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Effects pedals

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Earth Quaker Devices Avalanche Run V2 Stereo Reverb & Delay with Tap Tempo Pedal
Cat: 781595 Rel: 28 Jul 20
 
Stereo reverb & delay pedal
Notes: The Avalanche Run is a dreamy stereosonic exploratory multi-tool that includes up to 2 seconds of delay time, reverse delay, tap tempo with subdivision control, switchable true bypass or buffered bypass with 5 different tail lengths (including a sound-on-sound style lo-fi looping mode) and an assignable expression control that maps the expression jack to a control of your choice, including the toggle! The delay section allows tweaking from tape emulation to bucket brigade styles with a twist of the wide-range Tone control. The cavernous, plate-style reverb has just a touch of modulation similar to the one found in our precious Dispatch Master only more lush with an adjustable Decay. Otherworldly reverse delay and dynamic swelling reverb settings are accessible through a 3-way toggle switch. And that's just the beginning...

1. Time: This controls the delay time and goes from 0ms to just under 2000ms.

2. Repeats: Controls the regeneration of the delay, from zero repeats to near infinite.

3. Tone: Controls the tone for the delay line only. Roll off highs to the left, roll off lows to the right and get a flat response in the middle.

4. Mix: The is the volume control for the delay line. This blends in the wet with dry until 1 o'clock, 1 o'clock to 3 o'clock boosts the wet signal over the dry and 3 o'clock up brings down dry until it is fully wet when all the way up.

5. Expression Jack Assign Switch: Use this switch to map the expression jack to one of the assigned controls.

Decay: Controls the reverb decay length

R Mix: Controls the reverb mix

Time: This takes over for the delay time control and is DRASTICALLY different than the interface control. Using the expression pedal to control the time will give you all kinds of wild effects that can not be achieved by turning the knob.

Repeats: Controls the delay repeats

D Mix: Controls the delay mix

Toggle: This takes over for the toggle switch and will cross fade from forward delay in heel down position to reverse delay in toe down position.

6. Ratio Selector Switch: Selects delay subdivisions when time is set by the "Tap" switch.

1/1: Quarter Note

3/4: Dotted 8th

2/3: Quarter Note Triplet

1/2: 8th Note

1/3: 8th Note Triplet

1/4: 16th Note

7. Decay: Controls the decay length of the reverb, short decay counterclockwise, long cavernous decay clockwise.

8. Toggle Switch (Mode Selector)

Normal: This is the standard delay and reverb mode

Reverse: This is reverse delay mode with standard reverb

Swell: This is the volume swell mode

9. Mix: This is the volume control for the reverb. Blends in the wet with dry until 1 O'clock, 1 O'clock to 3 O'clock boosts the wet signal over the dry and 3 O'clock up brings down dry until it is fully wet when all the way up.

The expression jack is located on the west side of the pedal. It is a TRS jack with the tip acting as the wiper.

Using a Moog expression pedal, with the output adjustment knob all the way up, is recommended. Any other expression pedal is not guaranteed to work with the Avalanche Run.

This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

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.

Since the switching is relay based, it requires power to pass signal.

For best results, please use the included 9v center-negative 1-amp DC power supply.

Dimensions: 4.65 x 4.15 x 2.25 in. (118 x 105 x 57 mm) with knobs
Current Draw: 410 mA
Input Impedance: 1 MO
Output Impedance: 100 O
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MRP:$434.17 SAVE 24%
 1 in stock $329.51
Earth Quaker Devices Disaster Transport SR Advanced Modulated Delay & Reverb Machine Pedal
Cat: 781635 Rel: 28 Jul 20
 
Reverb & modulation delay pedal
Notes: The Disaster Transport SR is a dual delay with reverb and modulation. It was designed from the ground up to create an intense wash of lo-fi swirling tape styled echo. While it may look intimidating at first glance, it's actually pretty easy to navigate. The top row of controls are for delay A and the bottom row of controls are for delay B. Delay A is a 600ms delay with modulation and delay B is a 300ms delay with reverb. Both delays can be run separately, in parallel, in series or in series/parallel. To take it one step further, there are also expression controls for the repeats on delay A as well as bleeding delay A into delay B. The switching was designed so each delay can be used individually or in tandem with both true bypass or trails.

In addition to being used as a straight delay, straight reverb, rhythmic delay, modulated delay and old school tape-style echo, the Disaster Transport SR can also be used to create a wide variety of wild sounds ranging from warped records, clanging flange, smooth chorus, echoed out squalls and various other-worldly effects that will blow your mind, man. If you are a fan of old school tape delay and crazy lo-fi sounds, you will get hours of enjoyment every time you plug into the Disaster Transport SR.

The controls for delay A and B are separated by row. The top row is for delay A and the bottom row is for delay B.

Time: Controls the delay time from about 30ms up to 600ms.

Repeats: Controls how many regenerations of the signal there are. This ranges from one single repeat through an endless wash into self oscillation. This can also be controlled via an expression pedal. The Moog EP-2 is recommended.

Mix: Level control for the wet signal. Unity is around center, anything above is boosted. Boosting this works great when using a distorted signal. Please keep in mind this is a gain control, a bit of hiss is normal when it's above unity.

Depth: Controls the intensity of the modulation, from no modulation to all out seasick pitch bends.

Rate: Controls the rate of the modulation. The LED for delay A flashes in time with the modulation to visually show where the rate is set.

Bleed: This feeds delay A into delay B, post reverb (see block diagram for visual explanation). Use this control for series or series/parallel operation to create rhythmic repeats, extra long delay time or an all out echo wash. This can also be controlled via an expression pedal. The Moog EP-2 is recommended. When using the bleed, experiment with the repeat controls on each delay line. Try using them in different settings, both together and individually, for different timing and textures.

Delay B Controls
Reverb: Controls the amount of reverb added to the input of delay B.

Mix: Level control for the wet signal. Unity is around center, anything above is boosted. Boosting this works great when using a distorted signal. Please keep in mind this is a gain control, a bit of hiss is normal when it's above unity.

Repeats: Controls how many regenerations of the signal there are. This ranges from one single repeat through an endless wash into self oscillation.

Time: Controls the delay time from about 30ms up to 300ms.

The switches for both delays switch the inputs only. The outputs are always connected. This allows you to have trails by always leaving the bypass switch engaged or to use the bypass switch as the master on/off for true bypass. Additionally, you can feed delay A in to delay B with the bleed control without having delay B switched on for a cleaner rhythmic delay.

Tech Specs:

This device takes a standard 9 volt DC power supply with a 2.1mm negative center barrel. We always recommend pedal-specific, transformer-isolated wall-wart power supplies or multiple isolated-output supplies. Pedals will make extra noise if there is ripple or unclean power. Switching-type power supplies, daisy chains and non-pedal specific power supplies do not filter dirty power as well and let through unwanted noise. DO NOT RUN AT HIGHER VOLTAGES!

Dimensions: 4.75 x 5.65 x 2.25 in. (121 x 144 x 57 mm) with knobs
Current Draw: 107 mA
Input Impedance: 500 kO
Output Impedance: <1 kO
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MRP:$426.15 SAVE 26%
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Earth Quaker Devices Hoof Reaper V2 Double Fuzz With Octave Up Pedal
Cat: 781683 Rel: 14 Jul 20
 
Dual fuzz pedal
Notes: The Hoof Reaper features Earth popular Hoofr and Tone Reaper fuzz pedals in one handy enclosure with the added bonus of an old school analog octave up. It was originally released as a special limited run item back in 2010 and demand was so high that Earth Quaker decided to reintroduce it back into their line. Capable of creating everything from subtle octave-up overtones through crushing octave squalls that simulate exploding stacks of amps. Each effect can be used individually as well as in series but the order of effects is preset for optimum performance.

