Effects pedals

Notes: Modulation madness! All-analog multi-functional modulation effects processor featuring Phaser, Tremolo, Vibrato, and a Neo-modulated Wah. At the heart of the EHX Worm is a specially designed tone-bending engine that creates groundbreaking oscillatory effects.

True bypass
Mode selectable analog modulation effects: wah, phaser, vibrato, tremolo
Manual mode removes the modulation so the effects can be swept by hand
Optional expression pedal sweep capability
Tough and compact die-cast chassis
Power adapter included

Specifications

Circuit: Analogue
Bypass: True Bypass
Audio: Mono
Power Supply: 24VDC-100mA power adapter included
Dimensions (in): 4.75 x 4 x 2.25
Current Draw: 50mA
Year Released: 2008

Notes: Iridium

Leave Your Amp At Home.

Nothing reveals the true nature of your guitar and your playing like a world-class tube amp driving a perfectly matched speaker cabinet in a great sounding room. Now there is a pedal that truly delivers that sound and feel, with simple controls for effortlessly dialling in the perfect amp tone when going direct. Discover inspiring tube amp responsiveness, unprecedented impulse response speaker cabinet realism, and controllable natural sounding room ambience.

Iridium gives you three iconic amplifiers, with a total of nine impulse response speaker cabinets that complement the tonality of the amp. Skip the hassle of lugging around or miking amps. Place Iridium on your pedalboard and send gorgeous stereo amplifier tones, stunningly realistic cabs, and lush room ambience direct to a recording interface or PA system. With Iridium, it's a snap to dial in a direct tone that will truly inspire and sound great whether you are monitoring through in-ears, floor wedges, reference monitors, or studio headphones.

Three Iconic Amplifiers

The Matrix Modeling process captures all the subtleties and unique tonal qualities of each amplifier. Strymon have taken three iconic tube amps with distinct characters and mathematically modelled every aspect of their circuitry with absolute precision to deliver the response, feel, and inspiring experience of playing through the original amps at their best. Taking the process a step further, Strymon have hot-rodded each amp to provide an extended range of tonal options beyond what was available from the original designs.

Nine Stereo IR Cabinets

Iridium's speaker cabinets offer a level of realism and responsiveness unprecedented in outboard effects. Iridium delivers full stereo 24bit 96kHz resolution for the entire 500 milliseconds of its speaker cabinet impulse responses. Until now, IRs of this resolution have only been available for use within studio recording software. Iridium's breakthrough technology means you can use the very best impulse responses available, bringing maximum realism to your pedalboard.

Adjustable Room Ambience

Iridium's hybrid room reverb combines a 256 millisecond stereo impulse response with Strymon's reverb tank algorithm for extended decay. This combination places your amp and cab in a natural sounding room (small, medium, or large), creating a space for your amp to open up and breathe.

Round Amp - Based on* a Fender Deluxe Reverb

The Deluxe is one of the most recorded amps in history for good reason. This amp is clean, bright, and mid-scooped, with plenty of headroom. At higher Drive settings it delivers an overdriven sound unique to its architecture. Strymon chose the Deluxe's Normal channel for its round tone that plays well with pedals. While preserving access to all the tones originally available with this channel, our model gives you something extra: a midrange control. With the midrange at noon, you get the original fixed-resistor value and standard tonal characteristics of the Deluxe. Turn down the midrange for a more scooped sound, or turn it up for tweed-era tones.

Chime Amp - Based on* the Brilliant channel of a Vox AC30

The amp that defined the guitar sound of the British Invasion. Our model of the AC30 Brilliant channel (Top Boost) is jangly, bright, and chimey, providing air for subtle passages with a light touch, and bite when you want to dig in. For this amp, the Middle knob acts a Tone Cut knob, providing high-end roll-off just before the power tubes, per the original AC30 design. In addition to the full available gain of the original amp, toward the top end of the Drive knob's range of travel, Strymon have added a frequency-shaped front end boost to tighten the low end while driving the amp further into saturation.

Punch Amp - Based on* a Marshall Plexi (Super Lead model number 1959)

This powerful amp is meatier, with higher gain than the other two amps, and has a powerful midrange response. This amp features a buttery, smooth overdrive. At higher Drive settings it will deliver all the high gain distortion and growl this amp is known for, and then some. Setting the Drive control at around 2 o'clock gets you the maximum gain the original Plexi design allowed. Beyond that, our model has some additional gain on tap, giving you access to custom hot-rodded Plexi high gain tones.

*All product names are trademarks of their respective owners, which are in no way associated or affiliated with Strymon. These product names, descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Strymon's sound design process. Fender and Deluxe Reverb are registered trademarks of Fender Musical Instruments Corporation. Vox is a registered trademark of Vox R&D Limited. Marshall is a registered trademark of Marshall Amplification Plc.

A Carefully Curated Cab Collection.

Iridium comes pre-loaded with a carefully curated collection of premium cabinet impulse responses from OwnHammer, Celestion, cabIR and ValhallaIR.

Round A - Deluxe Reverb 1×12" by OwnHammer
Impulse captures a vintage Fender Deluxe Reverb open back 1×12" combo loaded with a 1978 Fender CTS ceramic 12" speaker.

Round B - Blues Junior 1×12" by CabIR
Impulse captures a 1×12" Blues Junior cabinet, loaded with a Jensen C12N speaker.

Round C - Vibrolux 2×10" by cabIR
Impulse captures a Fender Vibrolux from 1965 with 2×10" Jensen C10NS speakers from 1965.

Chime A - AC30 2×12" Alnico by OwnHammer
Impulse captures a Vox AC30/6 open back fawn 2×12" combo with 2001 Celestion T0530 Blue AlNiCo speakers.

Chime B - 1×12" Alnico by Celestion
Impulse captures Celestion Blue Alnico speaker in a closed back 1×12" cab.

Chime C - Mesa 4×12" by ValhallaIR
Impulse captures a 4×12" Mesa Boogie "Halfback", which is loaded (open back) with two Black Shadow MC-90 speakers from CelestionTM and two Black Shadow EVM12-L from ElectroVoice.

Punch A - GNR 4×12" by OwnHammer
Impulse captures a 1971 Marshall 1960B "basketweave" 4×12" cabinet.

Punch B - 2×12" Vintage 30 by Celestion
Impulse captures a Celestion Vintage 30 in an open back 2×12" cab.

Punch C - Marshall 8×12" Alnico by cabIR
Impulse captures a re-issue of the 1965 Marshall 8×12" full stack cabinet, loaded with Celestion T652 AlNiCo speakers.

Load Your Own Impulses.

It's easy to replace the pre-installed IRs with custom IRs from your own collection by using Strymon Impulse Manager software.

Stereo Output
Operates at instrument and Line Level input sources
Discrete transistor headphone amplifier
Expression pedal input provides seamless morphing between knob positions (Expression mode), or smooth pre/post volume control with logarithmic taper (Volume mode)
USB jack for connecting to Strymon Impulse Manager software
to add and edit your own speaker cabinet IRs
Compatible with Strymon MultiSwitch Plus for remote selection of up to 4 presets
Full featured MIDI control accessible via EXP Jack for remote parameter control and access to 300 preset locations (requires Strymon MIDI EXP cable or MIDI to TRS interface)

Audio Quality

Ultra-low noise, high performance 24-bit 96kHz A/D and D/A
converters provide uncompromising audio quality
Super high performance SHARC and ARM co-processors
32-bit floating point processing

More

Transparent Analogue Buffered Bypass
Strong and lightweight anodized black aluminum chassis
9V DC power supply included
Power requirements: maximum 9 volts DC center-negative, with a minimum of 500mA 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: 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: The Bass War was born with a clear mission: to take Death By Audio's legendary Fuzz War and craft it into the ultimate weapon for bass. Death By Audio didn't just tweak the formula, they reimagined it from the ground up, infusing classic circuit designs with our own twist. The result? A harmonically rich octave fuzz that doesn't just deliver - it dominates, with exceptional gain, a wide tonal range and a MIX control that puts the power of mind-blowing bass fuzz at your fingertips.

This pedal isn't here to play nice, it's here to push boundaries. The super-extended control ranges let you sculpt your sound from a gritty, grinding drive all the way to a thick, bone-crushing distortion. The FUZZ knob is your key to unlocking everything from a subtle growl to an all-out sonic assault.

The TONE knob is your secret weapon, acting like a notch filter that lets you sweep through a massive arsenal of fuzz tones, each one rich, heavy, and impossible to ignore. And with the MIX control, you can blend just the right amount of fuzz with your clean bass, keeping your sound powerful and balanced, no matter how intense things get.

The Bass War isn't just another Fuzz pedal, no it's your ticket to a bass tone that demands attention and leaves its mark. If you're ready to take your sound to the next level and carve out your own sonic territory, the Bass War is your go-to pedal. Plug in and let your bass do the roaring.

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


Based on the legendary Roland Space Echo, the RE-202 brings tape-style delay effects into the future. Classic vintage sound in a modern, user-friendly package.

Supplier's Notes:
A Masterpiece Returns in the Modern Era

Introduced in 1974, the Roland RE-201 Space Echo stands among the most legendary and sought-after effect units ever produced. This tape-based classic remained in production for over 14 straight years, and its distinctive rhythmic echo sounds, warm character, and highly playable sonic quirks still inspire musicians, producers, and audio mixers over four decades on.

Backed by intensive R&D and Boss' latest innovations, the RE-202 faithfully delivers the authentic sound and behaviour of the Space Echo like never before. Built by the company that designed the original, this advanced pedal captures the RE-201's magic in flawless detail, from the magnetic tape and motor properties to the vibrant spring reverb and colourful preamp circuit. And to take things even further, Boss have expanded the vintage Space Echo experience with lots of new features tuned for today's music.

