visual indication of how hard the compressor is working.

Mid:

Mid filter to achieve the surgical studio tone! Create a defined, in the pocket frequency response for the bass to sound massive and to make it sit with other instruments. Your band mates will never beg you to turn down your bass again!

Mix:

Quickly set the tonal balance between low frequencies and high frequencies. Find the sweet spot in any situation.

Footswitch:

On/Off switch for Drive and Tone.
Red channel =Drive and Tone active.
Blue channel = Drive and Tone off.
Compression, Mid and Mix is active on both channels.

Drive:

Set the amount of multiband drive, from gentle push to full on bark!

Tone:

Hi-cut filter to control the high frequencies of the output.

Notes: ***B-STOCK: Box opened, product in perfect working order***


Valve-based pre-amps meet cabinet simulation in this ultra-flexible pedal. Dial in your tone, patch in effects, and control the lot via MIDI or USB. A brilliant combination of analogue and digital.

Supplier's Notes:
Tsakalis is proud to release their most ambitious product to date. Seamlessly blending the authentic analogue warmth of real tubes with a highly configurable cabinet simulator, plus flexible outputs and control options, the MOTHERSHIP - Real Tube Preamp stands out as possibly the most highly featured and flexible front end for any guitar rig currently available.

The MOTHERSHIP is a complete solution for authentic vintage and modern genuine tube amp tones, in a user-friendly and lightweight, yet rugged package that is designed to slot in easily into any setup.

Both channels on the MOTHERSHIP are identical, yet highly configurable.

Featuring three gain modes (High, Medium and Low) on each channel, along with a toggle switch for selecting between your three chosen speaker simulations, the MOTHERSHIP can conjure up a multitude of both iconic, familiar and unique tones easily and intuitively. Each channel also features two master gain controls along with two master volumes, allowing four different voices to be instantly recalled, either by pressing the relevant footswitch or via MIDI command.

Demonstrating its prowess as a fully comprehensive plug and play device, the MOTHERSHIP also features over 70 free custom cabinet simulations to choose from (when connected to Tsakalis' own TAW Editor app via USB), separate dedicated simultaneous outputs for both the cabinet simulator and a "dry" output for your amp of choice, MIDI control of channel, A/B selection and bypass and also a serial mono FX loop for added tonal versatility.

Fully-featured all-analogue real tube preamp design

The MOTHERSHIP represents the perfect "amp-in-a-box" pedal, seamlessly blending a beautifully designed, real tube front end with a highly flexible cabinet modelling solution. However, it also shines as a genuine tube overdrive pedal when connected to the front of your amplifier, or when running it as the tone defining preamp section of your setup, directly into your power amp. It can also do both of these things simultaneously.

Quad channel tube preamp and drive

This preamp pedal has two completely independent channels, each featuring a four-band EQ, two different Gain/Volume sections, three selectable gain-stages and three selectable cabinet simulations, plus a serial mono effects-loop for your external effects, MIDI in and free access to Tsakalis Audioworks' full free online library of carefully selected and curated digital cabinet simulations.

The MOTHERSHIP's two independent channels were carefully designed with a real tube audio path, providing a huge range of tones from warm or sparkling cleans all the way to high gain tube driven distortion. The two ECC83 (12AX7) tubes, run at a comfortable 240 Volts, providing touch sensitivity, headroom and plenty of gain and tube sag as required.

Each channel features a four band EQ (Bass, Mid, Treble and Presence) and two different Gain and Volume controls (Gain A-Volume A / Gain B-Volume B) transforming the MOTHERSHIP into a quad channel powerhouse.

The dedicated MODE switch for each channel is responsible for the tube audio path structure, giving 3 different gain modes L = Low, M = Mid and H = High, allowing you to easily customize completely different lead and rhythm tones with different gain structures as well as a solo volume boost for each and access them on-the-fly by simply pressing the relevant footswitch.

Notes: Inspired by the vintage Bell and Howell 385 Filmosound projector that guitarists have modified and used as guitar amps, Walrus has created a dynamic and responsive overdrive modeled after the projector's tone.

The 385 was developed to have the same simple but effective tone control as it's older relative, but unlike the projector, the 385 breaks up the single tone control and integrates separate, boost and cut bass and treble, allowing the player to get more creative with mid-frequency scoops and bumps allowing for a much wider array of tones to be achieved.

The pedal is internally running at 18v, which helps us nail the same dynamic feel of the amp in a stomp box.

This means it is extremely sensitive to how hard you dig in - just like the amp.

Updated for 2023.

Controls:

Bypass: Soft touch, relay true-bypass. Press the switch to engage/disengage the pedal. LED indicates whether the circuit is engaged or not.
A/B: Soft touch switch. Press to swap between using either A (White) or B (Red) Volume and Gain controls. LED indicates which controls are being used - White for A, Red for B.
Volume A: Controls the overall volume in the A setting. Turn clockwise for more volume, counter-clockwise for less volume.
Gain A: Controls the overall gain in the A setting. Turn clockwise for more gain, counterclockwise for less gain.
Volume B: Controls the overall volume in the B setting. Turn clockwise for more volume, counter-clockwise for less volume.
Gain B: Controls the overall gain in the B setting. Turn clockwise for more gain, counterclockwise for less gain.
Treble: Used to adjust the level of the treble frequencies. Turn clockwise to increase the level of the treble frequencies. Turn counter-clockwise to reduce the level of the treble frequencies.
Bass: Used to adjust the level of the bass frequencies. Turn clockwise to increase the level of the bass frequencies. Turn counter-clockwise to reduce the level of the bass frequencies.
385+ Switch: When the switch is down, you are able to achieve classic 385 sounds. Flip the switch up to add an additional gain stage to the input of the pedal, achieving heavier gain sounds and driving the pedal harder.

Specifications

The 385 comes in a matte black finish with yellow and red ink featuring original artwork of a vintage Belle and Howell 385 projector by David Huttner ready to give you the dynamic tone you've been searching for.
The die cast enclosure's exact size is 12.1 x 6.6 x 3.5 cm
Power requirements are 9VDC (100mA minimum). The use of an isolated power supply is recommended for powering all Walrus Audio Pedals.
Daisy chain power supplies are not recommended. Power supply not included.
Input: 1/4" TS, Unbalanced, 1M impedance
Output: 1/4" TS, Unbalanced, 10k impedance
True Bypass

Notes: Sync all your time-based devices, seamlessly move through preset setlists, and simplify tempo matching with the Canvas Clock! Designed for any kind of rig you throw at it and deeply customizable, users can put their full trust in the Clock to be an all-in-one tempo solution for their board.

The Canvas Clock can interface to any device in your rig that accepts clock signal, whether MIDI, (via the 1/8 in or 5-pin MIDI ports) or analogue (via the 1/4 in jacks). Clock will send time signals for both MIDI and analogue devices, and will continue to do so as you move through your song list or manually adjust the tempo. As you edit, save, and recall songs in real-time or via the online editor at walrusaudio.io, Clock will send your specific settings for whichever song you are currently on out to all of the time-based devices you are connected to.

Customize your Clock

The four 1/4" in jacks aren't just for sending tempo. They can each be assigned one of four functions:

Tempo Out - Connect to any pedal or device that accepts external tap inputs or analogue time controls (ex: Walrus' Arp-87 Delay or Monument Tremolo). Canvas Clock can send analogue clock and MIDI clock at the same time. No more relying on your feet to keep perfect time.

CV (Control Voltage) Out - Control any device that accepts CV. Good for Analog Synths, Drum Machines, or similar devices.

Switch Input - Each jack can be configured to receive input from two external footswitch controls. The switches are connected to the Tip (left) and Ring (right) of the associated 1/4 in jack. These can be assigned to many functions available on the pedal with the ability to add more options via a software update.
Expression In - Connect an expression pedal, and use it to send a MIDI CC message out to a pedal connected to the Clock. The "Toe Down" and "Heel Down" values can be adjusted to fine-tune the controlled parameter range. Use this to adjust the mix of a reverb or the depth of a tremolo (via MIDI out).

Footswitches

Footswitches for the Clock are customizable. Eliminate the "bending over between songs to make adjustments portion of a set" by assigning one of the onboard functions to the A and/or B switches:

-Advance to the next song
-Go back to the previous song
-Advance to the next setlist
-Go back to the previous setlist
-Toggle the metronome start and stop
-Global tap tempo

Sync

The "Sync" jack found on top of the pedal can be set in two ways:
-Input - Great for accepting BPM from an external source.
-Output - Great for syncing external devices, such as a Eurorack device, a Roland Volca Synth, and many other devices.
Some external devices send/receive clock signals that are "double" the standard timing signals, so Walrus included the option to send/receive a 1x or 2x signal, depending on the specific device's needs. Users can also determine the subdivision of the BPM to send out.

Metronome


If active, the Clock metronome can be heard via the MET OUT port at the top of the pedal. This signal can be sent to a front of house console for live gigs or a monitor for practicing. Metronome type, volume, and accent note controls can all be edited in the Metronome Menu.

Songs

There are 128 "Song" slots available to users in the Canvas Clock. You can think of each song as an editable preset where you can adjust the song name, meter, BPM, MIDI Macros, and metronome start or stop. Once your song is edited to your liking, every time it is recalled it will operate just the way you set it!

Setlists

Keeping your songs organized is crucial for live sets, which is why with the Clock, songs can be grouped together and navigated through easily using the Setlist feature. Once you access setlist settings, you can select songs from your master song list to curate and reorder in the way you'd want them for a gig or practice. Once your setlist is saved and active, going through the setlist in real-time will recall these songs and all their settings in the order you curated them for that setlist.

MIDI Macros

For the MIDI-minded players who may want further control over their rig, there are standard MIDI commands that can be triggered when you recall songs with the Clock. MIDI Macros allow users to create one or a series of MIDI CC or PC messages that get sent out of the Canvas Clock when a specific song is recalled. Users have 128 adjustable Macros with 15 messages per MIDI Macro, which can be useful in further dictating how you want your MIDI devices to behave during certain songs, (ex: bypassing some pedals but engaging others).

Walrusaudio.io

While you can edit and customize your Canvas Clock settings using the menu on the pedal, users can also connect the pedal to a computer via the USB-C port and customize their Clock with the Canvas Clock Editor web-app. Quickly and easily set up songs, edit your Setlists, edit MIDI Macros, and more. Firmware updates will also be available via this site as well.

Specs

Power:
9VDC, 300mA,
Center-Negative, 2.1mm center pin OR Powered via USB-C
The use of an isolated power supply is recommended for powering all Walrus Audio Pedals. Daisy chain power supplies are not recommended. Power supply not included.
Computer Connectivity: Requires Chrome web browser on either Windows or Mac OS. Visit walrusaudio.io to use the Canvas editor and get firmware updates when available.
Enclosure: 2.3" x 2.96" x 4.84" including jacks & knobs

Hardware

Preset/Menu Encoder and Switch
Tempo/Save Encoder and Switch
Footswitch A
Footswitch B
1/4" Jack 1 (TS or TRS)
1/4" Jack 2 (TS or TRS)
1/4" Jack 3 (TS or TRS)
1/4" Jack 4 (TS or TRS)
MIDI In/Out (5-pin DIN)
MIDI In/Out (1/8th" TRS cable)
Sync (1/8th" TRS cable)
Met Out (1/8th" TRS cable - not intended to drive headphones, please plug into high impedance input)
USB-C

Notes: Delay and granular sampling combine to create unique ambience effects, creative reverbs and glitchy chaos. Hugely versatile pedal with five contrasting programs.