Controls:
Hoof
1. Level: Controls the output volume

2. Fuzz: Controls sustain and gain

3. Tone: Treble to the right. Bass to the left

4. Shift: Controls the mid frequencies. More pronounced to the left. Scooped to the right.

Tone Reaper
5. Level: Controls the output volume

6. Fuzz: Controls the sustain and nature

7. Tone: Treble to the left. Bass to the right

Dimensions: 4.75 x 5.65 x 2.25 in. (121 x 144 x 57 mm) with knobs
Current Draw: 18 mA

Hoof
Input Impedance: 130 kO
Output Impedance: <10 kO

Tone Reaper
Input Impedance: 47 kO
Output Impedance: <1 kO

Octave
Input Impedance: 160 kO
Output Impedance: <10 kO
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MRP:$434.17 SAVE 23%
 1 in stock $332.87
Earth Quaker Devices Pyramids Stereo Flanging Device Pedal
Cat: 781712 Rel: 28 Jul 20
 
Flanger pedal
Notes: Pyramids is a Stereo Flanging Device with five presets, eight flanger modes, tap tempo, tap subdivision, a multifunction Modify control, positive and negative Feedback, and a variable Mix control, which is something you don't see on a flanger every day.

Built upon the same proprietary DSP architecture as the Avalanche Run™, Pyramids delivers convincing jet-engine roar, authentic through-zero tape-style warble, infinite barber pole sweeps, flexible I/O routing, and the ability to re-trigger the LFO cycle via footswitch opens up a fourth dimension of rhythmic possibilities that's sure to tickle your third ear.

Controls:
1. Manual: Controls the delay time of the modulated signal. Manual can also be controlled via expression pedal.

2. Rate: Controls the speed of the LFO as well as the rise time in Trigger Up mode and fall time in Trigger Down mode. The Rate control has three ranges of operation: Slow, Normal and Fast. These modes are selected by the Rate & Tap toggle switch.

3. Width: Controls the frequency range of the LFO sweep. You might also think of it as a depth control for the LFO.

4. Mix: This is the volume control for the modulated signal. The modulated signal gets louder when you turn it clockwise and quieter when you turn it counterclockwise.

5. Activate Footswitch: The activate switch features our Flexi-Switch technology! This relay-based true-bypass switch allows for momentary or latching operation.

6. Feedback: Regeneration control for the modulated signal.

7. Rate & Tap Toggle Switch: Normal (center position) is 1:1. The tempo you tap in is the tempo Pyramids will spit out. When set to Slow (left position), the tempo you tap is divided for a slower sweep. When set to Fast (right position), the tempo you tap is multiplied and delivers a faster sweep.

8. Modify: The behavior of this control depends upon which mode you're using:

Classic: Tone control for the modulated signal. Clockwise cuts the low end and allows the high frequencies to pass through. Counterclockwise cuts the high end and allows bass frequencies to pass through.

Through-Zero: Delay time for the unmodulated dry signal. This controls where in the LFO cycle the through-zero point occurs, which is where you'll hear the most drastic cancellation.

Barber Pole Up: Tone control for the modulated signal. Clockwise from center is a high pass filter. Counterclockwise from center is a low pass filter.

Barber Pole Down: Tone control for the modulated signal. Clockwise from center is a high pass filter. Counterclockwise from center is a low pass filter.

Trigger Up: Sensitivity control for the sweep. This controls how quickly the re-triggering reacts to your pick attack.

Trigger Down: Sensitivity control for the sweep. This controls how quickly the re-triggering reacts to your pick attack.

Step: Adjusts the glide between steps. Low Modify settings produce sharp, stair-stepped transitions between steps. Higher Modify settings introduce a smoother glissando effect.

Random: Adjusts the glide between steps. Low Modify settings produce sharp, stair-stepped transitions between steps. Higher Modify settings introduce a smoother glissando effect.

9. Tap / Trigger Footswitch: In Classic, Through-Zero, Barber Pole Up, Barber Pole Down, Step, and Random modes, this footswitch is a tap tempo control. In Trigger Up and Trigger Down modes, this footswitch triggers the effect whenever it is pressed.

10. Presets Rotary Switch: Selects between Live mode and one of five presets. Pyramids comes with our favorites programmed in, but you're allowed to re-write them if you want. We don't mind.

11. Mode Rotary Switch: Selects between Pyramids' eight flanger modes

Tech Specs:
Flexi-Switchr Technology
This device features Flexi-Switchr Technology! This relay-based, true bypass switching style allows you to simultaneously use momentary and latching style switching.

For standard latching operation, tap the footswitch once to activate the effect and then tap again to bypass.

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.

Since the switching is relay based, it requires power to pass signal.

For best results, please use the included 9v center-negative 1-amp DC power supply.

To use with multiple output transformer-balanced isolated pedal-specific power supplies, Pyramids' may be powered from two outlets combined using a current-doubling cable. DO NOT USE A VOLTAGE-DOUBLING CABLE BECAUSE THAT WILL SEND 18V TO PYRAMIDS AND FRY IT LIKE AN OVEREASY EGG AT A GREAZY SPOON DINER.

Dimensions: 4.65 x 4.15 x 2.25 in. (118 x 105 x 57 mm) with knobs
Current Draw: 460 mA
Input Impedance: 1 MO
Output Impedance: 100 O
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MRP:$447.53 SAVE 30%
 1 in stock $312.75
EBS Acoustic Preamp Stanley Clarke Signature Effects Pedal
EBS
Cat: 798772 Rel: 13 Nov 20
 
Acoustic preamp effects pedal
Notes: The Stanley Clarke Signature Acoustic Preamp is a 2-channel preamp, built exclusively with premium components. It is engineered and designed by EBS together with the legendary bass player and composer Stanley Clarke.

Since the preamp operates at a signal level equal to professional mixing consoles it provides a huge amount of headroom. The superior signal quality makes it suitable to use as a preamp in combination with any power amp. The headroom and specific features make it ideal for handling the complex sonic characteristics of an upright bass.

The A and B channels both feature an input GAIN control and an EQ strip with BASS, MIDS (pick the frequency range with one knob and cut or boost in that range with another) and TREBLE. They both also have a secret weapon, a control knob that can be used either as a HIGH PASS or NOTCH filter. A switch decides the function, while the control knob picks the frequency range. The notch and high pass filters are excellent tools to prevent unwanted feedback and adjust the sound to the characteristics of the room and your instrument.

With 10 Mohms input impedance for both the A and B channels, it handles any instrument with passive, active, or high impedance piezo pickups. The A channel also provides support for Electret pickups when activating a dedicated switch. The B channel allows you to use a 48V Phantom powered (or passive) dynamic or condenser microphone as the source via an XLR-input. Choose whether to use the XLR or 1/4"-input for the B channel with a switch.

The preamp lets you jump between the A and B channels to allow for different settings when you play with a bow or pizzicato or mix the two if you use two different input sources.

Blending two different sound input sources can sometimes cause a phase issue. If that occurs, a Phase Inverter switch, attached to the A channel, will solve the problem.

Hook up additional effects in serial or parallel through the EFFECTS LOOP (requires a Y-split insert cable). A TUNER OUT lets you plug in an external tuner. A BALANCED XLR-OUTPUT sends a studio-quality line signal to front-of-house or a recording device. Use it in conjunction with a Speaker Simulator and use the Ground Lift to prevent hum. The Aux Input and professional-grade Headphones output makes practicing and learning new songs easy.

Can this pedal be used with other instruments?