Tape Echo Magic

Tape echo was the first delay effect and one of the first effect processors available for electronic musicians. In contrast with today's CPU-based digital units, a tape echo is a simple machine that uses a motor to pull magnetic tape across one or more record/playback heads. Warm, full, and dynamic, the tape echo sound is influenced by many factors. The ever-changing input level colours the sound with varying amounts of tape saturation and compression. In addition, motor speed fluctuations, friction, wow and flutter, and other elements introduce an appealing modulated character that's subtle and continually evolving.

RE-201 Space Echo: Simply Legendary

The RE-201 was a benchmark Roland product and one of the leading tape echo units of its era. It featured three evenly spaced heads that produced a wider range of echo effects than typical single-head designs, plus an innovative free-running tape system that provided superior performance with minimal tape wear. Grab-and-go controls enabled quick access to clean, single delays or various head combinations for dense, rhythmic echoes. A spring reverb tank was included too, making the RE-201 a one-stop shop for quality ambience effects. Last but not least, analogue preamp circuitry was another key ingredient in the Space Echo's rich sonic recipe.

A Masterpiece Reborn

Realized through the latest technologies and exhaustive analysis of several vintage RE-201s-including a pristine original unit from the BOSS and Roland factory archive-the RE-202 brings the complete Space Echo experience to life in a versatile modern pedal.

While previous BOSS designs captured the true sonic flavour and essential characteristics of the Space Echo, new advancements have allowed us to go much deeper than ever before. With the RE-202, Boss' engineers have fully reproduced all the complex, non-linear behaviours that contribute to the RE-201's immortal character. Everything that influences the sound was carefully examined and recreated with all-new algorithms, including the tape path, record/playback mechanism, motor variations, preamp coloration, tape age, spring reverb character, and more.

Retro Sound at Your Fingertips

The RE-202 delivers the full vintage vibe of the RE-201-without the need for regular tape replacement and hardware maintenance. All the core controls of the original are here, including the iconic 12-position mode selector. Every behaviour is replicated with complete accuracy, such as the gradual pitch change that occurs when the Repeat Rate knob is tweaked, or the cool runaway feedback that happens when the Intensity knob is maxed.

With selectable tape age and variable controls, you can dial in everything from a brand-new Space Echo to the worn character and quirks of a well-loved vintage piece. The Saturation control has been carefully calibrated based on the actual magnetic tape and preamp behaviours of the RE-201, with the sound becoming warmer and more compressed as you turn up the knob.

Sampling Frequency: 48 kHz

AD Conversion: 24 bits + AF method
AF method (Adaptive Focus method) This is a proprietary method from Roland & BOSS that vastly improves the signal-to-noise (SN) ratio of the AD converter.

DA Conversion: 32 bits
Processing: 32-bit floating point
Modes: 12 modes
Memory127 + Manual
Nominal Input Level: INPUT A/MONO, INPUT B: -10 dBu
Maximum Input Level: INPUT A/MONO, INPUT B: +7 dBu
Input Impedance: INPUT A/MONO, INPUT B: 1 M ohm
Nominal Output Level: OUTPUT A/MONO, OUTPUT B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, OUTPUT B: +7 dBu
Output Impedance: OUTPUT A/MONO, OUTPUT B: 1 k ohm
Recommended Load Impedance: OUTPUT A/MONO, OUTPUT B: 10 k ohms or greater
Bypass: Buffered bypass
Controls: ON/OFF switch, MEMORY switch, TAP switch, SATURATION knob, WOW & FLUTTER knob, MODE SELECTOR knob, BASS knob, TREBLE knob, REVERB VOL knob, REPEAT RATE knob, INTENSITY knob, ECHO VOL knob, MEMORY button, INPUT button, TAPE button

Connectors: INPUT A/MONO jack, INTPUT B jack, OUTPUT A/MONO jack, OUTPUT B jack: 1/4-inch phone type
CTL 1, 2/EXP jack: 1/4-inch TRS phone type
MIDI (IN, OUT) jacks: Stereo miniature phone type
DC IN jack
USB port: USB micro B-type (program update only)
Power Supply: AC adapter
Current Draw: 140 mA
Accessories: AC adapter, Owner's Manual, Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Rubber foot

Options (sold separately)
Footswitch: FS-5U
Dual footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
MIDI/TRS connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight

Width: 192 mm / 7-9/16 inches
Depth: 133 mm / 5-15/64 inches
Height: 52 mm / 2-3/64 inches
Height (including rubber foot): 53 mm / 2-3/32 inches
Weight: 860 g / 1 lb 15 oz

Notes: This premium LI version of Mooer's fantastic GE1000 pedal features a built-in lithium ion battery and benefits from a snazzy 'Walking Star' paint job. Same great sound as the standard version.

Supplier's Notes:
MOOER has consistently pleased the guitar pedal market with its GE multi-effect range, and its latest addition, the GE1000LI, is set to be no exception. The GE1000LI, built with a futuristic and sleek "Walking Star" design, builds upon past GE products, offering an even larger range of guitar processing effects, preamps, amp simulators, and features than previous entries.

Installed with a Lithium-ion battery, the GE1000LI enables guitarists to use the pedal even when mains power is unavailable. When combined with the pedal's synchronizable Groove Station drum machine, digital tuner, AI-driven equalizer, and looper, GE1000LI users are empowered to craft fully loaded compositions without needing backing tracks, bandmates, or expensive gear.

The GE1000LI comes preloaded with an impressive bank of guitar effects and amp simulations, but this is augmented further through MNRS GE Cloud support. MOOER's MNRS files consist of IR samples from real amplifiers, facilitating authentic feeling tones that can be downloaded, uploaded, and shared via MOOER's 'GE Cloud' app for free. The GE1000LI also supports third-party IR files of up to 2048 sample points, enabling further expansion of the pedal's portfolio of amp simulators.

Further adding to the GE1000LI's impressive amplification and tone features, the GE1000LI includes a cutting-edge AI-driven automatic equalizer, a first for MOOER. This automatically adjusts a 5-band EQ based on the user's playing and music style choice, providing further possibilities for creativity whilst still providing the flexibility of a manual-controlled EQ interface.

MOOER hasn't only focused on tone and pitch with the GE1000LI exclusively, which is illustrated perfectly by the integrated Groove Station rhythmic toolkit, consisting of a style-specific drum machine and a looper. These features have been designed to work both independently and in tempo synchronization, making them adaptable for all types of jam. The looper even includes automated record and count-in functions, activating the loop recording when an input signal is detected, providing a unique hands-free looping experience.

MOOER has always excelled at providing innovative UI experiences, and the GE1000LI is set to continue this trend. The pedal features a 5-inch high-quality coloured touch screen designed for intuitive multi-effect workflows while keeping some fan favourites from previous GE pedals. These include the signature MOOER multi-purpose control dials, buttons, and a quick-access expression pedal.

Additional flexibility can be found within the pedal's cutting-edge control systems, including programmable MIDI ports, bundled preset management software, and compatibility with the MOOER mobile app.

This level of flexibility is matched by the pedal's audio routing solutions, which feature Bluetooth playback, USB audio interfacing, serial and parallel TRS stereo FX LOOP compatibility, and industry-standard input and output ports.

Notes: Launched in 1976, the CE-1 Chorus Ensemble was not only the world's first chorus effect pedal, but also the very first BOSS pedal. Three years later, this inventive new sound was squeezed into the blue CE-2 Chorus, and chorus pedals have remained in the compact lineup ever since. Four decades on, the spacious modulated tone of the signature BOSS effect is still loved by musicians everywhere. In 2016, to celebrate the 40th anniversary of BOSS innovation, the original analogue chorus sounds are now reborn with the Waza Craft CE-2W. The CE-2W's Standard mode faithfully recreates the classic CE-2 chorus sound, and adds an expansive new sound field with stereo output, which was unavailable in the mono CE-2. CE-1 mode fully reproduces the stereo chorus and vibrato sounds of the legendary CE-1, with the addition of variable chorus depth not available in the original pedal. To commemorate the birth of BOSS effects, the CE-2W is made exclusively in Japan, just as the original CE-1 and CE-2 were.

Waza Craft: The Art of Superior Tone

Since the beginning, the engineers at BOSS have been committed to achieving the finest guitar tones using any technology necessary, from old-school analogue circuits to high-tech DSP. This enthusiastic spirit continues on with the Waza Craft series, which brings you exceptional tone and touch response through carefully selected analogue components, refined circuitry, and meticulous attention to detail. In Japan, "Waza" is the term for art and technique, and these special edition pedals proudly carry the Waza symbol to represent the pinnacle of BOSS design and craftsmanship.

Specifications

Modes: 3 modes, Standard, CE-1 Chorus, CE-1 Vibrato
Nominal Input Level: -20 dBu
Input Impedance: 1 M ohm
Nominal Output Level: -20 dBu
Output Impedance: 1 k ohm
Recommended Load Impedance: 10 k ohms or greater
Bypass: Buffered bypass
Controls: Pedal switch, Standard/CE-1 Mode switch, RATE knob, DEPTH knob
Indicator: CHECK indicator (Serves also as battery check indicator)
Connectors: INPUT jack: 1/4-inch phone type, OUTPUT A (MONO) jack: 1/4-inch phone type, OUTPUT B jack: 1/4-inch phone type, DC IN jack
Power Supply: Alkaline battery (9V, 6LR61) or Carbon-zinc battery (9V, 6F22), AC adapter (sold separately)
Current Draw: 25 mA
Expected battery life under continuous use (These figures will vary depending on the actual conditions of use.): Alkaline: Approx. 32 hours, Carbon: Approx. 18 hours
Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Alkaline battery (9V, 6LR61), Alkaline battery (9V, 6LR61)
Options (sold separately) AC adapter: PSA series

Size & weight

Width: 73 mm/ 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm/ 2-3/8 inches
Weight (including battery): 450 g / 1 lb

* 0 dBu = 0.775 Vrms

Notes: TARS DLX is a dual fuzz with 2 analogue filters inspired by the MS-20.

Probably the only pedal with 4 poles - resonant - Low Pass and High Pass Filters.