Supplier's Notes:
In the high woodlands of the north, undiscovered by most inhabitants, there ruled a clan of old, mystic Treefolk. On the first new moon of spring, these Treefolk could be heard grafting limbs to grow their young - splicing bits of branches from each generation to produce the next line of Treefolk. These new beings keep the lifeblood of all who came before in their new skin. These sounds are in part very old, but in part very new. They are referred to as... Fable.

Let your storybook adventure grows with the Fable Granular Soundscape Generator. The Fable gives you five all-new programs centered around sample and chop delay algorithms to create bizarrely beautiful networks of sampled and resampled sounds. The Fable uses a powerful dual DSP architecture to combine delay programs in series with granular sampling algorithms, each with its own analogue feedback path. Find unique soundscapes ranging from smooth, flowing ambience; to bizarre, organic reverberance; to chaotic, glitchy swarms.

So, what exactly is this granular effect and why is it a magical experience when combined with delay? Granular is a digital processing technique of micro-sampling, wherein short samples called grains are read from a delay buffer. In the Fable, players can adjust these grains by manipulating their sampling length, position, and buffer size from which they're read. They can be played at double or half speed for pitch shift and time stretching effects, play them in reverse, read from multiple positions, and more, in order to achieve different effects.

It's a powerful but complex technique and Walrus Audio created five streamlined programs in the Fable that explore different aspects of its sonic range.

Programs

I. Reverse Delay into Reverse Granular

Program 1 runs a reverse delay into a reverse granular algorithm, in which sampled grains are played backwards. Reversal and re-reversal build up in the feedback paths, creating a complex and organically shifting soundscape. Turn grain size down for long, smooth reversed transients, and grain size up for stuttering reverse glitch madness.

II. Forward Delay into Octave Up Granular

Program 2 runs a forward delay into an octave-up granular program, in which sampled grains are played at double speed. Swarms of double-speed grains build up in the feedback path for bright and airy cascades of sound.

III. Analogue Delay into Octave Down Granular

Program 3 runs a warm, dark analogue-style delay into an octave-down granular program, in which sampled grains are played back at half speed. Slowed down repeats combine with analogue-style processing to create deep, thunderous footfalls and thick, murky ambience.

IV. Multi-Tap Granular into Multi-Tap Granular (Grain-Verb)

Program 4 runs two multi-tap granular algorithms in series, in which multiple samples are played back from each granular buffer simultaneously. Multiple points of sampled sound build upon each other in the feedback paths to create glitchy clouds and unique organic reverberance. Time in this program controls time-stretching of both granular algorithms, changing both the length and tonal character of the granular effect.

V. Forward Delay into Randomized Pitch Granular

Program 5 runs a forward delay into a randomized pitch granular program, in which each grain is played back at a randomly selected speed and direction, varying between pitched up double speed, pitched down half speed, normal speed, plus forward and reversed playback from grain to grain. Pitch changes with each new grain, so play with the X knob in this program to control the rate of randomized pitch modulation.

Notes: In the high woodlands of the north, undiscovered by most inhabitants, there ruled a clan of old, mystic Treefolk. On the first new moon of spring, these Treefolk could be heard grafting limbs to grow their young - splicing bits of branches from each generation to produce the next line of Treefolk. These new beings keep the lifeblood of all who came before in their new skin. These sounds are in part very old, but in part very new. They are referred to as... Fable.

Let your storybook adventure grows with the Fable Granular Soundscape Generator. The Fable gives you five all-new programs centered around sample and chop delay algorithms to create bizarrely beautiful networks of sampled and resampled sounds. The Fable uses a powerful dual DSP architecture to combine delay programs in series with granular sampling algorithms, each with its own analogue feedback path. Find unique soundscapes ranging from smooth, flowing ambience; to bizarre, organic reverberance; to chaotic, glitchy swarms.

So, what exactly is this granular effect and why is it a magical experience when combined with delay? Granular is a digital processing technique of micro-sampling, wherein short samples called grains are read from a delay buffer. In the Fable, players can adjust these grains by manipulating their sampling length, position, and buffer size from which they're read. They can be played at double or half speed for pitch shift and time stretching effects, play them in reverse, read from multiple positions, and more, in order to achieve different effects.

It's a powerful but complex technique and Walrus Audio created five streamlined programs in the Fable that explore different aspects of its sonic range.

Programs

I. Reverse Delay into Reverse Granular

Program 1 runs a reverse delay into a reverse granular algorithm, in which sampled grains are played backwards. Reversal and re-reversal build up in the feedback paths, creating a complex and organically shifting soundscape. Turn grain size down for long, smooth reversed transients, and grain size up for stuttering reverse glitch madness.

II. Forward Delay into Octave Up Granular

Program 2 runs a forward delay into an octave-up granular program, in which sampled grains are played at double speed. Swarms of double-speed grains build up in the feedback path for bright and airy cascades of sound.

III. Analog Delay into Octave Down Granular

Program 3 runs a warm, dark analogue-style delay into an octave-down granular program, in which sampled grains are played back at half speed. Slowed down repeats combine with analogue-style processing to create deep, thunderous footfalls and thick, murky ambience.

IV. Multi-Tap Granular into Multi-Tap Granular (Grain-Verb)

Program 4 runs two multi-tap granular algorithms in series, in which multiple samples are played back from each granular buffer simultaneously. Multiple points of sampled sound build upon each other in the feedback paths to create glitchy clouds and unique organic reverberance. Time in this program controls time-stretching of both granular algorithms, changing both the length and tonal character of the granular effect.

V. Forward Delay into Randomized Pitch Granular

Program 5 runs a forward delay into a randomized pitch granular program, in which each grain is played back at a randomly selected speed and direction, varying between pitched up double speed, pitched down half speed, normal speed, plus forward and reversed playback from grain to grain. Pitch changes with each new grain, so play with the X knob in this program to control the rate of randomized pitch modulation.

Granular soundscape generator
Unique soundscapes ranging from smooth ambience to bizarre reverberance to chaotic glitchy swarms
Powerful dual DSP architecture with individual feedback paths
Combine delay programs in series with granular sampling algorithms
5 programs centered around sample and chop delay algorithms
Program 1: Reverse Delay into Reverse Granular
Program 2: Forward Delay into Octave Up Granular
Program 3: Analog Delay into Octave Down Granular
Program 4: Multi-Tap Granular into Multi-Tap Granular (Grain-Verb)
Program 5: Forward Delay into Randomized Pitch Granular
Manipulate sampling length, position and buffer size of grains (short samples)
Play grains at double- or half-speed, reverse or from multiple positions to achieve different effects
Tap Tempo switch
Top-mounted Input and Output
Coated in a slate grey enclosure with white, black, cream, red, and orange ink
9-volt DC, Centre Negative, 300mA minimum
Buffered bypass
Power supply not included.
Designed and assembled in USA

Notes: For the Fundamental Series, Walrus Audio challenged themselves to design a set of pedals with the tonal integrity that's required to live on a professional's pedalboard, but with simplified controls friendly enough for even the newest effect pedal users. Each Fundamental pedal has three faders for tweaking the sound and a three-way switch for changing pedal modes. The result is a line of pedals that will keep you covered from your first band practice all the way to a sold-out arena. Designed and assembled at Walrus Audio headquarters in OKC, OK.

Because vast ambient sounds shouldn't just be for larger pedals with vast price points, the Fundamental Ambient brings expansive pillowy reverb to the Fundamental Series with three atmospheric modes in a compact size. The Fundamental Ambient offers a great entry point into ambient exploration with the tonal integrity to live on a professional's pedalboard but with simplified controls friendly enough for even the newest effect pedal users. With Ambient's three reverb algorithms, you can experiment with deep, dark pad-like sounds to AM Radio-like lo-fi sounds with the flip of a switch.

The Fundamental Ambient provides three different atmospheric reverb algorithms to explore beautifully vast and lush soundscapes with plenty of decay time for pillowy soft pad-like decay.

Modes:

Deep - A dark ambient reverb with an added low octave, perfect for creating murky, cavernous sustain or adding a touch of moody atmosphere.
Lush - A breathy, expansive reverb featuring ultra-long sustain. Perfect for generating silky pads and immersive soundscapes with every note.
Haze - A textured, lo-fi reverb featuring distortion, sample rate reduction, and a resonant bandpass tone control, great for vintage or experimental tones.
Decay: Control the amount of reverb decay time. Left is the minimum and right is the maximum amount of time.
Tone: Shapes the overall tonality of the reverb. On Deep and Lush this controls the cutoff of a synth-style lowpass filter. On Haze this controls the width of a resonant bandpass filter, filtering both high and low end at the right, and allowing more high and low to pass through at the left.
Mix: Control the mix of the effect and the original clean signal. All the way to the left outputs only the fully clean signal, and all the way to the right outputs only the affected Reverb signal.
Slide Switch - The slide switch allows you to change between three distinct Reverb algorithms.

Trails Mode - The Fundamental Ambient Reverb comes with trails mode active by default, to disengage trails mode hold down the bypass stomp switch when applying power to the pedal. Once the LED flashes it indicates that trails mode is turned off. To re-engage trails mode, repeat the process, and wait for the LED to turn dark, indicating that trails mode is back on. With trails mode active, your reverb decay will fade off naturally after turning the pedal off. With trails mode inactive, the decay abruptly cuts off when you turn off the pedal.

Notes: The Fundamental Delay provides you with the core sounds of repeated effects. With three delay algorithms, you can go from clean digital feedback to an analogue delay emulation, as well as reversing your trails.

Time slider controls the rate of the delayed repeats.

Feedback slider sets the number of repeats.

Mix controls the mix of the effect and the original clean signal. All the way to the left outputs a fully clean signal, and all the way to the right outputs only the delay repeats.

The slide switch allows you to change between three distinct delay algorithms:

Digital: add a clean rhythmic delay back into your signal, with transparent repeats.
Analogue: add a filtered and slightly distorted delay back into your signal, designed to replicate the characteristics of bucket brigade delay chips.
Reverse: add reversed trails back into your signal, create gentle melodies, or push into reverse feedback overload.
Tap Mode: To enter tap mode, hold down the bypass stompswitch until you see the LED flashing. Once it is flashing, tap mode is engaged and the stomp switch will only work as a tap tempo until tap mode is disengaged. While tap mode is engaged, adjusting the program Slide Switch will only change the division of the tap control, and not the delay program. To disengage tap mode, hold down bypass again until you see the LED turn back to solid white. The pedal will remember the tempo you have tapped in until adjusted again by either the time control or another tempo is tapped in.

Trails Modes: The Delay comes with trails mode active by default, to disengage trails mode hold down the bypass stomp switch when applying power to the pedal. Once the LED flashes it indicates that trails mode is turned off. To re-engage trails mode, repeat the process, and wait for the LED to turn dark, indicating that trails mode is back on. With trails mode active, your delay repeats will fade off naturally after turning the pedal off. With trails mode inactive, the decay abruptly cuts off when you turn off the pedal.

For the Fundamental Series, the team at Walrus Audio challenged themselves to design a set of pedals with the tonal integrity that's required to live on a professional's pedalboard, but with simplified controls friendly enough for even the newest effect pedal users. Each Fundamental pedal has three sliders for tweaking the sound and a three-way switch for changing pedal modes. The result is a line of pedals that will keep you covered from your first band practice all the way to a sold-out arena. Designed and assembled at Walrus Audio headquarters in Oklahoma City, USA.

Notes: Reverb and reverse delay go to the next level with this "ambient creation machine". Two DSP circuits with analogue feedback allow you to create epic soundscapes, time-stretching effects and more.