Yes, of course. The frequency range of an upright bass is wide and complex, which means most other instruments - acoustic or electric - fits within the range that this pedal covers. Other acoustic instruments benefit from the same specific features that this pedal is equipped with to handle the upright bass. Electric bass players may find the two similar channels an excellent way to make individual EQ settings for two different instruments and make it possible to switch between the two smoothly at a gig.

Input Impedance: 10 Mohms // 22 pF
Gain: Gain Range -oo/+30 dB Gain Peak LED (ch A = RED, B = yellow) +10 dBv Frequency Response +0/-3 dB 20-20.000 Hz
Bass Filter: Type Shelving Gain Range +/- 15 dB @ 40 Hz
Mid Filter: Type Bandpass Filter Gain Range +/- 13 dB Frequency Range 70 - 2500 Hz Q 0.8
Treble Filter: Type Shelving Gain Range +/- 15 dB @ 10 kHz
HP Filter: Type 12 dB/octave High Pass Frequency Range 20(off) - 450 Hz
Notch Filter: Type Bandpass Notch Frequency Range 70 - 2200 Hz Q 7 Attenuation 7 dB (typically)
Electret Power (Channel A): 5V, 2mA

Common Features:
Effects Loop:
Loop Signal Level -10 dBv (nominal)
Gain Unity (1:1)
Output Impedance 2 kohms
Input Impedance 100 kohms
Modes Serial or Parallel

Phones Out: Recommended Imp. 32 - 200 ohms
Aux Input: Input Impedance 20 kohms
Nominal Level -10 dBv
Output: Output Impedance 1 kohms
Signal Level 0 dBv (nominal)
Balanced Output: Output Level -20dBv (nominal)

XLR Connections 1-GND, 2-Hot, 3-Cold Options
Gnd Lift, SPKR Sim
Balanced Input (Channel B): Input Level -30dBv (nominal)
XLR Connections 1-GND, 2-Hot, 3-Cold
48V Phantom Yes
Auxiliary Info: Power Requirements Idle 500mA @9V
max 800mA @9V (with headphones at max output level)

Dimensions (WxDxH): max 168 x 124 x 53 mm / 6.6" x 4.9" x 2.1"
Weight: 660 g (1.5 lbs.)
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EBS MicroBass 3 Preamp Pedal
EBS MicroBass 3 Preamp Pedal (preamp pedal/DI box)
EBS
Cat: 718777 Rel: 24 Jun 19
 
Professional analogue bass preamp/DI box
Notes: The EBS Microbass 3. We've all been there. Being forced by circumstances to rely on someone else's gear and left with that uneasy feeling it could turn into a disaster. With the new EBS Microbass 3, you can let go of that feeling and be confident you'll have your sound no matter the situation.

The EBS MicroBass 3 is a 2-channel preamp, built exclusively with premium components. It is engineered by EBS in Sweden with technologies from the famous HD360 and Fafner II amplifier designs. The preamp operates at a signal level equal to a professional mixing console (+/- 15V) which gives you plenty of headroom. The high signal level makes it suitable to use as a preamp in combination with any type of power amp.

Run the Clean and Drive channels in series or parallel. Use the dual balanced XLR-outputs to tap the signal post and pre EQ at the same time. If you run the Effects loop in stereo mode, the balanced outputs become a Left and Right output instead. With 10 Mohms input impedance, it handles any type of bass - passive, active or with piezo pickups.

The built-in tuner makes it easy to tune between songs without the need of an external device. The MicroBass 3 also carries an onboard compressor, similar to the one found on several EBS amplifiers, and several more features.

The analog EBS MicroBass 3 ensures your sound - every time.
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Electrosmith Daisy Petal Programmable Effects Pedal
Cat: 786213 Rel: 11 Sep 20
 
Programmable effects pedal
Notes: Create your own effects programs with the Petal! Simply download a working reverb, delay, or looper example, and start tweaking. Comes with Daisy installed and 9V power adapter.
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Empress Effects Bass Compressor Effects Pedal (blue)
Cat: 799004 Rel: 27 Nov 20
 
Bass compressor effects pedal
Notes: When Empress released the original Compressor back in 2011, it quickly became a favourite among guitar and bass players alike who were searching for something more than the typical oversimplified controls found on most compressor pedals. Although our original Compressor sounded great on bass (and still does!) we set out to do even better.

On top of the full range of features and controls normally only seen in high end studio equipment, such as input and gain reduction metering, independent attack and release controls, a mix knob for parallel compression, and an external sidechain insert, we've now added a fully variable sidechain high pass filter, and a two position 'tone + colour' circuit which adds gentle tone sculpting and harmonic distortion, giving your bass some delicious character.

Specifications:
Input Impedance 1M
Output Impedance 2.2k
Frequency Response (-3dB) 10Hz - 20kHz
Distortion less than 0.1%
Noise -101dB
Power Input Voltage 9 - 18 V DC (Negative tip)
Power Input Connector 2.1mm barrel connector (Negative tip)
Power Consumption ~ 100mA
Enclosure Material Die Cast Aluminum
Input connector 1/4" Jack
Output connector 1/4" Jack
Height (Enclosure only) 1.5"
Height (including controls) 2.5"
Length 3.5"
Width 2.6"
Weight 1lbs
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MRP:$367.37 SAVE 17%
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Empress Effects Bass Compressor Effects Pedal (silver)
Cat: 799007 Rel: 27 Nov 20
 
Bass compressor effects pedal
Notes: When Empress released the original Compressor back in 2011, it quickly became a favourite among guitar and bass players alike who were searching for something more than the typical oversimplified controls found on most compressor pedals. Although our original Compressor sounded great on bass (and still does!) we set out to do even better.

On top of the full range of features and controls normally only seen in high end studio equipment, such as input and gain reduction metering, independent attack and release controls, a mix knob for parallel compression, and an external sidechain insert, we've now added a fully variable sidechain high pass filter, and a two position 'tone + colour' circuit which adds gentle tone sculpting and harmonic distortion, giving your bass some delicious character.

Specifications:
Input Impedance 1M
Output Impedance 2.2k
Frequency Response (-3dB) 10Hz - 20kHz
Distortion less than 0.1%
Noise -101dB
Power Input Voltage 9 - 18 V DC (Negative tip)
Power Input Connector 2.1mm barrel connector (Negative tip)
Power Consumption ~ 100mA
Enclosure Material Die Cast Aluminum
Input connector 1/4" Jack
Output connector 1/4" Jack
Height (Enclosure only) 1.5"
Height (including controls) 2.5"


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Empress Effects Compressor MKII Effects Pedal (silver)
Cat: 799001 Rel: 27 Nov 20
 
Compressor effect pedal
Notes: When the original Compressor was released back in 2011, it quickly became a favourite among guitar and bass players alike who were searching for something more than the typical oversimplified controls found on most compressor pedals. Now, based on users' valuable feedback, everything great about the original Compressor has been taken and made even better.

On top of the full range of features and controls normally only seen in high end studio equipment, such as input and gain reduction metering, independent attack and release controls, a mix knob for parallel compression, and an external sidechain insert, Empress have now added a 'tilt' tone eq control, and a selectable sidechain high pass filter built into the Compressor's detection circuit.

Oh, and the whole package is now half the size and available in two snazzy colours!