It is a stage & studio tool to shape your sound with high precision or an experimental device for loud noise makers.

It is an evolved version of TARS, a robot looking for life in space too. (and a pedal we released a year ago).

Notes from the designers :

Collision Devices took TARS and we pushed it forward.

The Fuzz circuit has been reworked to be opened in high end - so that it can now sound amazing as a low gain fuzz/distortion. The creamy one we all like in those post-hardcore riffs. It is also more aggressive when Gain is maxed out.

+ Collision Devices worked another fuzz (BLAST) which feedbacks a part of the circuit to give this "burning" feeling for HUGE and abrasive sounds.

The frequency response from both filters has been improved to better work on very low end sources with subby bass sounds.

TARS DLX can be used as clean blend on bass or in insert of a track mix.

The "ADD FUZZ" configuration which is found nowhere else is better than ever with the addition of the high pass after the low pass. It adds a filtered fuzz to the fuzz signal so that the filters can be used as EQ shape / phasing effects. This is amazing.

Of course, Fuzz and filters can be used separately in parallel or in serial. This truly is a beast of a dirt and filtering pedal.

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: Jackson Audio presents the TWIN TREM, a pedal that features two distinct tremolo effects: a Harmonic Tremolo on the right side and an Optical Tremolo on the left side. Each tremolo is equipped with independent Speed, Depth and Volume controls and can be used separately as stand-alone effects (or combined) to create rich, unique and percussive sounds.

Each tremolo side has different LED indicators (red for Harmonic, blue for Optical and magenta for Combined). These LEDs also visually display each section's speed, making it easy to sync the two tremolos together.

The TWIN TREM boasts four top-mounted jacks, allowing versatile signal routing. You can run it like a standard pedal, routing the signal in through the first jack and out through the last. Alternatively, you can route the signal through the Harmonic side first, pass it through a reverb or another effect, and then into the Optical side, preserving the classic placement of optical tremolo after reverb, just like in many amplifiers.

These routing options opens up endless possibilities for integrating the TWIN TREM with other effects in your signal chain. If you have a stereo setup, the right side can run through the Harmonic tremolo, while the left side passes through the Optical.

In addition, offering comprehensive control over pre- and post-effects tremolo placement all helps to make the TWIN TREM an essential tool for building a complete rig.

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: In 2025, MOOER has announced that it will be set to release its latest multi-effects pedal, the GS1000 Intelligent Amp Profiling Processor, an augmented intelligent amp profiling processor. Built on MOOER's advanced third-generation digital platform, the GS1000 introduces groundbreaking MNRS 2.0 technology, allowing guitarists around the world to emulate their favorite gear with immense precision -specifically, for distortion pedals, preamps, amplifier heads, and cabinets.

With this innovation, guitarists can fully capture the essence of their favorite guitar gear without owning the physical hardware, enabling them to carry their favorite tones wherever they go. Users are even able to use third-party IRs for cabinets of their choice, further enhancing the flexibility of this feature.

It's unforgettable how much MOOER's multi-effects pedals have impressed audiences so far, primarily thanks to their robust tone libraries. However, even still, the GS1000 continues to build upon this with storage for up to 120 sampling profiles, along with continued integration with the MOOER Cloud app. Essentially, this cloud integration facilitates infinite upload and download possibilities, giving users access to a global community of shared tones, widely expanding the number of accessible tones. More still, the GS1000's previously mentioned third-party IR cabinet simulations support up to 2048 sample points, guaranteeing studio-grade tonal accuracy across the board.

Even more impressive for the price is how the GS1000 inherits the dual-chain effects architecture that made previous MOOER gear so versatile, making it suitable for highly complex usage scenarios. With over 350 factory effects models and a Sub-Patch preset grouping mode, the GS1000 makes it far simpler for users to make seamless transitions between tones, all while maintaining effect tails to guarantee seamless transitions. Additionally, the reintroduction of the innovative AI-driven EQ Master builds upon MOOER devices' previous capabilities, using intelligent adjustments in real-time to match the musical style of players to tones, while still allowing manual tweaks for precise control.

Impressively, the GS1000 also comes packed with a Groove Station module, consisting of a combination of drum machine and looper features - including 56 high-quality drum kits! It offers a 480-second phrase looper with infinite overdubs, automated detection, and synchronization capabilities, resulting in an intuitive platform for solo jamming, composition, and live loop-based performance. Overall, the Groove Station acts as an all-in-one suite for creating full arrangements, without having to depend on additional backing tracks or bandmates.

Visually and functionally, the GS1000 really stands out thanks to its sleek visual design and enhanced user experience. For example, it features a convenient 5-inch high-resolution touch screen, which is also paired with ambient lighting to add a visually stunning element to the pedal. As a result, the GS1000 is not only designed for convenient touch-based control but also as a standout centerpiece in any guitar rig.

In addition to this touchscreen control system, the GS1000 also provides expanded connectivity options, improving upon the already impressive flexibility of past pedals. Most notably, it supports connectivity with the MOOER F4 wireless footswitch, as well as the ability to control presets via external MIDI devices.

As is expected from MOOER these days, the GS1000 also excels when it comes to routing opportunities, going above and beyond the typical stereo 14" inputs and outputs that would be expected from other brands. Yes, it still includes such staples, but it also includes an XLR microphone input, alongside balanced TRS outputs for long-distance signal clarity. The configurable serial/parallel stereo effects loop enables seamless integration of external effects, and the addition of Bluetooth audio input and MIDI compatibility broadens its wide range of use cases for live and practice-based applications.

Furthermore, the pedal also serves as a professional audio solution thanks to its low-latency 2-in/2-out ASIO USB sound card. Supporting up to 192kHz sampling rates, the GS1000 makes recording and live streaming effortless, as it can easily be used with software DAWs, MOOER's editing software, as well as the USB-based MIDI control.

The GS1000 will be available in two versions - the standard white edition, which is powered by mains power, and the GS1000 Li version, which introduces a 7.4V 4750mAh lithium battery, chargeable through its power port. With this upgrade, users can enjoy up to six hours of continuous power-free playtime, making it ideal for practicing, busking, and generally performing on the go.

Overall, for fans of MOOER's previous amp simulation offerings, the GS1000 represents a natural evolution, building on everything that made its predecessors great while introducing cutting-edge features and expanded capabilities. Most importantly, MOOER has promised to continuously update its MOOER 4.0 tonal algorithms on the MOOER Cloud in line with the release, keeping things fresh for the company's dedicated user base.

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


Effects masters Eventide serve up a lush bucket brigade chorus inspired by the analogue classics of the 70s and 80s. Three chorus voices plus MicroPitch detuning for stereo width and complexity.

Supplier's Notes:
Short Description: Stereo Bucket Brigade-style Tri-Chorus with Psychedelic Swirl; Eventide's lushest chorus ever! Product copy: Deep Modulation & Dreamy Textures

Inspired by the classic Tri-choruses and stompbox choruses of the 1970s and early 1980s, the TriceraChorus pedal pairs rich Bucket Brigade-style chorusing with Eventide's legendary MicroPitch detuning for a lushness that rivals the jungles of the late Cretaceous Period. TriceraChorus features three chorus voices and three unique chorus effects which can be used to create a wide stereo spread with pulsing waves of modulation. The innovative "Swirl" footswitch adds psychedelic flanging, phasing and Univibe-style tones. It has never been easier to dial in syrupy smooth deep modulation on guitar, bass, synths, strings, vocals and more.

Deep Modulation & Dreamy Textures

TriceraChorus has three chorus voices: Left, Center, and Right, which can be detuned to add even more depth. A three-phase LFO modulates the delay times for these voices, producing a dazzling movement across the stereo field. The combination of the three modulated delays creates a huge wash of chorus reminiscent of that big, dreamy '80s sound.

A Trifecta of Tone

Like the mighty three-horned Dino, TriceraChorus is a powerhouse of chorus offering three effect types complemented by detuning and Swirl. For a quintessential vintage chorus sound, set TriceraChorus to "Chorus" mode. If you need something with more complexity and movement, "Chorale" produces lush, heavenly choruses inspired by classic rackmount Tri-chorus units. For a more warbly, pulsing effect, try "Vibrato." Add detune for subtle pitch shifting sweetness. Engage the "Swirl" footswitch to get lost in a whirlpool of kaleidoscopic sound.

Notes: The RC-500 is an essential partner for guitarists, singer/songwriters, multi-instrumentalists, and anyone who wants to take their looping to the next level. Craft real-time compositions with two loop tracks, mic and stereo instrument inputs, rhythms, and inspiring Loop FX, all backed by premium 32-bit audio quality. Store loops in onboard memories, and explore expanded operation with external controls and MIDI. Filled with next-generation Loop Station features, the RC-500 gives serious creators the tools they need to develop new ideas and deliver impactful performances that will leave audiences wanting more.

Super Sound Quality

Featuring best-in-class 32-bit AD/DA and 32-bit floating-point processing, the RC-500 captures your personal sound with full fidelity and keeps loops crystal clear, even with multiple overdubs. And with 13 hours of stereo recording time, there's plenty of space for extended creative journeys.

Connect, Loop, and Mix

With its versatile I/O and free-flowing interface, the RC-500 is ready to support all your musical visions. Connect mono/stereo instruments and pedal effects, plus a mic to the dedicated XLR input-complete with phantom power if needed. Use the two tracks independently for song-style composition, or together for rich multi-track textures. The LCD backlight changes colour to clearly show the current operation mode, while hands-on track faders and a mic level knob provide direct access to volume control as you loop.

Flexible Creative Control

Three onboard footswitches make it simple to control recording and playback, track switching, and more. For expanded operation, you can connect up to two external footswitches for direct control of many assignable functions, or an expression pedal for continuous adjustments. And for advanced rigs, the space-saving TRS MIDI I/O enables remote operation from MIDI switchers and foot controllers, plus MIDI sync with drum machines and DAWs.