Supplier's Notes:
Once upon a time, in a fairy tale world, there stood a hidden forest. On the eve of every full moon, magical and delicate sounds of light were heard bouncing and reverberating through the trees. These sounds carry artifacts of notes moving backward and stretching through time. They are referred to as... Lore.

Create the soundtrack to your storybook adventure with the Lore Reverse Soundscape Generator. Made up of five different programs, each utilizes different combinations of delay and reverb that feed into each other for time-warping ambient creations. Featuring two DSP chips running in series, each with their own analogue feedback path, the Lore takes you on an adventurous journey rich with themes of reversing, time-stretching, pitch-shifting, and vast ambiance.

Having two analogue feedback paths allows each program to incorporate a unique mix of affected and unaffected feedback. The two feedback paths interact and build off of each other organically, offering the user a wide array of sounds and behaviours to experiment with.

Programs:

I. Reverse Delay into Reverse Reverb: Program 1 combines reverse delay with reverse reverb with a focus on organically interacting feedback paths. Space and ambiance build as the signal is reversed, re-reversed, reverberated, and reversed again within the feedback network. Experiment with the X knob to control how reversed your delay trails are with left being least reversed and right being fully reversed. Lots of fun with big, eerie minor chords!

II. Reverse Delay into Octave Up Reverb: Program 2 is a "light reverb" that combines octave-up harmonic feedback with an expansive, airy, reverb tank to create a breathy, spacious ambiance. Use the Regen knob to introduce a playful shimmer into the reverb decay. Increase the X knob to control the decay of the reverb. It sounds especially great with delicate fingerpicking parts.

III. Reverse Delay into Octave Down Reverb. Program 3 is a "dark reverb" that combines octave down harmonic feedback with heavy filtering and harmonic distortion, to create a sound that is thick, rich, and murky. Use the Regen knob to bring a lower octave into the reverb decay. Increase the X knob to control the decay of the reverb. Add in some high gain or fuzz to alter the time-space continuum.

IV. Reverse Reverb into Forward Reverb. Program 4 is a dual reverb program, featuring reverse reverb into forward reverb, Dual harmonic feedback paths allow the user to dial in octave up and octave down, and time stretching allows for control of the size and character of the space. Perfect for instantly transforming guitar into rich ambient pads. Use the Feedback knob to add a lower octave to the reverse reverb. Conversely, use the Regen knob to add an octave up to the reverse reverb decay. Control the decay of the forward reverb with the X knob. To channel all things ambient, experiment with dynamic picking and strumming techniques with the mix fully wet for ethereal drones and pads.

V. Pitch Delay into Pitch Delay. Program 5 features two "duelling" pitch delays, which shift the input signal up and down in complementary or opposing directions, allowing the user to create intricate harmonic patterns in the feedback network. Behaves like a sequencer at higher delay times and like a harmonizer at lower delay times. Use Feedback and Regen knobs to control various amounts of pitched delay repeats. Use the X knob to change the order of the 4th, 5th, and octave intervals that the pitch delay steps through. Experiment with short staccato notes to create some very interesting rhythmic parts!

Dive / Rise - Holding down the tap tempo switch will momentarily shift the clock rate of the pedal down or up and will hold it at that rate for as long as the switch is pressed. The direction of the dive can be changed by simply pressing bypass and tap simultaneously. A green LED over tap will indicate rise is set and a blue LED will indicate that dive is set.

The Mod knob will control the amount of modulation applied to the wet signal. Holding down bypass and adjusting the Mod knob will adjust the modulation rate. The bypass LED will blink to show your set mod rate.

Specs:

The Lore comes coated in a muted green enclosure with Cream, Orange, brown and dark green ink with art by David Huttner.
The die-cast enclosure's exact size is 3.62" x 4.79" x 2.25" including knobs.
Buffered bypass.
Power requirements are 9VDC, center negative (300mA minimum).
The use of an isolated power supply is recommended for powering all Walrus Audio Pedals.
Daisy chain power supplies are not recommended.
Power supply not included.

Notes: The [ACS1] is an amplifier and speaker cab simulator delivering the sound and feel of world-class amplifiers, complimentary speaker cabinet IRs created by Tone Factor and York Audio, and controllable room size. With the ACS1, players have expansive options to deliver their tone on stage, in the studio, or practicing at home. Simple controls, stereo in and out, onboard presets, and MIDI support make the ACS1 an essential tool in a guitarist's arsenal. Players can also load in their own IRs and update firmware.

The ACS1 contains six amplifier models based on fan-favourite amps, each with its place in music history, and twelve cab IRs (Impulse Responses) designed by world-class designers to give you the best tonal representation possible. The stock IRs for the Fullerton, London, and Dartford amp models were custom engineered by David Hislop and Kenyon Reed at Tone Factor, while the stock IRs for the Red, Citrus, and Tread amp models were designed by Justin York at York Audio.

Amplifiers

The ACS1 can mix and match stereo amp and cab combinations. Want to run an AC30-style amp on the left and an Orange-style amp on the right? Or perhaps a 5150 flavoured amp in both channels but with two different cabs for a wider stereo sound? When running the ACS1 in stereo, one amp can be used through both channels, or these combinations can be run independently left and right if you choose, leading to powerful, unique amp tones. Simply press down on the Middle encoder to choose individual settings for L, R, or L+R combined. Amps can be mixed and matched with no phase/polarity issues as well.

Onboard models include:

Three Vintage Amp Models

Fullerton - Inspired by the classically bright and clear Fenderr Deluxe Reverb. Crisp clean tones with loads of headroom that players have come to love over the years.
London - Inspired by a 1962 Marshallr Bluesbreaker with a harmonically rich, valve-driven breakup. Articulate and sensitive response.
Dartford - Inspired by the legendary jangly high-end tones from a 1960s Voxr AC30 with all the bite and chime from the British Invasion.

Three High Gain Amp Models

Red: Inspired by the distinctively raw and punchy Peaveyr 5150, producing heavy, aggressive modern metal and hard rock sounds. Powerful and saturated with a tight low end, strong midrange, and a bright, cutting high end.
Citrus: Inspired by the warm, rich, and harmonically complex Oranger Rockerverb. Classic British gain with a creamy midrange and punchy lows. Maintains clarity and definition across its entire tonal spectrum, even at high-gain settings.
Tread: Inspired by the world-famous Mesa Boogier Dual Rectifier with massive amounts of in-your-face gain. Versatile enough to be favoured by guitarists in genres from hard rock, punk, metal, and more, Tread offers up plenty of saturation that's heavy and ready to cut through the mix.

Cabinet IRs

The ACS1 includes six IRs custom-engineered by David Hislop and Kenyon Reed at Tone Factor and six by Justin York of York Audio. Each IR has been created with vintage and modern amps to deliver the best tonal representation possible.

Additional ACS1 Settings/Features:

Primary Controls

Volume, gain, and room make up the top three knobs. Volume and gain work together, as gain is increased and made louder, volume can be turned down to compensate.

Room The ACS1 has three different types of reverb effects:

Room - Simulates the size of the room that your amp and cabinet are in. At zero, it would resemble tracking your amp in an isolated environment with no reverb. At max would emulate a natural-sounding, large studio environment.

Hall - Simulates the acoustics of a large, live sound space.

Spring - Simulates spring reverb tanks found in tube amps.

Increase the room size or amount of reverb by adjusting the Room knob. The further clockwise you go, the bigger the room. Decay control can be adjusted for room in the Global Sound menu.

Bass/Mid/Treble EQ

Bass, mid, and treble control are adjustable on the home screen with the use of the encoder knobs. The left knob controls bass, the middle is mids, and the right is treble. This simple EQ control has clear visual feedback and can be used to adjust levels on the L, R, and L+R channels.

Noise Gate

A noise gate can be applied and adjusted within the navigation menu, which can be especially helpful when playing with the high-gain amp models.

Amp EQ

Presence and resonance controls are available within Amp EQ Settings in the menu, giving you even more control of your amp tone.

(Access the settings for noise gate, Amp EQ, and more by clicking the bottom left and middle encoder knobs simultaneously).

Bypass IRs or Amps

Cab IRs as well as amp models can both be bypassed with the ACS1, making it more flexible for ampless rigs that still have physical cabs, and vice versa.

Notes: The D1 MKII is a feature-packed, high-fidelity all-in-one delay pedal with six algorithms for players to choose from: Digital, Mod, Vintage, Dual, Reverse, and Grain. The D1 can create inspirational delay trails ranging from dreamlike and bizarre, to rhythmic and clear, to warm and analogue sounding.

Program Controls:
Each program can be fully customized to your taste and playing style with the left encoder knob, which controls six parameters on all programs of the D1: Depth, Rate, Shape, Age, Tone, and Spread.

The Right encoder knob adjusts BPM, Swell, and Tap Division. BPM can also be set via the tap tempo switch or MIDI. Some programs will have additional options. See the manual for details.

Programs:
Digital - The Digital delay program offers a clean and crystal-clear delay that is perfect for rhythmic guitar parts where ultra-defined echoes are desired.

Mod - The Mod delay program has unique modulation LFOs applied to random repeats and run at multiple rates to create unpredictable pitch modulation. This results in unique sounding repeats perfect for warping minds and scattering trains of thought.

Vintage - The Vintage program allows for analogue tape delay-inspired tones to be achieved with complex filtering applied to the repeats. Use the tone knob at low settings for darker filtering and at higher settings to roll off the low end.

Dual - The Dual program employs two delays, one in each channel and both with different repeat subdivisions. The user has complete control over these subdivisions for both the L and the R channel, and can also choose to run their channel feedback in parallel, ping pong, or series. This effect can leave some jaw dropping trails, especially in stereo.

Reverse - The Reverse program reads the delay memory backward creating a unique delay repeat character known as a reverse delay. Select whether your repeats stay always reversed, or follow an analogue reverse feedback system where the repeats flip flop.

Grain - The Grain program can be as smooth, choppy, glitchy, or flowy as you want it to be, and for users who may want to try their hand at experimenting a little, this will be the perfect program for them to explore. The grain trails can be adjusted to short staccato sounding glitches, or opened up for full immersion. It's a whole new world, but the player is still firmly in control.

Presets:
The D1 can save up to 128 onboard presets, which can be held in a preset bank made accessible by tapping down on the bottom left and bottom middle knobs simultaneously. Presets 0-9 are divided into Banks A, B, and C. Select a bank while in the preset menu. Bank A will cycle through presets 0-2, Bank B will cycle through presets 3-5, and Bank C will cycle through presets 6-9. Presets 10-128 can be accessed through manual selection or MIDI.

Notes: The M1 MKII is a stereo, all-in-one modulation pedal featuring six studio-grade programs based on fan-favourite modulation tones: Chorus, Phaser, Tremolo, Vibrato, Rotary, and Filter. A sound explorer's delight, the M1 features a dedicated lo-fi knob allowing you to mix various lo-fi parameters to every program. From the swirling, lush sounds of the 80's to more subtle applications that give your tone a distinct flair, this is a hallmark for all kinds of modulation fans, offering limitless creative potential.


Program Controls
Each program can be fully customized to your taste and playing style with the left encoder knob for features like effect type, BPM, wave shape, and more. Refer to the manual for program-specific features.

Programs
Chorus - From subtle chorus to vibrant and lush tri-chorus that will instantly teleport you to the 80s. Type I is a traditional chorus great for tight smooth chorus tones. Type II finds its roots in the classic tri-chorus effect running three chorus units in parallel for a lush multi-dimensional chorus. Type III transforms into a sweeping, vintage-style flanger, a welcome addition for modulation fans.