Specifications:
Input Impedance 1M
Output Impedance 2.2k
Frequency Response (-3dB) 20Hz - 20kHz
Distortion less than 0.1%
Noise -101dB
Power Input Voltage 9 - 18 V DC (Negative tip)
Power Input Connector 2.1mm barrel connector (Negative tip)
Power Consumption ~ 100mA
Enclosure Material Die Cast Aluminum
Input connector 1/4" Jack
Output connector 1/4" Jack
Height (Enclosure only) 1.5"
Height (including controls) 2.5"
Length 4.8"
Width 2.6"
Weight 1lbs
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Empress Effects Echo System Dual Engine Delay Pedal
Cat: 783107 Rel: 24 Sep 20
 
Delay pedal
Notes: Spanning the gamut of known delay possibilities and beyond, the Echosystem could be the ultimate delay-crafting tool. Faithful emulations of classics like digital, tape and analog delays are numerous, as well as Empress' own take on each of these delay styles. Moving beyond the traditional, the vast amount of sonic ground the Echosystem can cover becomes apparent. Check out the ambient modes when you're feeling chilled out, or perhaps a visit to the multi tap modes for a taste of inspiration.

The Dual Engine functionality allows any 2 of these delays to be used together, routed in either parallel, series, or left/right configurations.

In addition to delays, there's the super-useful reverb combos, which will elevate any guitar part. Oh, and don't forget Whisky mode, best accompanied by a dram of whatever you've got!

The pedal has 12 algorithm types, all with multiple variations. For example, there are 4 different tape delays on tap.

Emulations of classic tape and analog units are available, as well as our take on these types of delay.

All the algorithm controls are sitting on a knob in front of you, no fiddling through laborious menus.

Global tap tempo as well as local tempo with lots of subdivisions are available on all modes, in addition to being able to set the delay time directly with the knob.

Features a signal to noise ratio of >104dB and maintains an analog dry path.

2 delays can be used at the same time, each with its own full set of controls and routed in serial, parallel or left/right.

Settings can be saved to 35 presets. With three stomp switches, accessing the presets is easy.

Bank style or scrolling style preset modes.

It can be configured to run with true bypass or buffered bypass if you want to hear trails.

Cabinet Simulator - 3 variations to choose from, perfect for recording, practicing or for gigs without an amp.

Get hum-free operation when operating in stereo with two amps. Output 2 is isolated with a transformer to eliminate nasty ground loops.

48kHz sampling, with 24 bit conversion and 32 bit internal processing.

Dry signal is left untouched, and blended with the wet signal using VCA. (no zipper noise, hooray!)

The Universal Control Port allows you to connect an expression pedal, external tap switch, control voltage, external audio input and MIDI - all using a standard 1/4" jack!

The Advanced configuration menu lets you configure how your delay works. Select from true or buffered bypass, 0-35 presets, MIDI configuration, Control Port(expression pedal, external tap, control voltage and MIDI) as well as which style of preset system to use, input signal pad, output transformer enable and more!

The enclosure measures approximately 5.7" by 3.75" by 1.75", which is delightfully small when considering all the features packed into this unit.
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MRP:$614.51 SAVE 23%
 2 in stock $472.01
Empress Effects Heavy High Gain Distortion Pedal
Cat: 783043 Rel: 10 Sep 20
 
High gain distortion pedal
Notes: In this aptly named box you'll find a huge range of killer high gain tones. From crisp, mid-driven 80's metal, to scooped, modern down-tuned brutality, this little box of sonic mayhem does it all. The two independent channels can be voiced similarly so that one channel can be used as a solo boost, or they can be voiced entirely differently by using the mid range control in conjunction with the 3 position mid frequency select switch. Add in separate weight controls to shape the low end response of each channel, and a global hi/low eq section that allows you to fine tune your particular amp and cab combination, and you've got a serious tool to create a supremely heavy sounding rig.

On top of all this, there's an extremely responsive and hassle free noise gate that will ensure dead silent operation with even the most obscene amounts of gain added.

Input Impedance: 1M
Output Impedance: 510 Ohm
Frequency Response (-3dB): 35Hz - 17kHz
Power Input Voltage: 9 - 12 V DC (Negative tip)
Power Input Connector: 2.1mm barrel connector (Negative tip)
Power Consumption: ~ 200mA
Enclosure Material: Die Cast Aluminum
Input connector: 1/4" Jack
Output connector: 1/4" Jack
Height (Enclosure only): 1.5"
Height (including controls): 2"
Length: 3.5"
Width: 4.5"
Weight: 1lbs
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MRP:$420.81 SAVE 21%
 1 in stock $333.96
Empress Effects Nebulus Chorus/Vibrato/Flanger Pedal
Cat: 783089 Rel: 10 Sep 20
 
Chorus/vibrato/flanger pedal
Notes: The Nebulus brings guitarists high quality chorus, flanger and vibrato effects in a really compact 4.5 by 3.5 inch pedal. To increase the tone range even further 3 variations on each effect are available for a total of 9 tweak-able modes. All this flexibility is easy to access via a preset system capable of storing up to 8 different presets.

The chorus mode offers a lush and warm sounding chorus, a fluid and dreamy multi-chorus, and a unique tremolo'ed chorus. The flanger setting has a classic tape flange, a 70's negative feedback type flanger, and the elusive thru-zero flange. Lastly, but certainly not least, are the vibrato sub-modes which include a standard vibrato, a classic vibe sound, and a rotating speaker effect.

Each mode includes a special switch which allows the guitarist to really tweak crucial settings and it also offers some bonus features like the ability to add compression to vibrato mode, for example. For further fine tuning, a tone switch is available offering warm, clean, and bright voicings to the effect.

This true bypass pedal offers the uncompromising sound quality that guitarists have learned to expect from Empress pedals in an incredibly small box. With chorus, flanger and vibrato all only one touch away, this pedal is an incredible value.

Specifications:
Input Impedance: 1Meg
Output Impedance: 1K
Frequency Response (-3dB) - 8Hz - 18.5kHz
Input Headroom: +10.8dBu
Output Headroom: +10.2dBu
Distortion: 0.40%
Signal to Noise: 102.7dB
Power Input Voltage: 9 - 12 V DC (Negative tip)
Power Input Connector: 2.1mm barrel connector (Negative tip)
Power Consumption : ~300mA
Enclosure Material: Die Cast Aluminum
Input connector: 1/4" Jack
Output connector: 1/4" Jack
Height (Enclosure only): 1.5"
Height (including controls): 2"
Length: 3.5"
Width: 4.5"
Weight: 1 lb
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Empress Effects Reverb Pedal
Cat: 783099 Rel: 10 Sep 20
 
Reverb pedal
Notes: Realistic simulations of spaces, as well as never-before-heard surreal ambiances are represented with stunning sound quality. Sporting stereo ins and outs, a small footprint and all the controls at your finger-tips, it strikes the perfect balance of control and ease of use, avoiding laborious menus. Presets, the versatile control port, and MIDI open up a world of possibilities for live performances. Whether you're looking for a classic spring, realistic room or new sonic flavors to expand your creativity, this pedal delivers. And....it's got a beer mode!

The pedal has 12 algorithm types, some include multiple variations. For example, vintage and studio plate, dark and bright springs. Also, as more algorithms get added you can update your pedal via the SD Card. It's the pedal that keeps on giving.

Pristine sounding classic hall, plate, spring and room sounds that rival or surpass studio units costing many times more.

A complete palette of tweak-able ambient sounds that offer the creative player so much territory to explore and make their own.

All the algorithm controls are sitting on a knob in front of you, no fiddling through laborious menus.

Many algorithms have infinite hold settings or the ability to tap in delay time.

Features a signal to noise ratio of >104dB and maintains an analog dry path.

Settings can be saved to 35 presets. With three stomp switches, accessing the presets is easy.

Bank style or scrolling style preset modes.

It can be configured to run with true bypass or buffered bypass if you want to hear trails.

3 variations to choose from, perfect for recording, practicing or for gigs without an amp.

Get hum-free operation when operating in stereo with two amps. Output 2 is isolated with a transformer to eliminate nasty ground loops.