Personalize Your Setup

The RC-500's I/O and footswitches are configured for basic operations by default, but they can be reassigned in a variety of ways to meet your custom needs. Route left/right input sources to separate tracks, or send guitar and vocals to independent outputs. Use the footswitches to turn effects on/off, start/stop rhythms, and more. Custom assignments are saved along with phrase memories, letting you instantly reconfigure the RC-500 for any application.

Energise Performances with Rhythms and Loop FX

Loaded with inspiring rhythms and evocative loop processing, the RC-500 is primed to bring groove and colour to all your looping adventures. Each of the 57 preset rhythms include A/B variations, while 16 different drum kits provide sounds to match any style. Designed for live performance, Loop FX like repeat, scatter, and more infuse your loops with instant sonic energy. There's a cool reverse function too, perfect for creating unique sonic flavours on demand.

Capture, Practice, and Perform

The RC-500's 99 phrase memories let you store loops as fast as you create them, complete with rhythm and kit selections, audio settings, and control assignments. Loop audio can be backed up to a computer via USB. And with WAV import via BOSS Tone Studio, the RC-500 becomes a central playback hub for lesson material, jam tracks, or backing music for your next gig.

Specifications

Sampling Frequency: 44.1 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point
Recording/Playback: Number of Track: 2, Data Format: WAV (44.1 kHz, 32-bit float, stereo), Maximum Recording Time: Approx. 1.5 hours (1 track), Approx.13 hours (total of All memories)
Rhythm Type: 57 Patterns x 2 Variations
Rhythm Kit: 16 types
Effect: LOOP FX (only for loop tracks)
Type: BEAT REPEAT, BEAT SHIFT, BEAT SCATTER, VINYL FLICK, Reverb (only for rhythm part)
Memory: 99
Nominal Input Level: MIC IN:-40 dBu (variable), INST IN A/MONO B: -10 dBu
Maximum Input Level: MIC IN:+8 dBu, INST IN A/MONO, B: +8 dBu
Input Impedance: MIC IN: 4 k ohms, INST IN A/MONO, B: 1 M ohm
Nominal Output Level: OUTPUT A/MONO, B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, B: +8 dBu
Output Impedance: OUTPUT A/MONO, B: 1 k ohm
Recommended Load Impedance: OUTPUT A/MONO, B: 10 k ohms or greater
Bypass: Buffered bypass
Controls: REC/PLAY switch, STOP switch, TRACK SELECT switch, MEMORY/VALUE knob, MIC LEVEL knob, TRACK 1 slider, TRACK 2 slider, TRACK 1 EDIT button, TRACK 2 EDIT button, RHYTHM TEMPO button, RHYTHM ON/OFF button, MEMORY button, MENU button, EXIT button, ENTER button, INPUT button
Display: Graphic LCD (96 x 32 dots, RGB backlit LCD)
Connectors: INST IN A/MONO, B jacks: 1/4-inch phone type, MIC IN jack: XLR type (balanced, phantom power: DC 48 V, 10 mA Max, OUTPUT A/MONO, B jacks: 1/4-inch phone type, CTL 1,2/EXP jack: 1/4-inch TRS phone type, USB port: USB micro B type, MIDI (IN, OUT) jacks: stereo miniature type, DC IN jack
Power Supply: Alkaline battery (AA, LR6) x 4, AC adapter (PSA-S series: sold separately)
Current Draw: 330 mA (with phantom power), 240 mA (without phantom power)
Expected battery life under continuous use: Alkaline: Approx. 3.5 hours (without phantom power), Approx. 2 hours (with phantom power)
*These figures will vary depending on the actual conditions of use.
Accessories: Owner's manual, Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Alkaline battery (AA, LR6) x 4, Rubber foot x 4
Options (sold separately) AC adaptor: PSA-S series
Footswitch: FS-5U
Dual Footswitch: FS-6, FS-7
Expression Pedal: FV-500H, FV-500L, EV-30, Roland EV-5
TRS/MIDI connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight

Width: 170 mm / 6-3/4 inches
Depth: 138 mm / 5-7/16 inches
Height (including rubber foot): 62 mm / 2-1/2 inches
Weight (including battery): 950 g / 2.1 lb

Notes: Now, the legendary analogue delay is back with a modern edge

Ever since being discontinued way back in 1984, the BOSS DM-2 Delay pedal has remained highly sought after by players everywhere for its warm, "bucket brigade" analogue delay tone. Now, the DM is back! With the Waza Craft DM-2W, the coveted stomp has been reborn with switchable sound modes and greater versatility for today's music styles. Using 100-percent analogue circuitry, the DM-2W's Standard mode nails the lush sound and 20-300 ms delay range of the original DM-2. Flipping into Custom mode instantly changes the sound character to a cleaner analogue tone with over twice the available delay time.

Waza Craft : The Art of Superior Tone

Since the beginning, the engineers at BOSS have been committed to achieving the finest guitar tones using any technology necessary, from old-school analogue circuits to high-tech DSP. Continuing this enthusiastic spirit, BOSS are pleased to introduce the new Waza Craft series. In Japan, "Waza" is the term for art and technique, and these special edition pedals proudly carry the Waza symbol to represent the pinnacle of BOSS design and craftsmanship. Being made in Japan, the Waza Craft series brings you exceptional tone and touch response through carefully-selected analogue components, refined circuitry, and meticulous attention to detail.

Specifications

Nominal Input Level: -20 dBu
Input Impedance: 1 M ohm
Nominal Output Level: -20 dBu
Output Impedance: 1 k ohm
Recommended Load Impedance: 10 k ohms or greater
Delay Time: Standard Mode: 20 ms to 300 ms, Custom Mode: 40 ms to 800 ms
Controls: Pedal switch, REPEAT RATE knob, INTENSITY knob, ECHO knob, Mode switch
Indicator: CHECK indicator (Serves also as battery check indicator)
Connectors: INPUT jack: 1/4-inch phone type, OUTPUT jack: 1/4-inch phone type, DIRECT OUT jack: 1/4-inch phone type, RATE jack: 1/4-inch TRS phone type, DC IN jack
Power Supply: Alkaline battery (9 V, 6LR61) or Carbon-zinc battery (9 V, 6F22), AC adapter (PSA series: sold separately)
Current Draw: 35 mA
Expected battery life under continuous use (These figures will vary depending on the actual conditions of use.): Alkaline: Approx. 15 hours, Carbon: Approx. 5 hours
Accessories: Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Alkaline battery (9 V, 6LR61)
Options (sold separately): AC adapter: PSA series, Expression pedal: Roland EV-5

Size & weight

Width: 73 mm / 2-7/8 inches
Depth: 129 mm / 5-1/8 inches
Height: 59 mm / 2-3/8 inches
Weight4: 60 g / 1 lb 1 oz

* 0 dBu = 0.775 Vrms

Notes: The Singularity is basically the fuzz section from the Black Hole Symmetry which is unique in sending the signal through a JFET transistor then 3 silicon transistors to end up being destroyed!

The Singularity keeps the look and fun of the Disintegrate setting to a single output volume control and adds a 3-position toggle switch to cut the output Low-Pass filter at 3 different frequencies.

Controls

Volume: Fuzz level.
3-position switch: Low-Pass filter frequency at 1.5 kHz (BHS style), 3.3 kHz, 16 kHz.

Notes: A modern modulation classic, the MD-500 offers a huge range of effects from chorus to phasers and beyond, many of them based on iconic Boss and Roland effects from the past. Great value for such versatility.

Supplier's notes:
Monster Mod Machine

Powered by advanced BOSS technology, the ultra-versatile MD-500 delivers nearly any type of modulation effect a musician could want, and then some. Included are 28 different algorithms with intensive programming parameters, offering a nearly limitless sound palette to create with. And with class-defying 32-bit AD/DA, 32-bit floating point processing, and 96 kHz sampling rate throughout, you'll enjoy pristine sound quality that extends beyond the capabilities of the very best studio hardware.

Effects in the MD-500 include many new Prime types developed with cutting-edge BOSS tech, plus authentic sonic recreations of vintage classics like the CE-1 Chorus Ensemble, Roland Dimension D, '70s script phaser, '80s tri-chorus, and numerous others. With the ability to use two patches at once with A/B Simul mode, the MD-500 can likely cover all your mod needs with one convenient pedal. And by inserting drive pedals in the MD-500's flexible external loop, it's easy to place mod effects before, after, or around the loop as needed for the very best sound.

Twelve Modes and 28 Mod Effect Types

The MD-500 includes 12 modes with 28 different mod effect algorithms, and every one of them has been newly developed specifically for this pedal. All the go-to standards are here: chorus, vibrato, flanger, phaser, tremolo, rotary, classic vibe, and ring mod. Auto wah and touch wah effects are on hand too, plus BOSS originals like Slicer and Overtone. Slicer fans will welcome the ability to program custom patterns, an additional feature to the original SL-20 Slicer pedal. And with the MD-500's spot-on recreation of Roland's Dimension D from the 1980s, you can add amazing width and depth with one of the most revered studio rack effects of all time.

Prime Tone

For the MD-500, standard effects like chorus, flanger, phaser, and others have been refreshed with BOSS's advanced new Prime algorithms. Using ultra-fast, high-powered DSP and the latest technology, BOSS engineers have reimagined these essential effects for enhanced expression, extended range, and maximum transparency. With an array of adjustable parameters per type, you have a massive range of sound-shaping potential at your fingers. Some effects even have all-new parameters never seen in BOSS effects before, such as the "Bell" and "Sweetness" settings included in the Prime Chorus algorithm.

Extraordinary Sound

The MD-500 features 32-bit/96 kHz AD/DA, exceeding all industry standards for pedal-based effects. All internal processing is 32-bit floating point and runs at a 96 kHz sampling rate as well, delivering pristine sonic quality that goes beyond the highest-level digital processors used in top pro studios. And with selectable true-bypass or buffered-bypass operation, you can choose the best setting to suit the needs of any pedalboard setup.