Phaser - Classic 70s phaser sounds we all know and love, with added features that you wouldn't expect. Similar to the Lillian, Type I is a 2-stage Phaser that produces a single notch to the classic mild phaser. Type II is a 4-stage model producing 2 notches for a stronger effect. Type III is a phaser modelled after the unique tuning and LFO shape found in a Uni-Vibe.

Tremolo - This program emulates a tremolo with three algorithms containing all the bells, whistles, and stereo spread options. Type I is excellent for traditional sounds similar to optical and bias tremolos that raise and lower the entire frequency range - similar to the Monument in standard mode. Type II is a warm and cozy harmonic tremolo - similar to the Monument in harmonic mode. This unique sound is formed by raising and lowering your high and low frequencies opposite each other. Type III offers several predefined patterns for rhythmic sequenced pulsing tremolo.

Vibrato - Make good parts great with detuned, warbly, and vintage sounds that harken back to the 60s. Type I "Traditional" focuses on standard vibrato sounds. Old record players inspire Type II "Vinyl" with classic RPMs on the rate knob and some noise character you'd find in your dad's old dusty Foreigner LPs. The rate knob can select 33rpm, 45rpm, and 78rpm speeds in this mode. Type III "Tape" is our take on the wow and flutter pitch characters found in old tape players. Warm and charming with a hint of nostalgia.

Rotary - Because you can't fit a Leslie speaker on your pedalboard, Type I aims for that traditional watery sound of a well-oiled Leslie speaker. Type II only spins the horn but still plays the sound out of the drum. Type III only spins the drum but still plays sound from the horn. Further fine-tune the drum sounds by experimenting with mic distance in the program controls.

Filter - Add tone-shaping movement to your signal with different modulated filters. Type I is a lowpass filter good for modulated darker tones. Type II is a highpass filter used to creatively modulate your low frequencies. Type III is a bandpass filter forming a sliding "window" of frequencies.

Resonance, envelope speed, and release can all be adjusted on Filter mode, the result being dynamic sweeping sounds and an expressive touch, commonly heard in blues or funk. This program can be easily run as an Envelope Follower type filter.

Lo-Fi Controls:
The M1 Features 6 Lo-Fi-type global controls to make your High-Fidelity modulation machine sound...not so High-Fidelity. Using the Right encoder knob, take your signal back in time and degrade it to sound like tech of yesteryear then use the Lo-Fi knob to adjust in the overall mix.

Env: Envelope allows you to dynamically open the tone based on how hard you play.
Drive: Drive offers a crunchy analogue-style drive to be added to your signal simulating the warm sound of overdriven analogue circuitry.
Space: Space allows you to add some reverb to your modulation chain. Turn to minimum to disengage and turn up to increase mix and decay.
Age: Age engages a complex set of filters used to simulate the limited bandwidth of vintage audio players and recording equipment. From modern, full-frequency at minimum to subtle low-fidelity tones in lower positions and old, thin AM radio sounds in higher positions.
Noise: Noise adds lo-fi analogue inspired noise to your signal.
Warble: Warble manipulates the main LFO wave shape causing it to deform making interesting and less predictable modulation.

Presets
The M1 can save up to 128 onboard presets, which can be held in a preset bank made accessible by tapping down on the bottom left and bottom middle knobs simultaneously. Presets 0-9 are divided into Banks A, B, and C. Select a bank while in the preset menu. Bank A will cycle through presets 0-2, Bank B will cycle through presets 3-5, and Bank C will cycle through presets 6-9. Presets 10-128 can be accessed through manual selection or MIDI.

Notes: The R1 MKII is an extremely powerful and versatile multi-function reverb that can go from intimate, small-room type subtle reverbs to huge, experimental euphoria. With six distinct programs based on fan-favourite reverb sounds that have been built from the ground up, players of all styles and genres will be able to find eternal inspiration with the R1.

Program Controls

Each program can be fully customized to your taste and playing style with the left encoder knob for features like modulation rate, ducking, and more. Refer to the manual for program specific features.

The R1 MKII includes a unique Ducking/Swelling control that modifies the reverb's behavior. Higher settings increase the swelling effect, making it more prominent, while lower settings enhance the ducking effect, helping to maintain a clear and focused mix.

The Right encoder knob adjusts parameters like reverb EQ and room size. See the manual for details.

Programs:
Spring: The Spring program emulates an excited spring reverb commonly found in tube amps with loads of transducing drip. Easily go from subtle to full-on surf rock. Experiment with the decay knob to get more than average amounts of reverb not found in traditional amp spring reverb tanks.
Hall: The Hall program provides the acoustics of large live sound spaces like concert halls to arenas. Longer decays result in a massive wash of ambiance.
Plate: The Plate program emulates a smooth analogue plate reverb with nice even diffusion for the classic plate sound that you know and love.
BFR: BFR is a no holds barred, big, f____, reverb. This is more than a giant arena reverb. It's a hall-esque reverb with rich and lush decay in a vast cavern filled with choirs of angels.
Refract: The RFRCT program allows for lovely, charming, and glitch-like textures hovering over a controllable amount of diffusion. The Rate controls on RFRCT set how often new grains trigger, while Depth controls the amount of modulation applied to the grains. The Time control sets the delay time of the grains, and the size control sets the size of the grains being pulled from the buffer. The diffuse control allows you to take the grains from super dry and stuttery to washed out in a reverb mix.
Air: The Air program offers a larger diffused reverb with a shimmer, as well as a distinct clarity to its decay. Adjust the shimmer control to really lean into that high-octave sound that ambient style artists have come to love over the decades. Explore slow-building complimentary sounds that don't get in the way of your playing.

Presets
The R1 can save up to 128 onboard presets, which can be held in a preset bank made accessible by tapping down on the bottom left and bottom middle knobs simultaneously. Presets 0-9 are divided into Banks A, B, and C. Select a bank while in the preset menu. Bank A will cycle through presets 0-2, Bank B will cycle through presets 3-5, and Bank C will cycle through presets 6-9. Presets 10-128 can be accessed through manual selection or MIDI.

Notes: Distortion and reverb meet in this unique pedal, sporting a joystick to tweak the sound and the option to flip the order of the two effects in the signal chain. Simple, quirky and effective.

Supplier's Notes:
Walrus Audio give you the two most quintessential effects that yield unruly amounts of power and influence to an instrumentalist: reverb and distortion. They have been harnessed and woven together for an eternity of ethereal power with The Melee: Wall of Noise. The Melee unapologetically uses a joystick to meld reverb and distortion into one massive blaze of sound. With the flip of the order switch, run the distortion into the reverb or reverb into distortion; signal chain is your call now. For the explorer, the Melee can run one of three different reverb programs Ambient, Octave, and Reverse.

In a less is more approach, Walrus Audio have intentionally decided on controls that are fun to use and will inspire a wealth of creative output. Use the joystick to control the amount of distortion by moving it up and down. Moving the joystick left and right will adjust your reverb mix. The tone and decay toggles have low, medium, and high settings. Modulation can be added to the wet signal by holding down the bypass switch and moving the decay toggle. The left position is no modulation, the middle is a slight modulation, and the right is a high modulation.

Algorithms

The Melee is equipped with three different reverb programs, which can be changed by simultaneously pressing the bypass and sustain stomp switches. Experiment with the order toggle switch to hear how differently these all react in front and after the distortion!

Ambient Reverb (Pink LED) - Huge reverb capable of massive trails and engulfing your chords into an angry wash of sound. Great for soaring melodic lines or shoegaze-driven chord progressions.
Octave Down Reverb (Yellow LED) - Similar to the Dark mode in the Slo, you'll find an eerie lower octave hovering in the reverb trail for a nice and dark atmospheric touch.
Reverse Reverb with Feedback (Blue LED) - Add reversed reverb trails back into your signal, create gentle melodies or push into reverse feedback overload. Big, slow, and sad chords love to hang out here.

Momentary

Press and hold the sustain switch to ramp up the reverb trails. Release and the trails will ramp back down to where the decay switch is currently set. The sustain switch can also latch in all three programs. Press and release the Sustain switch to capture and sustain the current reverb decay for long pad-like sounds in your wet mix. Press again to release the latch, and the reverb trail will taper off based on the position of the decay knob.

Specs

The Melee comes coated in a glossy neon pink enclosure with white, yellow, and green inks with art by
David Huttner.
The die-cast enclosure's exact size is 3.62" x 4.79" x 3.14" (including joystick height).
Three bypass modes, DSP, DSP + True, True Bypass
Power requirements are 9VDC, centre negative (200mA minimum).
The use of an isolated power supply is recommended for powering all Walrus Audio Pedals.
Daisy chain power supplies are not recommended.
Power supply not included.

Notes: ***B-STOCK: Item refurbished, repaired and in perfect working order.***


Like the Iguana that's malleable to its environment, blending into its surroundings for harmonious balance or standing out with vibrant confidence, the Polychrome Flanger is a uniquely colourful tool for adding modulated textures to songs.

The Polychrome Flanger is a true bypass, all analogue Flanger pulling in familiar layout controls from the Julia and Lillian.
Dial in a wealth of colourful flange with the D-F-V blend knob and the shape and voice switches.
The Shape Switch lets you select from sine, triangle, or random LFO wave to modulate the delay line

The Voice Switch lets you select between two voices for the flanging effect.
In the down position, the flanger is more traditional and full frequency.
In the up position, you get a more complex and notched flange effect with less low end.

Like the other members of the Walrus Audio modulation family, the Polychrome has a blend knob. The D-F-V (Dry, Flange, Vibrato) knob lets you blend the dry and delayed signal from full dry at minimum (no effect), to traditional flange at noon to full pitch vibrato at maximum. Don't sleep on the vibrato sounds in the Polychrome.
Set the D-F-V knob to maximum, feedback to a minimum, and the voice switch up for some unique pitch vibrato.

Top mounted input, output, and power jacks as well as soft switch relay bypassing make the Polychrome fit well on your board and ensure smooth operation for years to come.

Specs
The Polychrome comes in a flat black enclosure with purple, yellow, coral, green and white ink, featuring original artwork by David Huttner.
Power supply not included.

Dimensions and power consumption:
0.25kg
6,6 x 12,2 x 5,6 cm (W x D x H)
50 mA

In the box:

Walrus Audio Polychrome
Manual
Sticker
Guitar pick
Pouch

Notes: The Qi Etherealizer (pronounced "chee ethereal-izer"), a collaborative creation with Yvette Young, is a multi-effects pedal that combines Chorus, Delay, Granular effects, and, of course, Reverb, into a creative playground for atmospheric exploration.

Known for her innovative and explorative fingerstyle playing technique, love of guitar pedals, and leadership of the math rock band Covet, the Qi reflects her approach to creating lush, evolving soundscapes. Named after the vital life energy that flows through all living things, the Qi is designed to deliver rich textures, expansive atmospheres, and dynamic layers. By blending Yvette's artistic vision with cutting-edge design, the Qi opens the door to immersive, otherworldly sounds.

The Qi allows you to mix and match the chorus, delay, and grain and run in series or parallel to create your own inspiring universe of possibility in a stereo field. With the ability to save presets and bypass the chorus, delay, and grain controls, you can quickly and instantly change settings by simultaneously pressing the Bypass and Freeze stomp switches. Go from a traditional chorus with a little bit of delay, or go all in and let the Qi take over with unexplainable washes of glitchy and lush ambiance. Whatever your style is, the Qi will give it a new life.

The Qi is the first creation to emerge from Walrus' groundbreaking proprietary digital processing platform, MDSP. Designed in-house by their talented engineering team, MDSP sets a new benchmark for high-fidelity audio and innovative design, delivering decades of inspiration to creators seeking practical yet forward-thinking gear.