48kHz sampling, with 24 bit conversion and 32 bit internal processing.

Dry signal is left untouched, and blended with the wet signal using VCA. (no zipper noise, hooray!)

The Universal Control Port allows you to connect an expression pedal, external tap switch, control voltage, external audio input and MIDI - all using a standard 1/4" jack!

The Advanced configuration menu lets you configure how your reverb works. Select from true or buffered bypass, 0-35 presets, MIDI configuration, Control port control(expression pedal, external tap, control voltage and MIDI) as well as which style of preset system to use, input signal pad, output transformer enable and more!

The enclosure measures approximately 5.7" by 3.75" by 1.75", which is delightfully small when considering all the features packed into this unit.
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quote 783099
Keeley Compressor Pro Full Featured Studio Quality Compressor Pedal
Cat: 782376 Rel: 04 Aug 20
 
Compressor pedal
Notes: Top-of-the-range model in Keeley's legendary line of compressor pedals. True studio-quality compression in a convenient pedal format, suitable for guitars, synths, drums or even vocals.

Supplier's Notes:

Keeley Compressor Pro. The stomp-box sized compressor/limiter is made in Oklahoma, USA and engineered to be an indispensable tool for your musical endeavors. It is in no way limited to be used with only guitar. It has been designed to work as a studio compressor accepting any range of inputs and a frequency response and noise level matching the finest compressors made.

Compression LED Display:
Segment LED display for fast and accurate metering of compression and gain reduction. Gain Reduction Levels of -1dB to -20dB are indicated.

Threshold LED Indicator:
Bi-Color LED to indicate when compression is initiated and released.

Exact RMS Analysis (ERA):
Senses the true RMS value of the input program material such as your guitar, bass or drum machine.

Hard/Soft Knee Compression - Hard Compression for limiting or adding sustain, soft knee or Komfort Kompression for gentle compression, keeping performances lively and natural sounding without potential phase issues in parallel, or blending style compression.
Auto Mode - Program dependent Attack and Release times. Set to Auto ON for worry-free performance and automatic Attack and Release times.
True-Bypass - No tone or signal loss when OFF

The Keeley Compressor Pro is designed to be used at home or in the studio for creating full sounding recordings of any instrument. In live situations, the Compressor Pro can be used to achieve full sounding, polished performances as well as protect amplifiers and speakers from overload. The Comp Pro is designed to work with any instrument from voice and guitar to keyboard, bass, or drums. Use it when creating a podcast or YouTube videos to maintain professional performance levels. Use it around the home to create tons of sustain while at low volumes or low gain settings!
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quote 782376
Keeley Dark Side Modern Fuzz Pedal With Rotary, Vibrato & Delay
Cat: 782380 Rel: 04 Aug 20
 
Fuzz pedal
Notes: We should all be so lucky as to be identified by the sound of a single note. Some players are so well defined that their entire musical journey can be heard in a single note they play. Tone is in the fingers. Tone is in the mind. Effects can be a great way of expressing emotions or creating textures. The Dark Side is about creating sounds and adding new tones to your symphony. It's the things you can't create with your fingers or mind. It's metasymphonic. The Dark Side provides all the textures that define an essence, in one pedal.

The individual pieces that make up the Dark Side workstation are Fuzz, Delay and Modulation. The Fuzz side of the Dark Side is a big fuzz style distortion based on a 1977 op-amp style, which was also used for Keeley's Psi Fuzz. This one is completely and radically different. Many changes have been made to extract the nuances of earlier transistor based fuzzes. This pedal lets your guitar sing with sustain, yet retains the essence of you guitar whether single coil or humbucker based.

The next core element in the Dark Side pedal is the Delay and Modulation side. You can select between a multi-head tape delay effect or between a combination of 4 different modulation sounds. The Dark Side delay has 12 different syncopated delays. They are rhythmic and have the tonal quality of the old spinning drum tape delays. The Dark Side has many subtle filters to get the tape delay setting to have the feel and warmth of the original machines, yet gives you range of control to have modern features like expression pedal control for the number of repeats. You can use it for creating a feedback oscillation delay. Extremely subtle modulations in the delay make it very musical.

The next atom in this workstation is the modulation effect. There are four parts to this effect. Flanger, Rotary Speaker Cabinet, U-Vibe, and Phaser. You can blend between the "Electric Lady" Flanger and a Les-Rotary cabinet, creating new sounds. You can find that perfect blend between a vintage sounding opto-coupler based U-Vibe and the little orange phaser.

There is also an Expression Pedal port on the pedal. It is highly recommended to have an expression pedal handy. You can make many adjustments on the fly that just increase the fun and functionality of the pedal while you're creating music. It has to be a TRS style expression pedal- it is recommended to use something like the M-Audio or Moog expression pedals.
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Keeley Monterey Fuzz Vibe Rotary Wah Pedal
Cat: 782431 Rel: 04 Aug 20
 
Fuzz/wah pedal
Notes: Hendrix-inspired pedal combines fuzz and modulation for psychedelic bliss. Dial in a blend of distortion with rotary simulation, auto wah, octaver and more. Huge tone and impressive range.

Supllier notes:
With the Keeley Monterey Workstation you take one step back in time and two steps forward. The Monterey is a surrealistic envelope of neo-vintage effects. It combines classic sounds with new interpretations to create a modern timbre and audio spectrum for guitarists.

The Keeley Monterey Rotary Fuzz Vibe has a vintage fuzz, rotary speaker, vibe, harmonic and auto wah, an octave up or octave down, as well an expression control to allow you to create a rich array of new and newer sounds.

There are two channels on the Monterey Rotary Fuzz Vibe, and these can be configured to give you five different sounds.

The right stomp switch activates the fuzz channel. The fuzz channel has been designed to give you a rich, full, classic two-transistor fuzz sound that is accurate yet has a touch of smoothness added. It is very responsive and dynamic. It plays well in any position on a Strat or Les Paul style guitar. At the heart of the fuzz are vintage Fairchild Semiconductor transistors. These moderate gain transistors offer the perfect fuzz tone and do not have the temperamental temperature related problems that germanium devices exhibit, while still giving you incredible tone.

The modulation channel is where the fun really starts. The Monterey Rotary Fuzz Vibe offers an Octave effect with both the Vibe and Wah sounds. With those two sounds you can either have Octave Up, Octave Down, or No Octave.

In the Center Position of the Octave Control you have NO octave up or down. If you turn the Octave Control up (or clockwise), you have an increasing octave up sound. As you turn the Octave Control down, you have an increasing amount of octave down sound added. Again, if you do not want an octave effect added, simply set the Octave Control to the center position.

The Monterey Rotary Fuzz Vibe features a very rich and deep vibe sound. The "Kool Vibe" setting is perfect for getting complex phaser-like sounds. It combines phasing and tremolo at key frequencies to give you incredible depth and rhythm. Not only does it match the frequency response of a vibe, it simulates the unique pulsing of a photo-cell based effect. You can add the Octave to the "Kool Vibe" for an amazing doubling effect or for an incredibly deep synth bass type sound.

The "Les Rotary" sound in the Monterey Fuzz Vibe is both very accurate and surprisingly new sounding. Like the original cabinet, this simulation joins both the lower drum and the upper horn into a rich, dimensional effect that generates an unmistakable chorus and tremolo soundscape. Not only is the cabinet itself simulated with very short reverberated reflections that offer a doubling effect, the Doppler Effect provides a soothing chorused sound that is clean and ethereal. The Octave Control in the Rotary cabinet simulation controls the volume of the horn or tweeter sounds. It does not produce an octave effect here. This allows you to get a very chorus-like effect with ample high-end detail when simulating a "Les Rotary" style cabinet. Set the Rate OFF for no rotation, turn the Fuzz on, and the Depth and Octave controls give you a wonderful speaker cabinet simulation. It's fuzz with tonal control like you've never had before! Perfect for matching any size of power amp with the pedal's fuzz to give you anything from dark overdrive to hard, edgy, squared fuzz!