Advanced Interface, Intuitive Operation

The MD-500 is equipped with a large LCD that clearly shows the patch name and other vital performance information. It also makes it easy to view and adjust the unit's deep editing parameters and advanced control features. With the grab-and-go panel knobs, you have top-level access to essential adjustments like depth and effect level, plus two parameter controls that change dynamically with the selected effect type. And via USB, you can connect with the free MD-500 Editor/Librarian on your computer for remote editing, patch backup, and more.

A/B Simul Mode and Insert Loop Function

A/B Simul mode further extends the MD-500's versatility by letting you run two patches at once. A selectable series or parallel connection enables all sorts of tone-shaping possibilities, and you can even send each effect to its own separate output if you like. The MD-500 also features an external loop that lets you insert gain and drive pedals and set the ideal effect order on a per-patch basis. For example, you can place a phaser or classic vibe before a drive pedal in one patch, and a chorus or flanger after the drive in the next. And when you're in A/B Simul mode, it's even possible to position the loop between two different mod effects.

Specifications
Sampling Frequency: 96 kHz
AD/DA Conversion: 32 bits
Processing: 32-bit floating point
Modes: 12 modes- CHORUS, FLANGER, PHASER, CLASSIC VIBE, VIBRATO, TREMOLO, DIMENSION, RING MOD, ROTARY, FILTER, SLICER, OVERTONE
Memory: 198 (99 banks x 2 [A] [B]), 297 (99 banks x 3 [A] [B] [C])
Nominal Input Level: INPUT A/MONO, B: -10 dBu
Maximum Input Level: INPUT A/MONO, B: +8 dBu
Input Impedance: INPUT A/MONO, B: 1 M ohm
Nominal Output Level: OUTPUT A/MONO, B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, B: +8 dBu
Output Impedance: OUTPUT A/MONO, B: 2 k ohms
Recommended Load Impedance: OUTPUT A/MONO, B: 20 k ohms or greater
Bypass: Buffered bypass or True bypass (with relays)

Controls:
A switch, B switch, TAP/CTL switch
DOWN button, UP button, EXIT button, EDIT button
MODE knob, RATE/VALUE knob, DEPTH knob, E.LEVEL knob, PARAM 1 knob, PARAM 2 knob

Display: Graphic LCD (128 x 64 dots, backlit LCD)

Connectors:
INPUT (A/MONO, B) jacks, OUTPUT (A/MONO, B) jacks: 1/4-inch phone type
CTL 1,2/EXP jack: 1/4-inch TRS phone type
USB COMPUTER port: USB type B
MIDI (IN, OUT) connectors
DC IN jack

Power Supply: Alkaline battery (AA, LR6) x 4, AC adaptor (sold separately)
Current Draw: 225 mA
Expected battery life under continuous use: Alkaline: Approx. 4.5 hours
* These figures will vary depending on the actual conditions of use.

Accessories:
Owner's manual
Leaflet "USING THE UNIT SAFELY"
Alkaline battery (AA, LR6) x 4

Options (sold separately)
AC adaptor: PSA-S series
Footswitch: FS-5U, FS-5L
Dual Footswitch: FS-6, FS-7
Expression Pedal: FV-500H, FV-500L, EV-30, Roland EV-5

Size and Weight
Width: 170 mm / 6-3/4 inches
Depth: 138 mm / 5-7/16 inches
Height: 62 mm / 2-1/2 inches
Weight (including battery): 1.0 kg / 2 lbs 4 oz

* 0 dBu = 0.775 Vrms

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


MOOER is well known for producing highly versatile multi-effect pedals, but its latest product announcement, the Prime Stomp S1, is not just a multi-effect pedal. It is an all-in-one pedalboard for guitar effects and tones, looping, and music production, complete with a unique portability-focused design.

Initially, guitarists will be impressed by its 126 internal guitar effects and tone presets, which are editable, sharable, and downloadable through the MOOER Cloud platform, fostering unlimited tonal flexibility. However, these capabilities shine particularly brightly when combined with the pedal's recording features.

This includes a looper module, which facilitates up to 80 seconds of looping, whilst also providing functionality for real-time playback, loop deletion, and overdubbing. Loops and arrangements can also be recorded directly onto a mobile phone or tablet through a USB/OTG cable.

When combined with the pedal's 40 synchronizable drum machines, 10 metronomes, and tuner, these looping and recording capabilities empower guitarists to craft complete musical arrangements within a single unified pedalboard, without the need for studio equipment. All features can be controlled by four simple footswitches, making for a powerfully minimalist user experience.

Whilst MOOER offers several pedalboards that offer similar functionality, the Prime Stomp S1 stands out due to its focus on portability. Instead of being powered by a mains power supply, it is powered solely by an integrated lithium battery. This battery is charged by a USB C port, enabling users to charge the pedal with a portable power bank, laptop, or regular USB C charger. The device also weighs just 350g, making it effortless to carry in a backpack.

Whilst the Prime Stomp 1 primarily caters to traveling musicians, it still includes industry-standard pedal features, such as a 1/4" input, stereo 1/4" outputs, and an independent headphone output. All of these features are presented in a sleek case and are visualized by MOOER's signature digital LED display, making for an unbeatable unified toolkit for traveling guitarists.

Notes: One Small Stomp For Man - One Giant Leap For Chorus, Delays & Reverbs

The Zoom MS-70CDR+: Your New Modulation Station

The MS-70CDR+ gives musicians 149 spatial effects ranging from lush choruses to crystal-clear delays to atmospheric reverbs. This single stompbox can shape your tone and provide endless depth and textures.

A Deep Dive into Chorus, Delays, Reverbs & More

Chorus - 43 different chorus and modulation effects that add depth and motion to your sound including phasing, flanging, tremolo, vibrato, detuning, and pitch shifting.

Delays - Featuring 29 mono and stereo delays, with delay times of up to 4 seconds. Everything from reverse and multi-tap to pitch-shifted and self-oscillating delays.

Reverbs - 33 sophisticated studio-quality effects. From spring and plate reverbs to giant hall and arena reverbs.

Dynamics / Filters - Round out your sound with 44 dynamics and filters such as EQ's, compression, noise reduction, and special effects.

Expanded Controls

The MS-70CDR+ offers expansive parameters for each effect, allowing you to dive deep into tweaking your tone.

Define Your Sound
Use a singular effect or up to 6 simultaneously to create unique tones. Save your creations in one of the 100 patch slots or use the 80 preset patches as inspiration to get you started.

Next Generation Circuitry

Newly designed analogue circuits provide more fidelity for improved sound quality. The flat phase response provides sharp attacks and clean low end.

Everything's Better in Stereo.

The MS-70CDR+ has stereo input jacks that accept signals from passive and active guitars, as well as line-level devices such as synthesizers. Its dual line-level output jacks enable you to record and perform with the MS-70CDR+'s 58 stereo effects.

Soundscapes Are Key

For musicians looking to add lush layers to their synths or keyboards, the MS-70CDR+ provides high-quality effects that are perfect for adding atmosphere and character to your sound.

Change Patches With MIDI

With USB MIDI, you can connect the MS-70CDR+ to other MIDI gear to remotely trigger patch changes.

Enhanced Navigation

Cross Key Switches

The Cross Key switches allow you to instantly switch between effects and patches with a tap of your foot.

Control Knobs

Adjusting and tweaking parameters for each effect can be done with the four encoder knobs.

Colour Coded LCD Screen

The LCD backlight changes colour to make it easier to distinguish each category of effects while scrolling.

Sturdy Build

The MS-70CDR+ is built around a metal frame designed to withstand the rigors of live performances.

Power Options

The MS-70CDR+ runs on 2 AA batteries, USB power or AC power.

Tune-Up

The onboard chromatic tuner uses the colour backlight to give visual feedback to help you tune quickly and accurately. It supports all standard guitar tunings as well as open & drop tunings.

Handy Guitar Lab

With a growing library of patches and effects, guitarists can continue to expand their sound with the Handy Guitar Lab for MS-70CDR+ app for iOS. *Coming Soon to the App Store.

Technical Specifications

Maximum number of simultaneous effects: 6 effects
User patch memories: 100
Sampling frequency: 44.1 kHz
A/D conversion: 24-bit 128× oversampling
D/A conversion: 24-bit 128× oversampling
Signal processing: 32-bit
Frequency response: 20 Hz - 20 kHz (+0.5 dB/-0.5 dB) (when 10kO load)
Display: 160×128 dot-matrix LCD

Inputs L/R
Standard mono phone jacks
Rated input level: -20 dBu
Input impedance (line): 470 kO
Input S/N: 122 dB

Outputs L/R
Standard mono phone jacks
Maximum output level: +7.2 dBu (when output impedance 10 kO or higher)
Noise floor (residual noise) L/R: -100 dBu

Power
AC adapter: 9V DC 500mA centre negative (ZOOM AD-16 optional)
2 AA batteries (alkaline, lithium or rechargeable NiMH batteries)
Estimated operation time using batteries
These values are approximate. Battery operation times were determined using in-house testing methods. They will vary greatly according to use conditions.
Alkaline batteries: about 7 hours (about 5 hours using stereo input)
NiMH batteries (1900 mAh): about 6.5 hours (about 5 hours using stereo input)
Lithium batteries: about 14 hours (about 10 hours using stereo input)

USB Port:
USB 2.0 Type-C / Supported cable type: Type-C
Handy Guitar Lab: USB 1.1 Full Speed
Use a USB cable that supports data transfer. USB bus power is supported.

Dimensions: 133 mm (D) × 79 mm (W) × 61 mm (H)
Weight: 368 g (excluding batteries) / 415 g (including batteries)
Note: 0 dBu = 0.775 V

Notes: Ozymandias - Dual overdrive pedal for guitar with exceptional distortion sounds

Ozymandias is a stacked dual-overdrive/distortion pedal that offers a plethora of usage options, choices fit for the King of Kings. From a near-clean boost with unparalleled headroom to full bore bourbon-swilling crunch, this one rules them all.