At the core of MDSP is the powerful ARM-based Cortex M7 processor, renowned as the highest-performing processor in its class. With a proven history in high-level electronics, the Cortex M7 has been meticulously tailored for advanced audio algorithm processing in the MDSP platform. This unique system integrates a microcontroller and a DSP into a single compact unit, enabling a smaller, modular design that can seamlessly adapt to a wide range of pedal formats.

This modular and "mini" approach empowers Walrus Audio to push the boundaries of audio processing. The enhanced capabilities of Walrus's MDSP allow for the development and execution of more sophisticated algorithms than ever before, delivering unparalleled creative possibilities for musicians and audio professionals alike.

The MDSP platform also boasts a superior audio codec, supporting faster sample rates, increased bit depth, greater headroom, and an exceptional signal-to-noise ratio. These enhancements ensure outstanding audio performance, setting a new standard in digital signal processing for the music industry.

The introduction of MDSP reflects Walrus Audio's commitment to providing creators with cutting-edge tools that inspire innovation and creativity.

Global Controls


Space Knob: Space adds a delightfully charming reverb to your affected signal. Use this knob to modify the mix and decay of the reverb. Go from smaller room sounds to a huge, diffused ambient reverb at maximum settings. It's lush and complimentary, and adding it in with the other effects will put you squarely in dreamscape territory.


Tone Knob: The Tone parameter controls the cutoff of a synth-style resonant low pass filter, allowing you to shape the tone of the effect output.


Series and Parallel: In series, effects will feed into each other in the order of Chorus > Delay > Grain > Output.


In parallel, all of the effect outputs on Chorus, Delay, and Grain are summed together and do not feed into each other. The top row of knobs will act as level controls, and the user can control the level of each effect.


The Mix/Dry parameter controls the mix of wet and dry signal in series mode and dry level in parallel mode.

Grain Controls


The featured Grain effect features two 'flavours' of operation:


Grain Cloud: This mode triggers small samples (grains) randomly from your playing, which gives you unpredictable, yet charming glitchy texture for your sound. The X knob controls the length of time between grains, so you can go from dense clusters to sparse accents.


Phrase Sample: This mode triggers grains rhythmically from your playing. Initial peaks in your playing are detected and grains are played back starting at these peaks, creating a rhythmic and intentional effect. The X knob controls the tempo at which the samples will be played back. Turning the X knob to the minimum position will sync the Phrase Sample time to the Delay time so that repeated grains are in time with the Delay repeats.


The Grain effect also features 5 playback modes that dictate different ways the grain samples are projected.


x1: Normal
x2: Double-speed and +1 octave
x.5: Half-speed and -1 octave
REV: Reverse playback
RNDM: Randomized combination of the previous four modes.


Delay Controls

The delay effect is a full, clean digital delay that offers repeats for up to two seconds. Use the time knob to control the time between delays as well as the feedback knob to control the amount of delays. The TAP/OSC switch on the bottom right of the pedal can also be used to control the delay effect via tap tempo, or when held down will ramp up the feedback and cause the delay to oscillate.

Subdivisions

Delay trails can be projected in three subdivision modes:

Quarter Note
Dotted Eighth Note
Eighth Note

Chorus Controls

The Chorus effect offers two modes:
Tri Chorus: A multi-dimensional chorus favourite. Lush, complex, modulated sounds combining three voices for a full, vibrant sound.

Stereo Chorus: This mode is a classic chorus effect but with the modulation of the chorus being offset 180 degrees to the right channel to achieve the stereo width effect.


Other Features

Three on-board presets (red, green, blue) plus a live mode (white).
TRS MIDI 1/8" in and thru ports for MIDI control.
USB-C port included for future firmware updates.
Momentary Grain Freeze
Momentary Grain + Max Reverb Freeze

Notes: The Qi Etherealizer (pronounced "chee ethereal-izer"), a collaborative creation with Yvette Young, is a multi-effects pedal that combines Chorus, Delay, Granular effects, and, of course, Reverb, into a creative playground for atmospheric exploration.

Known for her innovative and explorative fingerstyle playing technique, love of guitar pedals, and leadership of the math rock band Covet, the Qi reflects her approach to creating lush, evolving soundscapes. Named after the vital life energy that flows through all living things, the Qi is designed to deliver rich textures, expansive atmospheres, and dynamic layers. By blending Yvette's artistic vision with cutting-edge design, the Qi opens the door to immersive, otherworldly sounds.

The Qi allows you to mix and match the chorus, delay, and grain and run in series or parallel to create your own inspiring universe of possibility in a stereo field. With the ability to save presets and bypass the chorus, delay, and grain controls, you can quickly and instantly change settings by simultaneously pressing the Bypass and Freeze stomp switches. Go from a traditional chorus with a little bit of delay, or go all in and let the Qi take over with unexplainable washes of glitchy and lush ambiance. Whatever your style is, the Qi will give it a new life.

The Qi is the first creation to emerge from Walrus' groundbreaking proprietary digital processing platform, MDSP. Designed in-house by their talented engineering team, MDSP sets a new benchmark for high-fidelity audio and innovative design, delivering decades of inspiration to creators seeking practical yet forward-thinking gear.

At the core of MDSP is the powerful ARM-based Cortex M7 processor, renowned as the highest-performing processor in its class. With a proven history in high-level electronics, the Cortex M7 has been meticulously tailored for advanced audio algorithm processing in the MDSP platform. This unique system integrates a microcontroller and a DSP into a single compact unit, enabling a smaller, modular design that can seamlessly adapt to a wide range of pedal formats.

This modular and "mini" approach empowers Walrus Audio to push the boundaries of audio processing. The enhanced capabilities of Walrus's MDSP allow for the development and execution of more sophisticated algorithms than ever before, delivering unparalleled creative possibilities for musicians and audio professionals alike.

The MDSP platform also boasts a superior audio codec, supporting faster sample rates, increased bit depth, greater headroom, and an exceptional signal-to-noise ratio. These enhancements ensure outstanding audio performance, setting a new standard in digital signal processing for the music industry.

The introduction of MDSP reflects Walrus Audio's commitment to providing creators with cutting-edge tools that inspire innovation and creativity.

Global Controls


Space Knob: Space adds a delightfully charming reverb to your affected signal. Use this knob to modify the mix and decay of the reverb. Go from smaller room sounds to a huge, diffused ambient reverb at maximum settings. It's lush and complimentary, and adding it in with the other effects will put you squarely in dreamscape territory.


Tone Knob: The Tone parameter controls the cutoff of a synth-style resonant low pass filter, allowing you to shape the tone of the effect output.


Series and Parallel: In series, effects will feed into each other in the order of Chorus > Delay > Grain > Output.


In parallel, all of the effect outputs on Chorus, Delay, and Grain are summed together and do not feed into each other. The top row of knobs will act as level controls, and the user can control the level of each effect.


The Mix/Dry parameter controls the mix of wet and dry signal in series mode and dry level in parallel mode.

Grain Controls


The featured Grain effect features two 'flavours' of operation:


Grain Cloud: This mode triggers small samples (grains) randomly from your playing, which gives you unpredictable, yet charming glitchy texture for your sound. The X knob controls the length of time between grains, so you can go from dense clusters to sparse accents.


Phrase Sample: This mode triggers grains rhythmically from your playing. Initial peaks in your playing are detected and grains are played back starting at these peaks, creating a rhythmic and intentional effect. The X knob controls the tempo at which the samples will be played back. Turning the X knob to the minimum position will sync the Phrase Sample time to the Delay time so that repeated grains are in time with the Delay repeats.


The Grain effect also features 5 playback modes that dictate different ways the grain samples are projected.


x1: Normal
x2: Double-speed and +1 octave
x.5: Half-speed and -1 octave
REV: Reverse playback
RNDM: Randomized combination of the previous four modes.


Delay Controls

The delay effect is a full, clean digital delay that offers repeats for up to two seconds. Use the time knob to control the time between delays as well as the feedback knob to control the amount of delays. The TAP/OSC switch on the bottom right of the pedal can also be used to control the delay effect via tap tempo, or when held down will ramp up the feedback and cause the delay to oscillate.

Subdivisions

Delay trails can be projected in three subdivision modes:

Quarter Note
Dotted Eighth Note
Eighth Note

Chorus Controls

The Chorus effect offers two modes:
Tri Chorus: A multi-dimensional chorus favourite. Lush, complex, modulated sounds combining three voices for a full, vibrant sound.

Stereo Chorus: This mode is a classic chorus effect but with the modulation of the chorus being offset 180 degrees to the right channel to achieve the stereo width effect.


Other Features

Three on-board presets (red, green, blue) plus a live mode (white).
TRS MIDI 1/8" in and thru ports for MIDI control.
USB-C port included for future firmware updates.
Momentary Grain Freeze
Momentary Grain + Max Reverb Freeze

Notes: Unearth the Walrus Audio Silt Harmonic Fuzz, a collaborative creation with tube expert Jim Hagerman.

Wielding an internal pre-amp tube, the Silt is a two-in-one fuzz that creates massively rich fuzz tones perfect for chords and rhythmic parts or with the press of a switch, adds uniquely harmonic overtones to the signal before hitting the tube. Crafted specifically for those seeking a harmonically rich fuzz experience, the Silt boasts an analogue circuit with the distinctive warmth of a 12AU7 tube as its drive section, letting you explore a unique and wild sonic landscape.

Main Features:

1. 12AU7 Tube Drive

The Silt's 12AU7 tube section drives the warm, bone-rattling fuzz. We unearthed this sonic fossil to encase your sound in an amber warmth, while still providing the grit, growl, and harmonically complex textures that only a tube-driven fuzz can provide.

2. Harmonic Mode

Harmonic Mode acts as a frequency doubler before the drive section of the pedal. This produces crispy, octave-like sounds, lending a unique edge to your lead tones. Try this with your guitar tone knob rolled off.

3. Contour Control for Precision Tone Sculpting

Refine your fuzz tones with the precision of the Contour control to achieve a wide spectrum of timbres.

Toggle between highpass, flat, and lowpass curves in the pre-tube EQ stage, like uncovering layers of sonic strata. Especially helpful when switching between different styles of pickups. Whether you're chasing searing leads or wooley rhythm, the Silt adapts to your style with roaring precision.

4. Designed for Operation at 9v-12v for Plenty of Gain

Supercharge your fuzz experience by operating the Silt anywhere between 9v and 12v. Running the pedal at 12v will give you an extra gain boost, letting you push the primal boundaries of fuzz to deliver the searing tones you've been searching for.

5. True Bypass Circuit

Maintain the integrity of your original tone with the relay bypass circuit. When disengaged, the Silt ensures your signal remains pure, allowing your guitar's natural voice to shine through undisturbed.

Controls:

Volume: Control the output volume level of the pedal.
Tone: Sculpt your output tone with a lowpass/highpass tilt tone control.
Gain: Control the input gain into the fuzz circuit, from subtle, distortion-like crunch to full-throttle fuzz.
Contour: Toggle between highpass, flat, and lowpass curves in the pre-tube EQ stage.
Bypass Switch: Enable or disable the effect with the relay bypass switch, preserving your original signal when the Silt is not in use.
Harmonic Switch: Activate or deactivate the frequency doubler circuit before the clipping stages, infusing your sounds with octave-like textures for a unique sonic edge.

Notes: The Voyager MKII is a mid-focused overdrive/preamp that contains all the mythical magic from the original Voyager and adds a wealth of features not seen before in a Klon-style pedal.

From its lowest to highest settings, the Voyager provides a uniquely superb amount of clarity to any playing style. At lower gain settings, it brightens the signal and adds clarity to each note. With the gain turned up, the Voyager transforms into a thick overdrive, providing depth to chorded playing while retaining the clarity needed to break through solos.