The "Harmonic Wah" section combines several more new sounds from Keeley in the Monterey Rotary Fuzz Vibe. It is a fixed or cocked wah sound, an auto wah, a harmonic/tremolo wah, and even a regular foot-controlled wah when you add an expression pedal. With the Depth Control turned all of the way down/off you are in the Wah Mode. The Wah Mode gives you control over the frequency you boost by adjusting the Rate Control. If you have an expression pedal connected, it becomes a regular Wah Pedal. Turn the Depth control up a slight amount and the Monterey becomes an Auto Wah. In the Auto Wah mode, your pick attack and strength creates an envelope filter sound. After the noon/center position on the Depth Control, you have the new Harmonic Wah. It is like the harmonic tremolo on a brown face amp, but the frequencies are centered around a wah pedal instead. It's ideal for players who like the rhythmic back-and-forth rocking sound of a wah pedal.

Add any expression pedal controller to the EXP input on the back and you have control over the Rate of the "Les Rotary" and "Kool Vibe" settings. In the "Harmonic Wah" setting, it controls the frequencies.
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Keeley Red Dirt High/Medium Gain Overdrive Pedal
Cat: 782454 Rel: 18 Aug 20
 
Overdrive pedal
Notes: The Red Dirt overdrive began from a quest to find the perfect classic drive sound while also offering new levels of sonic versatility to satisfy a wider range of musical styles. Founder and head engineer Robert Keeley took this idea and combined the great sounds found within his original "Mod Plus" and "Baked" modified pedals and added refinements found exclusively in his custom pedal line. A Keeley designed FET input stage makes this overdrive breakup in a whole new, genuinely "tube like" style that will have your leads singing and your rhythm playing sounding more dynamic and expressive than ever. It all culminates in an overdrive that is superbly dynamic, with crispness and clarity that let players cut through a dense mix, while retaining the plump midrange. By incorporating these tones along with the Keeley standard of U.S.A. hand-built quality using premium components, the Red Dirt overdrive aims to become an indispensable part of any pedal chain.
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 1 in stock $306.30
Maxon RTC600 Real Tube Series Compressor Pedal
Cat: 783428 Rel: 23 Sep 20
 
Compressor pedal
Notes: The RTC600 is like taking the finest studio-grade tube compressors and "squeezing" them all down into a single stompbox.

The RTC600 starts out with the same patented DBX compression circuit used in Maxon's popular CP-9 Pro+ pedal - this circuit provides a very smooth, transparent, almost "glassy" compression with very low noise floor, even at maximum settings. Your guitar sounds like your guitar, only with compression added to smooth out the dynamics.

The RTC600's dual-triode tube is positioned pre-compression, adding classic valve warmth to the signal without increasing noise levels.

With up to +30 dB of clean Gain, the RTC can be used as a clean booster or as an attenuator to clean up an already dirty amp.

The Addition of Attack and Release controls to the circuit allow for a wider variety of compression effects, including "Brick Wall" limiting and "Soft Knee" compression.

The RTC600 features an internal charge pump circuit that bumps the incoming voltage up to 25 volts, providing massive headroom and full-range frequency response. The RTC600 can be used with any instrument and for a variety of applications - it can be sent into an amp's front end, placed in an effects loop, or used as an outboard processor for home recordings.

The RTC600 features True Mechanical Bypass switching using a 3PDT switch. The RTC600 comes complete with the Maxon AC2009 9-Volt power supply, an auto sensing digital power supply that can be used anywhere in the world.

For studio-quality compression in a compact Stompbox, the RTC600 is the only REAL choice.

Rack tube compressors of this quality can cost thousands of dollars more than the RTC600.

TECH TALK:
The RTC600 features a completely new and improved circuit from its predecessor, the RCP660.

5 controls adjust the compression effect -

Threshold: Variable, 0dB to -40dB
Output gain: Variable, 0dB to 30dB
Compression Ratio: 1:1 to 1:Infinity
Attack time (for 20dB gain increase): Variable, 20mSec to 600mSec
Release time (for 20dB gain decrease): Variable, 140mSec to 700msec

A Gain reduction LED lights when the reduction is 4dB or more.

The RTC features an In-Rush Current Control system - As soon as power is applied to the pedal, a small current is applied to the tube and begins heating it at a very low voltage (much like a tube amp standby switch). This system dramatically extends the tube life. Once the pedal is engaged, 12.6 VDC is applied to the tube heater.

The RTC600 features mechanical true bypass switching via a Fujisoku 4PDT switch.

NOTE ON POWERING THE RTC600 - this pedal's voltage regulator IC requires a high inrush current of approximately 2000 mA upon startup. When using with a Power Brick such as the Voodoo Labs Pedal Power 2+, this pedal should be connected to a high current power jack when possible.

Input Impedance: 500K Ohms

Output Impedance: 10K Ohms

Output Jack: 1/4 inch standard phone jack

Max Output Level: +20dBu (at 1 kHz)

Residual Noise: -94dBu or less (Input shorted, IHF-A weighted)

T.H.D. +N: 0.02% or less (at 1 kHz, -10dBu output)

Controls:
THRESHOLD 0dBu to -40dBu
RATIO 1:1 to infinity: 1
GAIN 0dB to +30dB
ATTACK (for 20dB gain decrease) 20mSec to 600mSec
RELEASE (for 20dB gain increase) 140mSec to 700mSecSwitch: BYPASS/EFFECT (Mechanical True Bypass using 3PDT switch)I/O: INPUT JACK, OUTPUT JACK, DC INPUT JACK

Indicator: BYPASS/EFFECT LED REDUCTION LED (When REDUCTION LED lights, compression is more than 4dB.)

Internal Circuit Voltage: 25 VDC (i12.5V) (DC to DC Converter)

Power Consumption: 240mA/9VDC

Dimensions: 121 (W) × 152(D) × 60 (H) mm / 4.8" (W) x 6" (D) x 2.4" (H)

Weight: Approx. 580g / 1.3 Lbs. (without AC adaptor)

Power Supply: AC adaptor AC2009

Accessory: AC adaptor AC2009* 0dBu=0.775Vrm
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quote 783428
Maxon RTD800 Real Tube Series Overdrive/Distortion Pedal
Cat: 783432 Rel: 15 Oct 20
 
Overdrive/distortion pedal
Notes: With independent Overdrive, Distortion, Boost and Noise Gate circuits all under one hood, the RTD800 may be the last "dirt" pedal that you'll ever need.

By combining various solid-state clipping stages with a real dual-triode tube, the RTD800 offers a massive array of saturated guitar tones. From traditional tube overdrive through full-on gated metal distortion, no other drive pedal offers this degree of versatility in a single package.

The RTD's 3-band EQ circuit is incredibly versatile and can literally dial in any tone imaginable. With zero frequency overlap, all the three controls are highly interactive and make even the slightest of tone tweaks possible under any playing situation.

The Overdrive channel of the RTD creates a warm, organic tone that's like driving a maxxed-out amp with an OD pedal. Where some pedals can get in the way of your dynamics, the RTD retains an expressive and dynamic interaction between your guitar and amp, cleaning up beautifully when you roll back on your guitar's volume and effortlessly tracking picking nuances.

The RTD's Distortion channel offers up all the gain and character of a hot-rodded Plexi, JCM800 or Soldano. Searing, sizzling solo tones and sustain for days, yet with a distinct clarity that lets individual notes "pop" and chime through. Even at maximum distortion settings the RTD retains an expressiveness and dynamic response that takes your playing to the next level.