Features and Controls
Ozymandias contains two independent overdrive circuits, with identical controls but marked differences in tone and voicing:

The CROOK channel (left side, blue LED) boasts a full, fat thick sound and amp-like voicing. This channel is more articulate, grainy and has a huge low end.

The FLAIL channel (right side, red LED) is voiced in the midrange, with more drive and compression. This high-mid voicing will cut through a mix on pretty much any instrument.

Both channels have GAIN, TONE and VOLUME controls. For more textural control, each channel has three-way switches for hard (GRIND) and soft (GRIT) clipping, as well range (FULL/MID).

Each channel of the Ozymandias has its own set of input and output jacks. This allows you to split the output from each channel into separate amplifiers or even process two different instruments independently.

The mysterious square in the middle switches between two modes:

Series (Light off): FLAIL channel -> CROOK channel -> Output 2
Parallel (Light on): FLAIL channel -> Output 1; CROOK channel -> Output 2
Thanks to internal 22V operation, Ozymandias offers far greater headroom than most overdrive pedals from a regular 9V pedal power supply. Even with the gain dimed, this pedal is extremely reactive to playing dynamics and pick attack.

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


Voodoo Vibe is a mini guitar effect pedal that is recreates the rotating speaker effects produced by the classic uni vibe pedals used by famous guitarists from the 60's to the present day. Controls for Speed, Intensity and Volume give a wide range of adjustment to home in on the perfect vibe effect. An illuminated mini push button above the rotary controls can switch between a classic psychedelic vibe effect or a more chorus-type effect. Holding this button down during power-up selects between mono output or stereo output, which requires a stereo jack lead. Pressing the footswitch engages or disengages the effect. The smart tap tempo feature means that the pedal recognises pressing the footswitch twice or in a short space of time and responds to the timing as a tap tempo function. Perfect for trippy arpeggios and ethereal chord work.

Power supply: 9Vdc (DC5521 connector, negative centre, adaptor not supplied)
Controls: Speed, Intensity, Volume and Vibe/Chorus switch
Dimensions: 94 x 53 x 51mm
Weight: 175g

In the box

The box for this item contains :

Voodoo Vibe pedal

Notes: Great for live performances! The Cosmic ECHO Squared is an analogue-sounding LoFi delay that will work with just about anything you plug into it.

The dark, lush, moody tones of the ever-popular PT2399 IC provide an out-of-this-world experience. Our take on this classic pedal pushes the chip's limits so you can explore all the gritty elements drifting at the edge of long delay rates. It already outperforms other bucket brigade style echoes, but just to be sure, we added 2 stomp switches, Blast and Warp.

The "Squared" version of the pedal is tailored to live guitar and keyboard performers. It has all the features of the original plus:

Expression pedal input over Rate
Warp and Blast ("Zone" on the Cosmic Echo) are now momentary stomp switches
Blast amount knob now accessible externally

Features:

Dark, rich sounds with the analogue vibe of a tape echo.

Uses the PT2399 IC, a bucket brigade style emulation. This IC has 16-bit sampling for 30-300 milliseconds. After that, the sample rate goes down in relation to the delay length. This results in artifacts and noise being introduced into the audio for weird, cosmic, psychedelic sounds.

Delay length: 30ms-1,250ms

4 knobs: Feedback, Mix and Rate, Blast Amount. The Mix is a wet-only control that attenuates the amount of delayed signal in the signal chain. The Rate controls the number of repeats in an organic-sounding way.

Warp button: Stomp switch that gives a bright, "small speaker" tone.

Blast button: Stomp switch that introduces feedback into the circuit momentarily. Great for adding rhythmic feedback and other strange sounds. The Blast intensity is adjusted with the Blast Amount knob.

Pedal may have a slight volume drop.

Great for shoegaze, surf rock, ambient and experimental sounds.

Pedal uses a 1590XX case.

Dimensions (L x W x H): 5 3/4" x 4 3/4" x 2 1/8" (146mm x 121mm x 54mm)

Takes a 9V battery or 9V centre negative 2.1mm barrel power supply (not included)

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


Based on the legendary Roland Space Echo, the RE-202 brings tape-style delay effects into the future. Classic vintage sound in a modern, user-friendly package.

Supplier's Notes:
A Masterpiece Returns in the Modern Era

Introduced in 1974, the Roland RE-201 Space Echo stands among the most legendary and sought-after effect units ever produced. This tape-based classic remained in production for over 14 straight years, and its distinctive rhythmic echo sounds, warm character, and highly playable sonic quirks still inspire musicians, producers, and audio mixers over four decades on.

Backed by intensive R&D and Boss' latest innovations, the RE-202 faithfully delivers the authentic sound and behaviour of the Space Echo like never before. Built by the company that designed the original, this advanced pedal captures the RE-201's magic in flawless detail, from the magnetic tape and motor properties to the vibrant spring reverb and colourful preamp circuit. And to take things even further, Boss have expanded the vintage Space Echo experience with lots of new features tuned for today's music.

Tape Echo Magic

Tape echo was the first delay effect and one of the first effect processors available for electronic musicians. In contrast with today's CPU-based digital units, a tape echo is a simple machine that uses a motor to pull magnetic tape across one or more record/playback heads. Warm, full, and dynamic, the tape echo sound is influenced by many factors. The ever-changing input level colours the sound with varying amounts of tape saturation and compression. In addition, motor speed fluctuations, friction, wow and flutter, and other elements introduce an appealing modulated character that's subtle and continually evolving.

RE-201 Space Echo: Simply Legendary

The RE-201 was a benchmark Roland product and one of the leading tape echo units of its era. It featured three evenly spaced heads that produced a wider range of echo effects than typical single-head designs, plus an innovative free-running tape system that provided superior performance with minimal tape wear. Grab-and-go controls enabled quick access to clean, single delays or various head combinations for dense, rhythmic echoes. A spring reverb tank was included too, making the RE-201 a one-stop shop for quality ambience effects. Last but not least, analogue preamp circuitry was another key ingredient in the Space Echo's rich sonic recipe.

A Masterpiece Reborn

Realized through the latest technologies and exhaustive analysis of several vintage RE-201s-including a pristine original unit from the BOSS and Roland factory archive-the RE-202 brings the complete Space Echo experience to life in a versatile modern pedal.

While previous BOSS designs captured the true sonic flavour and essential characteristics of the Space Echo, new advancements have allowed us to go much deeper than ever before. With the RE-202, Boss' engineers have fully reproduced all the complex, non-linear behaviours that contribute to the RE-201's immortal character. Everything that influences the sound was carefully examined and recreated with all-new algorithms, including the tape path, record/playback mechanism, motor variations, preamp coloration, tape age, spring reverb character, and more.

Retro Sound at Your Fingertips

The RE-202 delivers the full vintage vibe of the RE-201-without the need for regular tape replacement and hardware maintenance. All the core controls of the original are here, including the iconic 12-position mode selector. Every behaviour is replicated with complete accuracy, such as the gradual pitch change that occurs when the Repeat Rate knob is tweaked, or the cool runaway feedback that happens when the Intensity knob is maxed.

With selectable tape age and variable controls, you can dial in everything from a brand-new Space Echo to the worn character and quirks of a well-loved vintage piece. The Saturation control has been carefully calibrated based on the actual magnetic tape and preamp behaviours of the RE-201, with the sound becoming warmer and more compressed as you turn up the knob.

Sampling Frequency: 48 kHz

AD Conversion: 24 bits + AF method
AF method (Adaptive Focus method) This is a proprietary method from Roland & BOSS that vastly improves the signal-to-noise (SN) ratio of the AD converter.

DA Conversion: 32 bits
Processing: 32-bit floating point
Modes: 12 modes
Memory127 + Manual
Nominal Input Level: INPUT A/MONO, INPUT B: -10 dBu
Maximum Input Level: INPUT A/MONO, INPUT B: +7 dBu
Input Impedance: INPUT A/MONO, INPUT B: 1 M ohm
Nominal Output Level: OUTPUT A/MONO, OUTPUT B: -10 dBu
Maximum Output Level: OUTPUT A/MONO, OUTPUT B: +7 dBu
Output Impedance: OUTPUT A/MONO, OUTPUT B: 1 k ohm
Recommended Load Impedance: OUTPUT A/MONO, OUTPUT B: 10 k ohms or greater
Bypass: Buffered bypass
Controls: ON/OFF switch, MEMORY switch, TAP switch, SATURATION knob, WOW & FLUTTER knob, MODE SELECTOR knob, BASS knob, TREBLE knob, REVERB VOL knob, REPEAT RATE knob, INTENSITY knob, ECHO VOL knob, MEMORY button, INPUT button, TAPE button

Connectors: INPUT A/MONO jack, INTPUT B jack, OUTPUT A/MONO jack, OUTPUT B jack: 1/4-inch phone type
CTL 1, 2/EXP jack: 1/4-inch TRS phone type
MIDI (IN, OUT) jacks: Stereo miniature phone type
DC IN jack
USB port: USB micro B-type (program update only)
Power Supply: AC adapter
Current Draw: 140 mA
Accessories: AC adapter, Owner's Manual, Leaflet ("USING THE UNIT SAFELY," "IMPORTANT NOTES," and "Information"), Rubber foot

Options (sold separately)
Footswitch: FS-5U
Dual footswitch: FS-6, FS-7
Expression pedal: FV-500H, FV-500L, EV-30, Roland EV-5
MIDI/TRS connecting cable: BMIDI-5-35, BMIDI-1-35, BMIDI-2-35, BCC-1-3535, BCC-2-3535

Size & weight

Width: 192 mm / 7-9/16 inches
Depth: 133 mm / 5-15/64 inches
Height: 52 mm / 2-3/64 inches
Height (including rubber foot): 53 mm / 2-3/32 inches
Weight: 860 g / 1 lb 15 oz

Notes: A hard hitting distortion effect pedal, ideal for metal and hard rock styles. Dial in the desired amount of distortion with Gain and set the output Level to suit. Tone adjusts the amount of grit and bite to accentuate the guitar sound if needed. High gain on demand for high energy music.