The Voyager MKII breaks out of the traditional Centaur three-knob topography by adding a foot-switchable parametric mid-frequency EQ with a boost/cut range of +/-12dB. The Freq (Frequency) knob then controls the centre frequency of where the Mid knob is set, giving a range of 250Hz-2kHz. Great for accommodating any guitar and pickup combination and tailoring your tone to your own style of playing.

Further customize the Voyager's sound with the five-way rotary switch:
1. Classic 1N34A Germanium Diodes (most compressed). This is the original Voyager sound.
2. Classic 1N34A Germanium Diodes with bass boost (trust us).
3. Symmetric Silicon Diodes (more open and dynamic).
4. Asymmetric Silicon Diodes (least compressed, open & driven).
5. Asymmetric Silicon Diodes with bass boost (least compressed, open & driven with a bass boost.)

Think of each position as a different "flavour" of the pedal. Fine-tune each of these modes with the Mid/Freq EQ for a near-infinite supply of gain options.

Notes: The Voyager MKII is a mid-focused overdrive/preamp that contains all the mythical magic from the original Voyager and adds a wealth of features not seen before in a Klon-style pedal.

From its lowest to highest settings, the Voyager provides a uniquely superb amount of clarity to any playing style. At lower gain settings, it brightens the signal and adds clarity to each note. With the gain turned up, the Voyager transforms into a thick overdrive, providing depth to chorded playing while retaining the clarity needed to break through solos.

The Voyager MKII breaks out of the traditional Centaur three-knob topography by adding a foot-switchable parametric mid-frequency EQ with a boost/cut range of +/-12dB. The Freq (Frequency) knob then controls the centre frequency of where the Mid knob is set, giving a range of 250Hz-2kHz. Great for accommodating any guitar and pickup combination and tailoring your tone to your own style of playing.

Further customize the Voyager's sound with the five-way rotary switch:
1. Classic 1N34A Germanium Diodes (most compressed). This is the original Voyager sound.
2. Classic 1N34A Germanium Diodes with bass boost (trust us).
3. Symmetric Silicon Diodes (more open and dynamic).
4. Asymmetric Silicon Diodes (least compressed, open & driven).
5. Asymmetric Silicon Diodes with bass boost (least compressed, open & driven with a bass boost.)

Think of each position as a different "flavour" of the pedal. Fine-tune each of these modes with the Mid/Freq EQ for a near-infinite supply of gain options.

Notes: Introducing Catacombs - a pedal that eliminates the compromise altogether. It packs 11 of the most popular delay and reverb sounds into one intuitive, powerful package. Whether you're after a trusty digital delay and a plate reverb or a musical shimmer and a spaced out echo - Wampler have you covered!

The team at Wampler have worked for a long time on ensuring Catacombs will become an indispensable part of your rig. You can run one of six delay and one of five reverb programs together simultaneously. Each program offers tap-tempo control and can be saved into one of the pedal's eight onboard preset locations for instant recall. Delays and reverbs can be run in Mono, Stereo, in parallel or in series. It's like having a studio's worth of delay and reverb effects right at your feet.

But it doesn't end there - the pedal also comes with a complete software version as a plugin for your DAW in AAX, AU, and VST3 format for both Mac and PC. The Catacombs plugin is FREE to all customers that register their Warranty online (plugin suite is $49.99 if purchased separately).

Legendary Delays

With six delay programs, you can feel the warmth and depth of analogue delays (ANLG), the harmonic nuances of a Bucket Brigade Device delay (BBD), or the nostalgic modulated vibe of classic artisanal tape and mechanical delays (TAPE). Feeling adventurous? The other-worldly Echo-Space Delay (SPC) awaits. The favourite Wampler Faux Tape Echo (FTE) and an accurate recreation of the classic 2290 digital delay (DIGI) also feature.

Iconic Reverbs

The Catacombs houses five finely tuned reverb programs. With just a twist of a knob, you'll discover expansive halls (HALL), a warm vintage plate (PLT), and that classic spring reverb (SPR) with plenty of "drip." The shimmer reverb (SHMR) allows a whole new layer of sonic texture, especially when paired with an expression pedal, and the intimate ambiance of the ROOM setting creates that perfect studio reverb.

Stompbox-like Control

Like the Terraform and Metaverse before it, the Catacombs is designed to be as quick to dial in as possible. Wampler replaced confusing menus and fiddly touch screens with clearly marked knobs you can adjust on the fly. Controls for Time, Feedback, Modulation, and Level (with Alt functions for each effect type) put all the essential tools right at your fingertips. Each setting offers tap-tempo control and can be easily saved into one of the pedal's eight front panel preset locations for instant recall. It's like having a studio's worth of delay effects right at your feet.

Digital Power with an Analogue Soul

The Catacombs uses a high-performance DSP engine to bring each effect to life with authentic character and gives you eight front panel preset locations where you can save and instantly recall your favourite settings. If you're looking to expand even further, you can access up to 128 presets with full MIDI control, it has configurable mono and stereo routing, a parallel or series switch, and an assignable expression pedal input to control any parameter (or multiple parameters).

Notes: ***B-STOCK: Box opened, product in perfect working order***


Introducing Catacombs - a pedal that eliminates the compromise altogether. It packs 11 of the most popular delay and reverb sounds into one intuitive, powerful package. Whether you're after a trusty digital delay and a plate reverb or a musical shimmer and a spaced out echo - Wampler have you covered!

The team at Wampler have worked for a long time on ensuring Catacombs will become an indispensable part of your rig. You can run one of six delay and one of five reverb programs together simultaneously. Each program offers tap-tempo control and can be saved into one of the pedal's eight onboard preset locations for instant recall. Delays and reverbs can be run in Mono, Stereo, in parallel or in series. It's like having a studio's worth of delay and reverb effects right at your feet.

But it doesn't end there - the pedal also comes with a complete software version as a plugin for your DAW in AAX, AU, and VST3 format for both Mac and PC. The Catacombs plugin is FREE to all customers that register their Warranty online (plugin suite is $49.99 if purchased separately).

Legendary Delays

With six delay programs, you can feel the warmth and depth of analogue delays (ANLG), the harmonic nuances of a Bucket Brigade Device delay (BBD), or the nostalgic modulated vibe of classic artisanal tape and mechanical delays (TAPE). Feeling adventurous? The other-worldly Echo-Space Delay (SPC) awaits. The favourite Wampler Faux Tape Echo (FTE) and an accurate recreation of the classic 2290 digital delay (DIGI) also feature.

Iconic Reverbs

The Catacombs houses five finely tuned reverb programs. With just a twist of a knob, you'll discover expansive halls (HALL), a warm vintage plate (PLT), and that classic spring reverb (SPR) with plenty of "drip." The shimmer reverb (SHMR) allows a whole new layer of sonic texture, especially when paired with an expression pedal, and the intimate ambiance of the ROOM setting creates that perfect studio reverb.

Stompbox-like Control

Like the Terraform and Metaverse before it, the Catacombs is designed to be as quick to dial in as possible. Wampler replaced confusing menus and fiddly touch screens with clearly marked knobs you can adjust on the fly. Controls for Time, Feedback, Modulation, and Level (with Alt functions for each effect type) put all the essential tools right at your fingertips. Each setting offers tap-tempo control and can be easily saved into one of the pedal's eight front panel preset locations for instant recall. It's like having a studio's worth of delay effects right at your feet.

Digital Power with an Analogue Soul

The Catacombs uses a high-performance DSP engine to bring each effect to life with authentic character and gives you eight front panel preset locations where you can save and instantly recall your favourite settings. If you're looking to expand even further, you can access up to 128 presets with full MIDI control, it has configurable mono and stereo routing, a parallel or series switch, and an assignable expression pedal input to control any parameter (or multiple parameters).

Notes: The classic Pantheon pedal gets even better with this Deluxe version. Two independent overdrive circuits give you classic Blues Breaker-style tone plus modern boutique sounds.

Supplier's Notes:
The now legendary Wampler Pantheon provided a unique interpretation of the classic "Blues Breaker" style stomp box, by capturing all the tonal nuance of the original, but with added flexibility and style. In doing so, it found its way onto thousands of pedalboards across the world. Enter the new Pantheon Deluxe - a dual overdrive pedal that takes this evolution several steps further by offering a flexible design with two completely independent Pantheon circuits, one voiced as a classic blues breaker and one with a more modern boutique sound. This palace of tone delivers a staggering 200 combinations of gain settings, featuring dual Inputs and Outputs, and for the first time ever, Wampler have added MIDI channel switching to one of their gain pedals.

The Pantheon Deluxe lets you dial in two channels of organic creamy gain, gritty overdrive, or heavy distortion while retaining Wampler's famous ease of use and flexibility. Channel 1 delivers a classic Blues Breaker tone, Channel 2 is a recreation of the original Pantheon, a similar circuit to the Blues Breaker but with a modern boutique feel. Independent side mounted Voicing and Gain Level switches allow you to further shape your tone to perfection.

DOUBLE UP

The Pantheon Deluxe lets you dial in two channels of organic creamy gain, gritty overdrive, or heavy distortion while retaining Wampler's famous ease of use and flexibility. Channel 1 delivers a classic Blues Breaker tone, Channel 2 is a recreation of the original Pantheon, a similar circuit to the Blues Breaker but with a modern boutique feel.

ALWAYS THE RIGHT FIT

Each Channel of the Pantheon Deluxe Dual Overdrive feature independent Gain, Level, Treble, and Bass controls to enhance the shaping of your tone. The Baxandall-style active Bass control is neutral at noon but boasts an extremely powerful sweep as you move through the range. A single global Presence control simultaneously alters each channel to add just the right amount of top-end chime to suit different guitars and amplifiers - perfect for when playing live or when in the studio.

MAXIMUM CONNECTIVITY

With the addition of MIDI In and Out, you can now also switch the analog channels of each circuit on and off with a MIDI switcher - saving you valuable hardware loops on your loop switcher. With dual analog inputs and outputs, you can split both channels in a loop switcher, insert pedals between each side, or run in stereo.

BUILT FOR FOREVER

Brian Wampler's attention to detail and commitment to bringing you the best-sounding & most usable Effects Boxes on the market is nothing new. Those qualities are on full display within the Pantheon Overdrive. We're all tone-freaks, and we're always trying new things, but we hope this pedal finds its forever home on your pedalboard, so we built it to last that long.

TECHNICAL DETAILS

Built in the U.S.A
Dual Independent drive channels using Brian Wampler's classic Pantheon circuits; Channel 1 Classic Blues Breaker voicing, Channel 2 Modern Boutique voicing.
Independent Volume, Gain, Treble and Bass controls for both channels, global Presence control, front mounted Channel Order Switch, side mounted independent Gain Level and Voicing switches, MIDI In and Out (3.5mm TRS) and 2 sets of input and output jacks.
Top-mounted jacks make pedalboard placement effortless
Power draw: 55mA
9-18V power jack: DC supply only, do not exceed 18V DC, battery Included.
Includes Wampler's limited 5-year warranty
5" x 4.5" x 1.5" (88.9mm x 114.3mm x 38.1mm) - height excludes knobs and switches

Notes: Analogue Ring Modulation Pedal With LFO, MOD, Frequency & RATE Controls.

Reviving An Avant-Garde Pedal For Music's Trailblazers

From light Lo-Fi modulation all the way to the piercing sound of infinity ring-modulation, the Warm Audio RingerBringer accurately recreates the ultimate all-analogue ring modulation effect used for experimental tones. Like the original, loved by artists like Jeff Beck, Radiohead, Omar Rodriguez-Lopez, Trent Reznor, and many more, RingerBringer delivers the original distinct set of controls, extensive in/out options, and rich sonic textures to inspire boundless sonic experimentation.