For even more versatility, the RTD800 features a foot switchable Boost function that can be varied between 3-9 dB via an internal trim pot. The boost comes post OD/Distortion, allowing the user to dial in the perfect level boost for solos.

Higher gain settings on either channel can be kept tight and noise-free using the RTD's switchable Noise Gate with variable Threshold. The gate itself is incredibly responsive and tight, with none of the false-triggering and "sputter" common to other pedals.

Like all Maxon products, the RTD800 features True Mechanical Bypass switching using a 3PDT switch. The RTD800 comes complete with the Maxon AC2009 9-Volt power supply, an auto sensing digital power supply that can be used anywhere in the world.

When you require an unparalleled variety of REAL-tube tones, only the Maxon RTD800 will do.

With four independent functions averaging around $100 apiece, the RTD800 may be the most cost-effective, versatile and space-saving pedal available.

TECH TALK:
The RTD800's independent and selectable Overdrive and Distortion modes are configured as follows:

The Overdrive circuit features two stages of clipping - a bi-directional clipping diode in the feedback loop of the op-amp and then a single-diode in the second stage for asymmetrical clipping.

The Distortion circuit also features two clipping stages, but configured differently - a bi-directional clipping diode in feedback loop of the op-amp, and then a 2nd stage with a passive bi-directional clipping circuit.

Unlike other tube overdrive pedals, the RTD800 places the tube after the OD/Distortion circuits, making it the best tube overdrive pedal to recreate an authentic tube-amp tone.

The RTD features an In-Rush Current Control system - As soon as power is applied to the pedal, a small current is applied to the tube and begins heating it at a very low voltage (much like a tube amp standby switch). This system dramatically extends the tube life. Once the pedal is engaged, 12.6 VDC is applied to the tube heater.

The RTD800 features mechanical true bypass switching via a Fujisoku 4PDT switch.

NOTE ON POWERING THE RTD800 - this pedal's voltage regulator IC requires a high inrush current of approximately 2000 mA upon startup. When using with a Power Brick such as the Voodoo Labs Pedal Power 2+, this pedal should be connected to a high current power jack when possible.

Input Impedance: 500K Ohms

Output Impedance: 10K Ohms

Max Gain: 72dB (at 1.5 kHz)

Equivalent Input Noise: -110 dBu or less (Input shorted, IHF-A weighted)

Control: GAIN, NR, MASTER, BASS, MID, TREBLE

Switch: BYPASS/EFFECT (Mechanical 3PDT); BOOST ON/OFF, NR ON/OFF, OD/DIST

I/O: INPUT JACK, OUTPUT JACK, DC INPUT JACK

Indicator: BYPASS/EFFECT LED, BOOST LED, GATE LED

Internal Circuit Voltage: 12.6VDC (DC to DC Converter)

Power Consumption: 440mA / 9VDC

Dimensions: 121 (W) × 152 (D) × 60 (H) mm / 4.8" (W) x 6" (D) x 2.4" (H)

Weight: Approx. 620g / 1.4 Lbs. (without power supply)

Power Supply: AC adaptor AC2009

Accessory: AC adaptor AC2009* 0dBu = 0.775Vrms
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quote 783432
Maxon VJR-9 Vintage Jet Riser Flanger Nine Series Pedal
Cat: 783398 Rel: 15 Oct 20
 
Flanger/noise pedal
Notes: Designed in homage to classic 70's distortion modulators such as the Flying Pan and Jetlyzer (both of which Maxon designed and built for Ibanez), the VJR-9 Vintage Jet Riser creates a Doppler jet effect so realistic you can almost feel the wind in your hair.

Rather than sticking with the old-school Jet design of phase shifter into distortion, the VJR-9 features an analog Bucket-Brigade Flanger as the modulation source to add a more realistic depth of field to the effect. Speed and Width controls allow adjustment of the flanging from slow takeoff to sonic boom.

In similar fashion, Maxon has forgone the use of a distortion circuit in favor of a voltage-controlled white noise generator to more accurately simulate the sound of a jet in flight. Featuring a combination of VCA and VCF circuits, the VJR-9's Jet effect reacts to playing dynamics within a range preset by the Sensitivity, Range and Jet controls.

These two circuits can be used separately or in combination to create a wide variety of effects from subtle to extreme - classic chorus and flanging; tremolo-like auto-wah; massive sky-is-falling Jet sweeps; bizarre and other-worldly metallic tones bordering on ring-modulation - all these and more are possible with the VJR-9.

The VJR-9 also features a jack to connect an external switch (bypass or momentary) for the Jet function, allowing the user to add the effect in against the Flange when desired to accentuate certain note, phrases, or song sections.

The VJR-9's internal voltage-doubling circuitry provides maximum headroom to eliminate input distortion. The higher operating voltage also allows it to be used in an FX loop in order to place the effect post-gain.

The Maxon VJR-9 Vintage Jet Riser - get ready for takeoff.

The VJR-9 is an updated version of vintage FL-70 Jetlyzer with added features and superior performance.

TECH TALK:
The VJR-9 features Mechanical True Bypass switching via a Fujisoku 4PDT switch.

NOTE ON POWERING THE VJR-9 - this pedal's voltage regulator IC requires a high inrush current of approximately 2000 mA upon startup. When using with a Power Brick such as the Voodoo Labs Pedal Power 2+, this pedal should be connected to a high current power jack when possible.

If it is not possible to connect to a high current jack, you can power the VJR-9 by leaving a battery in the pedal. Upon initial start-up, unplug the external DC power input cable, engage the pedal, and then plug the DC power input cable back in - the pedal will now power up normally off the external power supply until you power down your pedalboard.

Input Impedance: 500K Ohms

Output Impedance: 10K Ohms or less

Maximum Output Range: +12 dBu (400 Hz)

Controls: RANGE, JET, SENSITIVITY, SPEED, WIDTH

Switch: BYPASS/EFFECT (mechanical TBS)

External Foot Switch Jack: Jet Sound on/off

Delay Time: 1.0 mSec - 30.0 mSe

Speed Frequency: 0.04 Hz - 12 Hz

Residual Noise: -90 dBu or less (IHF-A)

Indicator: Bypass / Effect LED

Internal Circuit Voltage: 13 VDC (DC to DC Converter)

Power Supply: 9 volt battery of Maxon AC adaptor

Power Consumption: appox. 60 mA / 9 VDC

Dimensions: 74 (W) x 124 (D) x 54 (H) mm

Standard Accessory: AC adaptor AC2009, user's guide

Weight: approx. 630 g (including battery, excluding adaptor)

Battery: 9V battery (6LR61 or 6F22) x 1 or Maxon AC adaptor

Battery life:
Manganese - 50 minutes @ 25 degress C
Alkaline - 3 hours @ 25 degrees C

Option: Maxon AC adaptor
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quote 783398
Meris Enzo Multi Voice Synthesiser Pedal
Cat: 781838 Rel: 15 Jul 20
 
Synthesiser pedal
Notes: A multi-voice synthesizer that will track your guitar for tight monosynth leads, complex chord polyphony, or multi-note sequenced arpeggiation. All without any special pickup installation. Just put it on your board and discover your own reality. The Enzo isn't limited to guitar; use it on any instrument whether drum machine, vocals or other synths. Completely transform your input signal and synthesize. Use the full synth palette of multimode analog style synth filters, ring modulation, envelopes and much much more to drive punchy, thick synth textures. Or, explore an altered state of your pure instrument signal by transforming it with pitch, time and modulation effects. Plug in to a revelation generator.