Power supply: 9V battery (PP3 included) or optional DC adaptor
Construction: Aluminium housing with rubber base
Controls: Gain, Tone and Level
Dimensions: 115 x 68 x 47mm
Weight: 275g

Notes: Add clean sustain to your guitar notes and chords with the CM-50 compressor pedal. Turning up the Sustain control squashes down the peaks in the signal and lifts the quieter parts, causing notes that are fading out to last longer with effortless sustain. Set the output with the Level control and adjust the amount of picking emphasis with the Attack control. Great for country licks and overlapping arpeggios.

Sustain, Level and Attack controls
9V battery or optional DC adaptor operation

Power supply: 9V battery (PP3 included) or optional DC adaptor
Construction: Aluminium housing with rubber base
Controls: Sustain, Level and Attack
Dimensions: 115 x 68 x 47mm
Weight: 275g

In the Box

CM-50 compressor pedal
PP3 battery

Notes: EQ for bass guitar in a convenient pedal format for tone shaping on the fly. 5 individual frequency sliders help you to accurately sculpt the tone from mid-range growl to deep scooped slap. Perfect for mid-set EQ changes or as an "always on" tone machine.

5 frequency bands tuned for bass guitar
9V battery or optional DC adaptor operation

Power supply: 9V battery (PP3 included) or optional DC adaptor
Construction: Aluminium housing with rubber base
EQ controls: 62.5Hz, 125Hz, 500Hz, 1kHz, 4kHz, Volume
Dimensions: 115 x 68 x 47mm
Weight: 279g

Notes: Sometimes pedals can change. Parts drift, pots break, transistors go bad. They go to new homes; they get neglected and resold. Sometimes people get in there and try to revive them to their original state and sometimes they just throw whatever is laying around inside and hope it does the trick. In this case, EQD are pretty sure all the above happened to the fuzz pedal that made its way to James Murphy and ended up finding a forever home with LCD Soundsystem.

Chelsea really does have something special. It's heavy without being too heavy, clean but not too clean. A simple set of controls yet it has an expansive array of tones that makes it very versatile on a wide variety of instruments, has clarity when you need it and can blur all discernable lines when you don't. It still retains the familiar foundation of the classic fuzz it was intended to be, but something special happened to it over the years and it has very much grown into its own thing

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: 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: Best known for Eurorack synth modules, Noise Engineering's Batverb builds on the brand's extensive experience, offering a performance-focused take on echoes, dynamics and tone.

Supplier's Notes:
Batverb is the stereo reverb that dreams are made of. Taking inspiration from Noise Engineering's famed tail-generating synth modules, Batverb brings reverberation and delay to a whole new level with extensive control of timbre, echoes, and dynamics.

Start by setting a predelay time and adjusting Regen to taste: this will set the length of the tail, from a short slapback-style echo to an infinite wall of reverberation. Add in some chaotic suboctaves with Doom, or some haunting overtones with Shimmer - or both at the same time. If you need to carve the range for your reverb, Batverb has low and high damping settings for the reverb tank. Batverb even has settings for saturation that can be applied to only the reverberant signal, or to the whole output.

Batverb is easy to balance with the rest of the effects in your chain, thanks to its onboard dry/wet Blend control, as well as input and output gain parameters. It also features a unique Duck switch that allows the reverb to duck out of the way of an input signal, or match the dynamics of your playing, similar to a gated reverb.

Batverb was designed to integrate perfectly into your performances. The left switch mutes the input to the reverb and sets the feedback to maximum, creating a wall of sound as long as it's held down. The expression input can also be routed to any parameter on the pedal. Plus, if you're a fan of MIDI, Batverb can store and recall 16 different presets and recall them in response to program change messages.

Batverb is an advanced pedal with state-of-the-art features, but it's incredibly easy to use and immediately fun to play.

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: In designing the Ola dBucket Chorus and Vibrato, Strymon started with the dBucket building blocks and used them to craft a beautiful and versatile modulation effect. Keeping in line with the same philosophy as the Brigadier delay, the high performance DSP is entirely dedicated to and focused on providing the most lush and organic chorus and vibrato sounds available. Strymon also drew influence from some of their favorite vintage chorus effects and a certain little blue box vibrato with a strong cult following. On top of that they threw in true bypass, a favorite preset, stereo input and output, and a super high quality analog front end and output section.

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 modulation types (chorus, muti-mode chorus, vibrato)

3 dynamic modes (normal, ramp, envelope)

Controllable ramp speed | envelope sensitivity

Global tone control for the overall color of your modulation

Mix control for dialing in various modulation intensities

TRUE BYPASS (electromechanical relay switching)

Stereo input and output

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 analogue front end and output section

No-nonsense user interface

Strong and lightweight blue anodized aluminum chassis

Crafted with love in the USA

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: Black Fountain Stereo Characterful Delay Building on the inimitable Black Fountain, a pedal that put OBNE on the map and for many a favourite always-on device, Black Fountain Stereo is much more than just turning things from mono into stereo. It truly expands Old Blood Noise Endeavors' highly regarded 'oil-can delay' pedal right into a multi-tool.

With a wider control set that's complete with added sonic options, a lower noise floor, dual delay lines that play together in a multitude of ways, presets, MIDI and expression control over everything, Black Fountain Stereo combines a sonic powerhouse of creative delay tones and into a pedalboard friendly package.

Black Fountain Stereo emulates the sound of a spinning oil-can delay. This is a warm, modulated and a little gritty type of tone that's perfect for chorusing, doubling, slap back and long rhythmic delays alike. You choose the amount and rate of modulation, the tone and grit of the core voice, the two delay times and their feedback. Plus, to top it off the mono/stereo voicing of it all can be set exactly as you like and everything can be saved into presets, for easy recall.

The Rate and Depth controls sets the amount of modulation and speed, Tone shapes the warmth of the repeats, while Grit sets the amount of drive in the repeats. To help maintain the clarity of your tone or for more special effects, you can set the mix of volume of either the Dry and/or Wet levels. Space defines the mono delay mode or stereo width and adds diffusion past the noon position.

Separate controls are available for setting the Left and Right Delay Time as well as being able to choose between six subdivisions for each side when holding the Tap footswitch. That little Tap switch (surprise) helps you set the delay repeats in time with your tempo, while holding it down will give for infinite feedback. Optionally, it can also be used as a preset switcher.

Product Height (cm): 6.9
Product Width (cm): 10.8
Product Depth (cm): 12.6
Product Weight (kg): 0.454

Box Height (cm): 7.06
Box Width (cm): 11.43
Box Depth: 12.7cm
Boxed Weight (kg): 0.596kg

Notes: Black Fountain Stereo Characterful Delay Building on the inimitable Black Fountain, a pedal that put OBNE on the map and for many a favourite always-on device, Black Fountain Stereo is much more than just turning things from mono into stereo. It truly expands Old Blood Noise Endeavors' highly regarded 'oil-can delay' pedal right into a multi-tool.

With a wider control set that's complete with added sonic options, a lower noise floor, dual delay lines that play together in a multitude of ways, presets, MIDI and expression control over everything, Black Fountain Stereo combines a sonic powerhouse of creative delay tones and into a pedalboard friendly package.

Black Fountain Stereo emulates the sound of a spinning oil-can delay. This is a warm, modulated and a little gritty type of tone that's perfect for chorusing, doubling, slap back and long rhythmic delays alike. You choose the amount and rate of modulation, the tone and grit of the core voice, the two delay times and their feedback. Plus, to top it off the mono/stereo voicing of it all can be set exactly as you like and everything can be saved into presets, for easy recall.

The Rate and Depth controls sets the amount of modulation and speed, Tone shapes the warmth of the repeats, while Grit sets the amount of drive in the repeats. To help maintain the clarity of your tone or for more special effects, you can set the mix of volume of either the Dry and/or Wet levels. Space defines the mono delay mode or stereo width and adds diffusion past the noon position.

Separate controls are available for setting the Left and Right Delay Time as well as being able to choose between six subdivisions for each side when holding the Tap footswitch. That little Tap switch (surprise) helps you set the delay repeats in time with your tempo, while holding it down will give for infinite feedback. Optionally, it can also be used as a preset switcher.

Product Height (cm): 6.9
Product Width (cm): 10.8
Product Depth (cm): 12.6
Product Weight (kg): 0.454

Box Height (cm): 7.06
Box Width (cm): 11.43
Box Depth: 12.7cm
Boxed Weight (kg): 0.596kg

Notes: The EarthQuaker Devices Flexi Loops is a dual effects loop featuring our world renowned Flexi-Switch Technologyr!

Using an effect loop switcher on your pedalboard allows you to easily remove all your effects from the signal path creating a path of least resistance, to help maintain full tonal integrity when they aren't in use. Flexi Loops allows you to create two distinct loops of effects and then introduce or remove them all on the fly with ease and with its dual silent relay-based and true bypass switching, the pedal allows you to simultaneously use momentary and latching style switching.

Flexi Loops allows you to create two distinct loops of effects and then introduce or remove them all on the fly with ease and with dual silent relay-based true bypass switches, the pedal allows you to simultaneously use momentary and latching style switching.

Using high quality, soft touch momentary switches for durability and quick action to ensure a lifetime of switching enjoyment, Flexi Loops is entirely passive and there is no circuitry in the signal path. However, it will require power for the relays to pass signal. For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass. While for momentary operation, hold the footswitch down for as long as you'd like to use the effect. Once you release the switch the effect will be bypassed.

But you aren't just limited to using the Flexi Loops as a loop switcher either! You can use one channel as a tuner out/mute or even a plain old mute. Use the sends to run out to different sources and easily select between them. The Flexi Loops uses high quality, soft touch momentary switches for durability and quick action to ensure a lifetime of switching enjoyment. This device is entirely passive and there is no circuitry in the signal path, but it will require power for the relays to pass signal.