Don't Just Play, Create

The ideal platform for the sonic tinkerer, RingerBringer inspires you to generate layered frequencies and harmonics, explore a wide range of sonic possibilities for guitar & beyond, and design your own sounds from the ground up. Extensive controls including LFO, MOD, Frequency & RATE open up sonic possibilities that range from subtle overdriven textures all the way to wobbling, warped leads soaked in texture and tone. RingerBringer is 100% analogue and sports premium components including hand-selected op-amps and transistors. RingerBringer is no emulation or "patch", instead it delivers true-to-spec performance of the boutique, analogue original.

For Original Artists Building Memorable Sounds

Delivering tones ranging from nuanced drive to out-of-this world modulation, RingerBringer helps develop a unique sonic signature for any instrument, on any track.

A Sandbox For Synths & Keys:

Send any keyboard or synth through the WA-RB for added harmonic content and endless modulation. Try sending digital synths, keys, and pads from your interface through the WA-RB for added analogue vibe and "fattened up" tone on otherwise dry digital signals.

Technical Specifications

100% Analogue Ring Modulation Pedal With LFO, MOD, Frequency & RATE Controls
Accurate Recreation Of The Ultimate Ring Modulator For Experimental Tones
Premium Components Including LM13700M & TL072ACDR Op-Amps + Hand-Selected Transistors (DMMT3906W & MMBT3904) For True-To-Spec Performance
LFO Controls: Amount, Rate, & Sine/Square Wave Switch
Modulation Controls: Mix, Frequency, & Lo/Hi Switch
Universal Drive Control + LED Indicators For Level, LFO, & Bypass
CV Inputs: Rate | Amount | Mix | Frequency
1/4" Input Jacks: Audio In | Audio Out | LFO Out | Carrier IN/Out
Output Impedance: 600 Ohms | Buffered Bypass
9-Volt Battery Or /External 9V Regulated (Centre-Negative) DC Adapter
Nominal Current Draw: 100 mA (9V)
Custom Black Panel Enclosure With Retro Faux-Wood Sides
Dimensions: 6.5" x 5.25" x 3" | Product Weight: 1.90 lbs

Notes: All of the features of the original Geiger Counter, with so much more. 16 footswitchable presets, MIDI control over presets, bit depth and sample rate blending, dry/wet mix, an end of signal filter - the most powerful pedal WMD have ever created. Designed for the pro to really dial in new, undiscovered sounds, never before heard in a distortion pedal.

Features

256 new wavetables! (512 wavetables in total)
Wavetable Morphing
12 bit signal path
16 foot switchable and MIDI switchable Presets
Easy to save and duplicate presets
Full MIDI control over all parameters
2 assignable CV/Expression inputs
Dry/Wet Mix
End of chain Low Pass Filter
Knob and CV soft take up on preset load
RAND button for a random new immediate setting to aid inspiration

Specifications

Power: BOSS 9VDC 300mA
Reverse & Over Voltage Protection
Dimensions: 5.8" x 4.75" x 2.5"
Input Impedance: 380kO
Output Impedance: 1kO
MIDI standard input, Channel 1
CV Inputs: 0-5V. 50kO Impedance. TS connection
Expression: 10k-100k linear. TRS connection
Relay True Bypass

Notes: The Zoom G1 FOUR features over 60 effects and amp models, looper and drum machine. Plus, access ZOOM Guitar Lab's additional library of downloadable effects. Plug in and be amazed!

Sounds That Inspire:
The pedal has more than 60 traditional and boutique effects, including ring modulator, pitch-shifting delay and even sitar simulation.

Your Favourite Amps & Cabinets:
With 13 classic amps and cabinets like Fender, Marshall, Orange and more, the G1 series brings big stage sound wherever you go.

You'll Love The Free Guitar Lab Software:
With ZOOM Guitar Lab, explore an endless world of artist patches, effects and more. And with its ability to manage and backup all of your patches, you can experiment and create endless combinations.

Drums Included:
Play along with 68 great-sounding rhythm patterns in different time signatures, including 4/4, 3/4 and more.

Stay Looped In:
The built-in looper can record up to 30 seconds of playing, allowing you to create dynamic, multi-part arrangements.

Auto Patch Backup:
Your patches and level settings are instantly backed up when using the Auto Save function, ensuring you never lose your latest creation.

Perform Live:
Seamlessly switch up your sounds during live shows using either of 2 performance modes.

PRESELECT mode lets you jump from patch to patch without affecting the patch your currently playing.

STOMP mode lets you turn individual effects on and off with the tap of your foot.

Off the Floor:
The G1 FOUR control panel is also designed for hands-on, desktop use. Dial in tones and adjust level settings with absolute precision to craft your perfect sound.

Power Options:
The G1 FOUR runs on just four AA batteries. Alternatively, it can be powered using the optional Zoom AD-16 AC adapter or via USB bus power.

Notes: The Zoom G1X FOUR features over 70 effects and amp models, looper and drum machine. Plus, access ZOOM Guitar Lab's additional library of downloadable effects. Plug in and be amazed!

X is for Xpression:
The G1X FOUR comes with ZOOM's expression pedal, which provides control over effects such as volume, wah, delay and pitch.

Sounds That Inspire:
The pedal has more than 60 traditional and boutique effects, including ring modulator, pitch-shifting delay and even sitar simulation.

Your Favourite Amps & Cabinets:
With 13 classic amps and cabinets like Fender, Marshall, Orange and more, the G1 series brings big stage sound wherever you go.

You'll Love The Free Guitar Lab Software:
With ZOOM Guitar Lab, explore an endless world of artist patches, effects and more. And with its ability to manage and backup all of your patches, you can experiment and create endless combinations.

Drums Included:
Play along with 68 great-sounding rhythm patterns in different time signatures, including 4/4, 3/4 and more.

Stay Looped In:
The built-in looper can record up to 30 seconds of playing, allowing you to create dynamic, multi-part arrangements.

Auto Patch Backup:
Your patches and level settings are instantly backed up when using the Auto Save function, ensuring you never lose your latest creation.

Perform Live:
Seamlessly switch up your sounds during live shows using either of 2 performance modes.

PRESELECT mode lets you jump from patch to patch without affecting the patch your currently playing.

STOMP mode lets you turn individual effects on and off with the tap of your foot.

Off the Floor:
The G1X FOUR control panel is also designed for hands-on, desktop use. Dial in tones and adjust level settings with absolute precision to craft your perfect sound.

Power Options:
The G1X FOUR runs on just four AA batteries. Alternatively, it can be powered using the optional Zoom AD-16 AC adapter or via USB bus power.

Notes: The Zoom G2 Four is a compact, easy-to-use multi-effects processor that offers a huge range of sounds with new amp modelling, multi-layer IR technology and over 100 effects:

Features

22 amp/cabinet models with newly developed multi-layer IR technology
79 guitar effects including boutique pedal modelling
Use of up to 7 effects simultaneously
250 preloaded patches with sounds that recreate guitar sounds from the 50s to today
300 patch memories in total
Additional effects/patches can be installed, edited and saved via the Handy Guitar Lab app for iOS and Android.
An external expression pedal can be used to control effects such as volume, pitch and wah in real time
Lightweight and compact design that fits in the pocket of your guitar case
80-second looper function
68 rhythm patterns that can be played in sync with the looper
Output EQ for quick adjustment of the overall sound to the playing environment
AUX IN jack for connecting a music player, etc.
Autosave function that automatically saves effect settings
Tuner function that supports open tuning and drop tuning
USB connection for Handy Guitar Lab, 2-in/2-out audio interface and firmware updates
Can be powered via USB bus (computer or power bank) or via the supplied AC adapter (AD-16)

Sounds without end

Using all-new amp modelling and innovative IR technologies, the Zoom G2 Four gives guitarists more sound variations to choose from than ever before. You can create amazing sounds right out of the box.

Comprehensive amp models

Zoom G2 Four takes amp modelling to the next level. Carefully recreated emulations of classic amps are combined with speaker simulations using our new multi-layer IR technology. As a result, guitarists benefit from great sounds and always have the feeling of being on the "big stage", regardless of the environment.

Multi-layer IR

Each amp model is based on Zoom's innovative Multi-Layer IRs, which capture the sound characteristics as well as the feel of classic amps and speaker cabinets. These IRs have been sampled at three volume levels through legendary cabinets and can be crossfaded and activated depending on the volume of your guitar.

Historic guitar sounds

Preloaded in the form of 250 presets, these patches were designed to document the sonic evolution of guitar sound. Each patch recreates the sound of a legendary song from the 1950s to the present day.

Brimming with effects

The internal patches include over 100 effects, recreating a wide range of traditional and boutique sounds, from classic spring reverbs to extreme distortion and modulation effects to wah-wah and more. Mix and match up to 7 effects to create your own patches.

Controls

Zoom's new cross-key navigation concept helps you control the pedal with just your feet and make adjustments on the fly. In addition, four endless knobs allow you to quickly adjust effect parameters as well as output settings.

Programming

The redesigned control surface makes it even easier to edit effect parameters, rearrange effect chains, and access the looper and tuner.

The perfect addition to your pedalboard
The G2 Four's compact design and diverse effects selection make it a powerful addition to any existing pedalboard.

Optimised for amps, monitor speakers and headphones
The G2 Four is designed to connect to guitar amps, studio monitors, PAs and headphones. After switching on, you set up the G2 Four perfectly for your setup by selecting between LINE and AMP.

Looper

Use the built-in 80-second looper for songwriting or enhance your performance with additional sound layers.

Play to the beat

Play along to any of the 68 beats on the built-in rhythm machine. This rhythm section is the perfect accompaniment when practising, whether it's metal, blues or any other genre.

Audio interface

Record at home or in the studio with your favourite effects and amp models by connecting the G2 Four to your computer via USB-C.

Guitar lab

Thanks to the ever-growing library of patches and effects, every guitarist can expand their sound selection via the Guitar Lab app (for iOS / Android).

Notes: The Zoom G2x Four is a compact, easy-to-use multi-effects processor that offers a huge range of sounds with new amp modelling, multi-layer IR technology and over 100 effects:

Features

22 amp/cabinet models with newly developed multi-layer IR technology
79 guitar effects including boutique pedal modelling
Use of up to 7 effects simultaneously
250 preloaded patches with sounds that recreate guitar sounds from the 50s to today
300 patch memories in total
Additional effects/patches can be installed, edited and saved via the Handy Guitar Lab app for iOS and Android.
Expression pedal lets you control effects such as volume, pitch and wah in real time
Lightweight and compact design that fits in the pocket of your guitar case
80-second looper function
68 rhythm patterns that can be played in sync with the looper
Output EQ for quick adjustment of the overall sound to the playing environment
AUX IN jack for connecting a music player, etc.
Autosave function that automatically saves effect settings
Tuner function that supports open tuning and drop tuning
USB connection for Handy Guitar Lab, 2-in/2-out audio interface and firmware updates
Can be powered via USB bus (computer or power bank) or via the supplied AC adapter (AD-16)

Sounds without end

Using all-new amp modelling and innovative IR technologies, the Zoom G2X Four gives guitarists more sound variations to choose from than ever before. You can create amazing sounds right out of the box.

Comprehensive amp models

The G2X Four takes amp modelling to the next level. Carefully recreated emulations of classic amps are combined with speaker simulations using our new multi-layer IR technology. As a result, guitarists benefit from great sounds and always have the feeling of being on the "big stage", regardless of the environment.