Premium quality 24 bit A/D and D/A

32 Bit floating point DSP hardware

Premium low noise Analog signal path throughout

Digitally controlled Analog Dry path for wet/dry mix

Analog Devices JFET input circuitry

Selectable True Bypass (Relay) or Analog Buffered Bypass

Durable translucent coat of vibrant gold over brushed aluminum

Current draw < 150 mA

Dimensions - 4.25" wide, 4.5" long, 2" tall
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Meris Hedra 3 Voice Rhythmic Pitch Shifter Pedal
Cat: 781875 Rel: 15 Jul 20
 
Pitch shifter pedal
Notes: Brilliantly wonky rhythmic pitch shift effect, capable of twisting and warping your sound into new territory. Tap tempo and MIDI control allow it to be played like an instrument, giving you control of the sound.

Supplier notes:
Every action has a reaction. A single stone thrown can create riveting ripple effects, while a humble key-turn can unlock a flurry of otherwise before unseen and unheard events. This is the magic Hedra bestows upon you and your instrument, seeing you unearth new harmonic sonic chain reactions with every single note played.

The Meris Hedra is a 3-voice rhythmic pitch shifter capable of adding 3 harmony voices to your instrument and with Tap tempo synchronised delay available for each voice, this beauty far transcends the realms of standard pitch-shifting. In addition, pitch glide, micro tuning, 4 individual delay configurations, adjustable pitch correction and midi keyboard control all combine in making Hedra an instrument and sonic experience like no other.

You can keep it simple and just use Hedra as a standard chromatic pitch-shifter. Or you can begin to pile on the intervals and slip into its dancing diatonic dreamscapes, via its 6 different scales and wealth of rhythmical subdivisions. Now turn up the Glide control and hold down TAP for auto-swelling synthy portamento shifts - or bump up the pitch regeneration - and you'll be floating away on clouds of shimmering sci-fi effects. Hook a MIDI Keyboard or a MIDI Sequencer up to Hedra and turn your source instrument into a mind-bending tapestry of harmonies and hard-tuned pitch glides.

Although it adds an entirely new dimension to the humble 6 (or more) string instrument, Hedra is not limited to just guitars. In fact, you can use the pedal on pretty much any instrument or line-level audio signal you want.

Whether you choose to totally transform your beats on a drum machine, harmonise vocals or completely alter additional synths, loops or any other type of audio, Hedra's advanced pitch-shifting palette is sure to transport you and your sound to entirely new sonic worlds.

Premium quality 24 bit A/D and D/A

32 Bit floating point DSP hardware

Premium low noise Analog signal path throughout

Digitally controlled Analog Dry path for wet/dry mix

Analog Devices JFET input circuitry

Selectable True Bypass (Relay) or Analog Buffered Bypass

Durable transparent coated brushed aluminum

Current draw: < 150 mA

Dimensions - 4.25" wide, 4.5" long, 2" tall
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Meris Ottobit Jr Bitcrusher Pedal
Cat: 781884 Rel: 15 Jul 20
 
Bitcrusher pedal
Notes: Really nice digital effect pedal based around bitcrushing but capable of so much more: gritty filtering, stutter effects and tap tempo for synced modulation sequences. Super vibey.

Supplier notes:
From an era when visiting the arcade meant silicon-defined-sonics were burned into so many kids' memories (big and small alike), the Meris Ottobit Jr. is inspired by the world of vintage gaming consoles, bringing those sounds directly to your pedalboard.

So what exactly is Ottobit Jr.? Well, it's a bitcrusher, but it would be an insult to just call it that. It's also an ultra-musical sequencer, stutter and filter effect, but it's not JUST that either. It's the sum of all of these parts that make the Ottobit Jr. what it is: a maniacal side-scrolling, coin-collecting, power-glove-punching-machine with a host of earth-shattering sounds that'll melt your face right off! Heck, the pedal is so unique and innovative that it deserves to have a verb all of its own. So plug in, press play and Ottobit away!

Ottobit Jr. takes everything that made the original Meris Ottobit 500-series unit such an innovative studio tool and crams it down into a rugged and roadworthy pedal suited for any rig, be it guitar, bass or synth. Basically, if you have a creative bone in your body and you love designing crazy and unique sounds unlike anything else, then the Ottobit Jr is for you!

Ottobit Jr. sports a fuzzy bitcrusher with variable sample rate, triggered stutter effects, a multi-mode sequencer module and a mind-blowing low-pass filter that sounds just as good as any analog synth filter out there. All of this is syncable and controllable via tap-tempo, expression and/or midi. But most important of all, Ottobit Jr. always stays super reactive to your playing, seeing you jump from fiery fuzz tones to classic arcade bleeps and bloops, only to end up in a barrage of 6-step sequencing and glitchy stutter effects without breaking a sweat and without ever sounding unmusical.

The Meris Ottobit Jr. is built to Meris' boutique standards in Los Angeles, California, USA. It features an analogue signal path and 24-bit AD/DA with 32-bit floating point DSP to ensure crystal clear sounds with loads of headroom.

Premium quality 24 bit A/D and D/A

32 Bit floating point DSP hardware

Premium low noise Analog signal path throughout

Analog Devices JFET input circuitry

Selectable True Bypass (Relay) or Analog Buffered Bypass

Durable black powder coat with fine metal flake

Current draw: < 150 mA

Dimensions: 4.25" wide, 4.5" long, 2" tall
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MRP:$420.81 SAVE 27%
 6 in stock $308.37
Mooer GE250 Amp Modelling & Multi Effects Pedal
Mooer GE250 Amp Modelling & Multi Effects Pedal (amp modelling & multi effects pedal)
Cat: 761049 Rel: 09 Jan 20
 
multi-effects unit & pedal
Notes: Offering higher-quality IR support and more features than its little brother the GE200, the GE250 fills the gap in MOOER’s GE Series.

The GE250 offers many of the same features expected from a GE multi-effects unit such as 70 digital amp models, over 180 different effects, customizable effects chain, drum machine, metronome, 70-second looper, and easily customizable and storable presets. It even borrows some features from the GE300 such as Tone Capture to create your own digital amp models. MIDI IN/OUT, easy FX LOOP integration and low-latency USB audio support make it suitable for live performance or recording directly to a PC.

All of these features come wrapped in a fresh new black on white design to set it apart from the rest.
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 2 in stock $387.40
Mooer Preamp Live Pedal
Mooer Preamp Live Pedal (preamp/effects pedal)
Cat: 677566 Rel: 30 Aug 18
 
Digital preamp modeller featuring 12 independent preamp channels
Notes: PREAMP LIVE has been designed from the ground up to be the ultimate digital preamp modeller for use in a live situation. Every control feature has been carefully thought out to be intuitive and provide the best experience for live performance.

PREAMP LIVE provides a wide array of different amp tones right at your feet. It lets you select and carry 12 independent preamp channels of your choice, from a selection of 50 models available within the supporting software and mobile apps.

Added to each of the 12 preamp channels is a dual position booster, adjustable pre and post noise gates, a fully programmable effects loop with different modes, full channel switching control, MIDI IN and OUT, dedicated headphone connection, multiple outputs with optional cab simulation and IR loading capabilities.

Ever wanted to get UK overdrive from your F style amp? Or sparkling, spanky cleans from your M style amp? The effects loop in PREAMP LIVE has a unique A/B mode which lets you use your amplifiers analogue preamp along with the digital models. This effectively expands the tonal palette of your amplifier without the need for an expensive, complicated switching device.

If that wasn't enough, you can also use MOOER's "TONE CAPTURE" feature, to sample your own amplifiers preamp section and create brand new digital models of your own to use at gigs and share with your friends.
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 1 in stock $331.74
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