Powered by a regular 9 V DC PSU (centre -, 2.1 mm, ~25 mA current draw - not supplied)

Notes: The EarthQuaker Devices A/B Box is a simple tiny tool that lets you choose between two of pretty much anything. Because of its completely passive design, there is no circuitry between the input and outputs which means it can be used in both directions. Use it to switch between two amps, switch between two channels on a multi-channel amp, use it as tuner out/mute switch, run a dry path and a wet path or even switch between two instruments!

The time to passively choose is now!

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


Excellent value from the updated Mooer delay/reverb/looper. The Ocean Machine II features improved sound quality all round, plus expanded loop memory up to a total of 120 seconds.

Supplier's Notes:
Similarly to the original, the Ocean Machine II offers two independent delay modules, each with nine different delay types of up to two seconds, including household names such as digital, tape, and echo delays, as well as more abstract options, such as galaxy, crystal, and rainbow. A high-fidelity reverb module complements these delays with nine reverb types, as well as a shimmer effect. Each delay and reverb effect can also be 'frozen,' creating static ambient drones, an effect that sounds particularly impressive considering the pedal's DSP upgrades.

While the original Ocean Machine's looping capabilities provided just 44 seconds of loop storage, the new addition features an impressive 120 seconds. To experiment with this feature, along with Ocean Machine II's other sonic capabilities, users can use an intuitive LCD screen along with 12 knobs (four for each delay and reverb module) to easily adjust parameters within the device's 'Play Mode.' Three footswitches are also provided to facilitate independent effect toggling, tap tempo control, looper interfacing, and a preset selector.

Once the guitarist has crafted an interesting effect chain, they can save their work as a preset and enter 'Patch Mode,' in which they can toggle between saved settings with each of the three footswitches. In total, the Ocean Machine II provides eight preset storage banks, each of which supports up to three presets, resulting in a total of 24 save slots.

The pedal's versatility is further enhanced by its programmable parallel and serial effect chain hybrid, a signature element of Devin Townsend's tone creation. This feature allows users to customize the order of effects, providing endless creative possibilities. Further programming options can be accessed through the LED screen, which impressively includes synchronizable MIDI connectivity, a feature that was absent in the original Ocean Machine.

In addition to MIDI, the pedal supports various external control systems, including expression pedal input through a TRS cable. Furthermore, the pedal is compatible with MOOER's F4 wireless footswitch, allowing for extended capabilities for mapping presets and other features. A USB-C port is also available for firmware updates, ensuring that the pedal remains up-to-date with the latest features and improvements.

Considering the experimental nature of Devin Townsend's performances, MOOER has also gone above and beyond to facilitate the seamless integration of Ocean Machine II into any audio setup. The device features full stereo inputs and outputs, as well as adjustable global EQ settings, letting users tailor their sound to suit different environments. Guitarists can also customize their effect chains to be used with true bypass or DSP (buffered) bypass, depending on their preferences and specific use cases.

Overall, Ocean Machine II brings higher quality delay and reverb algorithms, augmented looping support, and various updated connections to Devin Townsend's original device. As per MOOER's typical standard, the pedal is engineered to withstand the rigors of touring and frequent use, allowing guitars to bring their special creations and atmospheric drones to the stage.

*Dimensions: 215 x 127 x 56 mm

*Weight: 1.1 kg

*Power Supply: 9V DC

*Sampling Rate: 44.1 kHz

*Sampling Accuracy: 24-bit

*Includes USB-C to USB-A cable, power adaptor, stickers, and artist signature card from Devin Townsend

Notes: The new Godeater+ is the successor to the successful Godeater pedal from Indian manufacturer Animal Factory.

The Godeater was primarily designed for electric basses and saturates the sound in the lower frequencies. However, it is not limited to bass guitars. The pedal can also be used with synthesizers or guitars. The pedal can also be interesting in combination with drum computers. The main aim of the Godeater+ is to create a pedal that allows you to create a distorted sound without losing the low frequencies.

Notes: Evolving from the popular Metal Core Deluxe pedal, the mkII version now has 3 selectable amplifier models based on much-revered high gain valve amplifiers. Now with an additional Middle control, the 3-band EQ pairs with Gain and Master to offer a full completement of real amplifier controls, with settings stored into each of the 3 amp models for fast recall. Metal Core Deluxe mkII goes a step further to include IR cabinet simulation, meaning that it can be used directly into a full-range PA system, or without IR simulation into the front of a guitar amplifier as a hard-edged drive pedal. Whichever wiring method is used, Metal Core Deluxe mkII delivers the full breadth of metal tones for hard rock to thrash.

3 distinct high gain amplifier models
3-band EQ
Switchable IR cabinet simulation
Settings auto-stored for each model
True bypass
USB-C for firmware updates & future software

Power supply: 9Vdc (PP3) battery or optional power adaptor
DC input connection: DC5521 jack (for optional adaptor - pin-negative)
Current consumption: <120mA
Controls: Gain, Master, Bass, Middle, Treble, Model switch
Modes: Duo Rect, Fireman, VH4
Input: 6.3mm jack
Output: 6.3mm jack
Input impedance: 1M ohm
Output impedance: 1k ohm
Dynamic range: 104dB
Dimensions: 122 x 72 x 47mm
Weight: 270g

In the box

The box for this item contains :

Metal Core Deluxe mkII pedal
Alkaline PP3 battery

Notes: The GALACTAVISE is Allpedal's flagship compressor. Built with the musician's needs in mind, it boasts an uncompromisingly sweet compressor circuit with a Mix control for dialling in that perfect balance of compressed tone and clean tone.

The top end can often be make or break with many compressor circuits, so AllPedal also added the ability to adjust just the right amount with the Presence control. Made with the highest quality components for a low noise floor and road-worthy durability.

Let the GALACTAVISE blast your tone into orbit!

GALACTAVISE is the best guitar compressor pedal for musicians seeking to balance their sound's dynamics. As the best compression pedal on the market, it allows guitarists to control their volume levels efficiently, ensuring a consistent sound output. This guitar compression pedal is an essential tool for both studio recording and live performance.

As with all their effect pedals, AllPedal took special care in the GALACTAVISE's aesthetics with its finish, sophisticated artwork and anodized knobs.

GALACTAVISE is proudly made by hand in Paducah, KY in the USA using the latest cutting-edge technology in the pursuit of ultimate tone.

Notes: The Seabee is a multi-chorus pedal that delivers the finest analogue bucket brigade chorus tones, but like any Beetronics, it goes a few steps further. By digitally controlling the chorus delay time, the Bees have created Harmochorus - a never-before-heard pitch shifting modulation that can certainly inspire new genres.

Three Chorus modes provide the classic, lush chorus and vibe sounds we all love, with each mode offering the ability to control the effect in different ways. Vary between two different speeds and/or depths, go from zero to full depth intensity, or even increase the chorus delay time for a whole new spectrum of sounds.

Three Harmochorus modes give you a unique and inspiring new approach to the effect. The easiest way to explain it's that, when clean, it sounds like angel bees are accompanying you, and when paired with some buzz, it sounds like a swarm of killer bees producing the most dangerous pitch shifting modulation are after you! You can choose between two different pitches and speeds, a combination of twelve chords and twelve different arpeggio patterns, or simply choose between thousands of random patterns.

No matter which mode you choose, the Seabee will navigate you to inspiring and creative places.

Its simple layout with only three knobs hides a multitude of possibilities with alternate controls, three ramp shapes, tap tempo, a 4-way tone filter, feedback control, and a rate that ranges from very slow to ultra-fast waves, even reaching ring modulator ranges.

There are two stereo output options, 16 onboard presets, full MIDI control, expression in, external tap and 4 input level options so you can process guitar, bass, all kinds of active pickups or synthesizers and still keep the bucket brigade in its sweetest spot?

It's hard to believe that an analogue chorus can be so complete, versatile, unique and intense - all at the same time. But get ready, because Tone Fishing is about to beecome a thing.

Analogue sound path with the finest bucket brigade chorus tones.
3 Chorus modes / 3 Harmochorus modes
Never before heard pitch shifting chorus with arpeggios and random patterns.
Truly expressive ramping gives you musical control.
16 Onboard presets, Tap Tempo, MIDI, Expression and more.
Selectable input level (supports guitar, bass, active pickups, synthesizers and more)
Hand-assembled in Los Angeles, CA.

Packaging Dimensions: 15.2 x 13.7 x 7.6 cm
Weight: 0.49 kg

Notes: The Cosmic ECHO is an analogue-sounding LoFi delay that will work with just about anything you plug into it.

The dark, lush, moody tones of the ever-popular PT2399 IC provide an out-of-this-world experience. Our take on this classic pedal pushes the chip's limits so you can explore all the gritty elements drifting at the edge of long delay rates. It already outperforms other bucket brigade style echoes, but just to be sure, we added 2 momentary switches, Zone and Warp.

Dark, rich sounds with the analogue vibe of a tape echo.

Uses the PT2399 IC, a bucket brigade style emulation. This IC has 16-bit sampling for 30-300 milliseconds. After that, the sample rate goes down in relation to the delay length. This results in artifacts and noise being introduced into the audio for weird, cosmic, psychedelic sounds.

Delay length: 30ms-1,250ms

3 knobs: Feedback, Mix and Rate. The Mix is a wet-only control that attenuates the amount of delayed signal in the signal chain. The Rate controls the number of repeats in an organic-sounding way.

Warp button: Momentary pushbutton switch that gives a bright, "small speaker" tone.

Zone button: Momentary pushbutton switch that introduces feedback into the circuit momentarily. Great for adding rhythmic feedback and other strange sounds. The Zone amount can be adjusted by an internal trim pot.

Pedal may have a slight volume drop.

Great for shoegaze, surf rock, ambient and experimental sounds.

Pedal uses a 125B case

Dimensions (L x W x H): 4 7/8" x 2 5/8" x 2 3/16" (124mm x 67mm x 56mm).

Takes a 9V battery or 9V centre negative 2.1mm barrel power supply (not included).