Multi-layer IR

Each amp model is based on Zoom's innovative Multi-Layer IRs, which capture the sound characteristics as well as the feel of classic amps and speaker cabinets. These IRs have been miked at three volume levels through legendary cabinets and can be crossfaded and activated depending on the volume of your guitar.

Historical guitar sounds

Preloaded in the form of 250 presets, these patches were designed to document the sonic evolution of guitar sound. Each patch recreates the sound of a legendary song from the 1950s to the present day.

Brimming with effects

The internal patches include over 100 effects, recreating a wide range of traditional and boutique sounds, from classic spring reverbs to extreme distortion and modulation effects to wah-wah and more. Mix and match up to 7 effects to create your own patches.

Controls

Zoom's new cross-key navigation concept helps you control the pedal with just your feet and make adjustments on the fly. In addition, four endless knobs allow you to quickly adjust effect parameters as well as output settings.

Programming

The redesigned control surface makes it even easier to edit effect parameters, rearrange effect chains, and access the looper and tuner.

The perfect addition to your pedalboard
The G2X Four's compact design and diverse effects selection make it a powerful addition to any existing pedalboard.

Optimised for amps, monitor speakers and headphones

The G2X Four is designed to connect to guitar amps, studio monitors, PAs and headphones. After switching on, set up the G2X Four perfectly for your setup by selecting between LINE and AMP.

Looper

Use the built-in 80-second looper for songwriting or enhance your performance with additional sound layers.

Play to the beat

Play along to any of the 68 beats on the built-in rhythm machine. This rhythm section is the perfect accompaniment when practising, whether it's metal, blues or any other genre.

Express yourself

The G2X Four features an expression pedal for controlling volume, wah-wah and more.

Audio interface

Record at home or in the studio with your favourite effects and amp models by connecting the G2X Four to your computer via USB-C.

Guitar lab

Thanks to the ever-growing library of patches and effects, every guitarist can expand their sound selection via the Guitar Lab app (for iOS / Android).

Notes: Great value multi-effects pedal based on all of Zoom's extensive experience. Chain up to nine effects including amp emulation and cabinet simulation. A proper all-rounder offering a huge range of tones.

Supplier's Notes:
Jaw dropping effects combined with powerful amp modeling, the G6 is in a class of its own.

The culmination of 30 years of Zoom's engineering know-how, passion for audio and love of guitar. The G6 is brimming with some of the best sounds you'll ever hear.

Your sounds may be complex but building them shouldn't be. With easy-to-use, application driven technology, the G6's 4.3-inch color touchscreen lets you drag, drop and swipe your way to new sounds.

All the best amps in amp history are in here (and a few new ones, too), along with 70 pre-loaded, precisely recorded impulse responses (IR) and room to add more than 100 of your own.

The G6 also delivers the ultimate collection of Zoom's legendary guitar effects and tones, including brand new Distortion and Modulation effects.

The G6 has room for 240 patches, including 100 presets so you can build patches for each song in your repertoire and easily cycle through your setlist. Create patches of up to nine effects.

The four Play Modes on the G6 will change the touchscreen and footswitch layout to give you quick access to the controls you need.

In addition to the internal 45-second looper, you can insert an SD card and record a loop up to 2 hours long. Choose the groove you want from 68 internal rhythm patterns, styles and measures.

Portable, versatile, and packed with tonal possibilities, the G6 can be tucked into a guitar bag or backpack, and off you go.

The G6 has a mono input, stereo outputs with output volume control, a mono fx loop, aux in, control in and headphone out. Using the USB port, the G6 also functions as a 2in/2out audio interface for Mac and PC.

Wirelessly connect the G6 directly to the Handy Guitar Lab app via Bluetooth. Using the optional BTA-1 adaptor, you can browse and upload/download an endless assortment of amps, effects and artists patches as provided on Guitar Lab software. Guitar Lab is also available for both PC and Mac.

What's in the Box:

G6 Multi-Effects Processor
Zoom AD-16 AC adapter
Quick guide
Steinberg Cubase LE Software

Optional Accessories:

FP02M Expression Pedal
BTA-1 Bluetooth Adapter

Specs:

MAXIMUM NUMBER OF SIMULTANEOUS EFFECTS: 7
USER PATCHES: 240
SAMPLING FREQUENCY: 44.1 kHz
A/D CONVERSION:24-bit 128x oversampling
D/A CONVERSION: 24-bit 128x oversampling
SIGNAL PROCESSING: 32-bit
FREQUENCY CHARACTERISTICS: 20 Hz - 20kHz (+0.5 db/-0.5 dB) (10k load)
DISPLAY: 4.3" TFT color LCD (480x272)

Notes: The Zoom MS-90LP+ is a versatile stereo looper. With the tap of your foot you can add loops, layers, effects and rhythm patterns. And with 32-bit float processing, the MS-90LP+ gives creators flawless audio quality every time.

Notes: The go anywhere Headphone Amp delivers a musical quality and attitude that defines the spirit of Electro-Harmonix!

As uniquely musical as it is portable, the ultra-light EHX Headphone Amp lets you practice as loud or funky as you want without waking up your neighbors.

Ultra lightweight and portable
Designed specifically for musical instruments
Get the character sound of your live instrument
Handles high gain pedal board input delivering your favorite tone and definition
Super quiet
Battery included
Headphones are NOT INCLUDED

Specifications

Circuit: Analogue
Audio: Mono
Power Supply: 9V battery included
Dimensions (in): 5.75 x 3.45 x 2.75
Year Released: 2010

Notes: ***B-STOCK: Box opened, product in perfect working order***


Compression, expansion, noise gates and limiting are the cornerstones of the 50th anniversary Model 2830*Au Omnipressor, a true powerhouse of dynamic processing from one of the most iconic names in the business.

Supplier's Notes:
In 1973, Eventide Clockworks introduced the Omnipressor, the first studio product to encourage the use of dynamics for special effects. It joined the Instant Phaserr in studios worldwide, with the Instant Flanger following shortly after. All were used on countless recordings and are now considered truly classic products. Unlike the Phaser and Flanger, the Omnipressor, with its still-unique dynamic reversal, infinite compression, variable gating and separate "side chain," was discontinued a few years later. It had become difficult to obtain some exclusive parts and even more difficult to explain it to an industry that was much less sophisticated than it is today.

Omnipressor was the first dynamics effects processor of any kind, suddenly making possible a new, wide range of dynamics effects unlike anything that had come before it. Originally invented by Eventide's founder, Richard Factor (and later redesigned for production by Jon Paul), the Omnipressor made a host of dynamic effects possible. It featured variable control of all aspects of dynamic modification. It also introduced the notion of the 'side chain' and foretold techniques that today we take for granted like 'look ahead' processing. One of Eventide's first customers was Brian May, the lead guitarist of Queen.

Eventide now announces the golden-anniversary Omnipressor Model 2830*Au. The original handdrawn schematics were in the Eventide archives, and the new model is a faithful replica designed with the same circuitry and the same sound as the original 2830.

The new *Au model features the ability to link multiple units and is fitted with input and output audio transformers, which were a costly option on the original. Other improvements include a universal power supply and a back-lit meter, as well as more convenient TRS/XLR connectors replace the original terminal strip.

Specifications

Analogue Audio I/O

XLR and 1/4" Line In
XLR and 1/4" Line Out
XLR and 1/4" Side Chain In
XLR and 1/4" Side Chain Out
1/4" Link In
1/4" Link Out

Physical

Size

Inches: 3.5h x 19w x 8.9d
Metric: 8.9h x 48.3w x 31.7d
Weight
14 pounds (6.4kg) net

What's in the box:

Omnipressor
US-type IEC power cord
Omnipressor poster
Omnipressor manual
Eventide sticker
Eventide guitar pick

Notes: A solid gold modern classic from FMR. The RNC must be one of the biggest studio bargains around. Proper analogue compression with digital control, offering pro sound at an affordable price.

Supplier's Notes:
What It Is

FMR Audio's first product, introduced over 18 years ago, the Really Nice Compressor (RNC) is a compact and cost-effective stereo compressor with a high-fidelity audio path and compression scheme. The RNC provides quality compression at a budget price.

How It Sounds

The RNC provides two modes of operation. One allows the RNC to be used for special effects, like snappy snares or popping basses. The other provides near-invisible signal compression for sensitive material where compression artifacts are less desirable (like natural vocals, acoustic guitar or the program bus). The RNC yields clean, airy compression with few artifacts and little high-end loss, even at massive gain reduction! The amazing performance is why- even after almost 20 years- many professionals are calling the RNC one of the best sounding compressors for under $2000.

How It's Done

The RNC achieves such high performance at a low cost by using using a microprocessor to replace discrete sidechain components (resistors, diodes, capacitors, opamps, transistors, etc) with chunks of software, thereby reducing the component cost. This approach, however, still processes the main audio in the analog domain, avoiding the problems associated with digital audio conversion (e.g., latency, digital artifacts). Even the problem of "scratchy" pots and switches are avoided: no audio flows through the front-panel controls. The front-panel pots and swtiches merely feed DC voltages to the microprocessor and it takes care of adjusting parameters and signal path with components - like sealed-relays and VCAs - located close to the input/output jacks avoiding noise pickup and audio quality reduction due to aging controls! With this blend of technology, the RNC offers the accuracy and precision of digital control with the clean tonal character of an all-analog signal path. The RNC's digital control permits accurate repeatability of your favorite settings.

Notes: What It Is

Years ago, many RNC users pined for less invisible compression and requested that FMR Audio offer a more "colourful" compressor, suitable for bass guitar, drums and other sources in need of added sonic texture. In response, the FMR designer went to the RNC archives and resurrected a version of RNC software that had been rejected for release because it wasn't invisible enough! The result: a compressor reminiscent of some classic opto compressors used to just "level" the signal rather than tame every transient. To celebrate the RNLA's sonic "colour", a bright red knob* was chosen as a visual metaphor. Although the most recent version ships with a less ostentatious red-striped knob (not shown), the RNLA's sonic colour remains bolder than ever...

How It Sounds

"Thick" and "gooey" is how some customers have described the RNLA's sound. The RNLA is, admittedly, much "gentler" and not as apt to grab'n'run with the signal. Like an old-timey photocell, the RNLA is a little resistant to responding right away, but requires the signal to be there for a while to get the photocell to act. This action yields a soft musicality to the compressor's action that adds a desirable characteristic to the source signal.

How It's Done

The RNLA and the RNC share much of the same hardware, but run different algorithms to achieve the desired effect. The RNLA exercises the well-known dictum (among dynamic processor designers) that, after the static characteristics of the signal path, the main contributors to a processor's sound are the shapes of the attack & release envelopes. The RNLA's software then transforms the sidechain signal into a drive signal for the VCA that both slows things down a bit and totally reshapes the crisp and quick action of the RNC's "normal" mode. This reshaping (and slow down) are the primary sonic drivers behind the RNLA's "thick and gooey" sound!

Notes: The S-Com 4 is a compact and versatile single-rack space device that provides four channels of high-quality dynamic processing with an Expander/Gate and Compressor/Limiter on each channel.

The four channels operate independently or in stereo pairs. Its multi-segment LED metering displays input/output level as well as gain reduction. The Expander/Gate section features a continuously variable Threshold control, as well as a switch for fast or slow release times. The Compressor/Limiter section includes variable Threshold, Ratio and Output levels. S-Com 4's Enhancer switch restores high frequencies that are sometimes diminished by heavy compression.

This wide-ranging combination of features makes the S-Com 4 an efficient and versatile audio tool for a wide variety of applications. Its clean and quiet audio characteristics make it ideal where high sonic integrity is imperative.